Marcelo Burgos: A Few Of My Favourite Things
The Chromista director talks us through the planes, presses and tactile devices that help him remain creatively inspired.
With a background in fine art, storyboarding and art direction (becoming a CD at the sprightly age of 23!), Marcelo Burgos certainly finds solace in the act of creation.
The director, repped by Chromista in North America, spends his time between Madrid and Buenos Aires in a pair of open studios, sculpting when not on set.
It's unsurprising, therefore, that the items he chooses as his Favourite Things all skew towards the tactile; incorporating the mechanics of craftmanship with a clear love of the process.
The Rolls Royce of wood planers, my N4 Lie Nielsen Smoothing plane.
It is almost too exquisite to utilize.
Once I complete a shoot, I find solace in returning to the workshop, evading the void that engulfs every director upon wrapping a project.
I've sought the counsel of my director friends, and they unanimously resonate with this sentiment.
My Adana manual letterpress.
Typography enamoured me during my early days in art school.
Despite business cards and letterheads falling out of vogue, I take pleasure in printing my own stationery.
Ponder upon it: what we do is so intangible. We no longer even use film. It is delightful to complement our intangible craft with tangible artefacts.
Composing a text, letter by letter, in reverse, grounds me in the tangible world and imparts patience.
The Art Book
This book is about Alexei Brodovitch, the iconic Art Director of Harper's Bazaar.
He fostered the careers of Avedon, Penn, and other illustrious photographers of the 20th century.
From him, I gleaned not only simplicity and elegance but also the significance of collaborating with exceptional cinematographers and creating the finest ambience for them to work their magic.
Fabien Baron, a director I greatly admire, also served as the Art Director at Harper's Bazaar, reviving Brodovitch's work.
Baron has since evolved into an extraordinary director.
But, please keep it confidential; I pilfered this book from my previous agency.
A 50mm anamorphic lens for the camera I use during location scouts.
As a director, one learns that the lighting in a location holds greater importance than the location itself.
At times, it proves challenging to convey this notion to the agency and client, who often see poorly captured images of unlit, bare locations.
The Apple Box
My shooting day essentials include a 17-inch monitor on a stand and an apple box to sit on.
No director's chair, no tent, nothing else.
Usually, I'm the one lugging my belongings around the set.
There is a certain beauty in our battered and worn-out film gear that brings me comfort.
Besides, the crew appreciates not having to cater to my needs; they already have their hands full with their work.
The Sketch Kit
Paper, pencil, eraser.
I relish sketching my own storyboards as they serve as an invaluable guide for everyone involved, especially myself, particularly when tackling technically intricate projects.
If I can sketch it, I can shoot it.