“Nobody knows this,” Ferretti shares, his eyes twinkling, “but in the re-creation I made of the Chinese Theater [in “The Aviator”], I put a plaque of my own name and handprints. I thought this is my only chance to be at the famous Grauman’s. It was under the red carpet in the film. But for me, it was a joke on the set.”
Ferretti is entitled to some real estate on a Hollywood sidewalk, if not it’s hallowed Walk of Fame. The number of his credits on American, Italian and French films stands at 52. And it’s rising, since Ferretti sees no reason to let up. “I get bored,” he shrugs during a midday chat in the lounge of the Beverly Hilton. “It’s not that my life is boring. My job is my life.”
The professional and personal are, indeed, intertwined. Ferretti’s wife is Francesca LoSchiavo, a five-time Oscar-nominated set decorator. Their son, Edoardo Ferretti, is an assistant director whose credits include Martin Scorsese’s previous film, “Gangs of New York.”
Though Ferretti recently completed work on a film in the Czech Republic and is in preproduction for Brian De Palma’s “The Black Dahlia,” his recent weekend here marked the beginning of a four-month campaign to launch his first book, “Ferretti,” a gorgeous tome that chronicles his lengthy career.
Tod’s threw the set designer a party two nights before the Golden Globes. The company’s chief executive officer and chairman, Diego Della Valle, is a shareholder in Cinecitta Studios in Rome, headquarters for the bulk of Ferretti’s productions. As a result of the friendship between the two men, Ferretti began creating installations — Italian summer piazzas, the Tivoli Gardens, film set re-creations (“Pulp Fiction,” for one) — for Tod’s press presentations during Milan Fashion Week.