The Directors: Fernando Livschitz

Fernando Livschitz is a filmmaker who masterfully infuses his work with an enchanting blend of upliftment, dream-like aesthetics, and playful creativity. His storytelling transcends conventional boundaries, effortlessly merging the extraordinary with the ordinary, inviting audiences to embark on journeys that reveal the innate wonder within our reality. Livschitz's unique cinematic approach crafts a captivating and thought-provoking atmosphere that leaves a lasting impression.

Fernando has earned acclaim on an international scale, including the prestigious Young Directors Award at Cannes Lions. His creative prowess extends beyond the silver screen, encompassing collaborations with renowned brands such as Honda, Toyota, Microsoft, McDonald's, Nissan, and Coca-Cola. Notably, he lent his artistry to the creation of the mesmerising opening credits for CBS's "The Late Show with Stephen Colbert.”

Name: FERNANDO LIVSCHITZ

Location: BUENOS AIRES

Repped by/in: LOGAN INDUSTRY / USA 

Awards: Cannes Young Director Awards 

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Fernando> What sets a script apart for me is its uniqueness and creativity. I get excited about scripts that offer a fresh perspective, challenge conventions, or tell a story in a visually captivating way. Elements such as strong character development, innovative visual concepts, and a clear emotional arc can make a script stand out. I also become enthusiastic when I have an open script, allowing me to collaborate with my ideas and vision, working together with the creative team towards a common goal.

LBB> How do you approach creating a treatment for a spot?

Fernando> When creating a treatment for a spot, it's crucial to understand the core message the brand wants to convey. I start by thoroughly dissecting the script, identifying key visual and thematic elements, and then brainstorming creative ways to bring them to life. I focus on the overall vision, including cinematography, editing, music, and visual effects.

I express my vision through numerous references, providing precise direction for the film.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Fernando> Research is essential, even for unfamiliar brands or markets. Understanding the strategic and contextual aspects of an ad helps ensure that the final product resonates with the target audience and effectively communicates the brand's message. I would immerse myself in the brand's identity, target demographic, and market trends. 

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Fernando> The most crucial working relationships for me in ad creation are with the director of photography, art director, and casting. These collaborations are vital for shaping the ad's visual and emotional elements, ensuring the precise and authentic execution of my creative vision.

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Fernando> I am most passionate about projects that allow me to explore unconventional storytelling techniques and push the boundaries of visual storytelling. I am drawn to projects that challenge me creatively and offer opportunities for visual innovation.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Fernando> One common misconception about me or my work might be that I solely focus on the post-production and neglect the storytelling. In reality, I believe that storytelling is at the core of any successful project, and I strive to combine compelling narratives with visually stunning elements.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

Fernando> Yes, I have worked with cost consultants in the past. I have found that open communication and collaboration with them can help ensure that creative vision is maintained within the budget constraints.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Fernando> In one production, we had unexpected extreme weather conditions that disrupted our shoot. To solve it, we had to be flexible with our schedule, adjust the script on the fly, and work closely with the crew to ensure that we are still capturing the required footage.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Fernando> Finding the right balance between collaboration and safeguarding the creative idea is essential. It essentially becomes a negotiation of various elements. I strongly believe in maintaining open communication with both the agency and the brand client while also setting clear boundaries to protect the integrity of the creative vision. It involves seeking compromises that align with the project's goals and, equally importantly, articulating why I have conviction in the chosen direction for the idea.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Fernando> I strongly support opening up the production world to a more diverse pool of talent. Mentoring and apprenticeships can play a vital role in nurturing emerging talent and bringing fresh perspectives to the industry. I am open to mentoring and helping newcomers on set.

LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time? 

Fernando> The pandemic has certainly influenced the way I work. Remote collaboration tools have become more prominent, and I've developed a greater appreciation for flexibility in production planning. Some of these habits, like virtual pre-production meetings, may stick around in the long term.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Fernando> While working, I keep in mind the various formats in which a project may be presented. It's important to ensure that the content is adaptable in the best way possible and that it resonates with the audience on different platforms.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

Fernando> I have a deep passion for integrating cutting-edge technology into my projects. The rapid advancements in technology, including AI, are shaping our creative landscape. However, my approach to incorporating these innovations is to make them seamlessly blend into the narrative. Rather than allowing the new tools to take the spotlight, I aim to harness them to enhance the storytelling intelligently, effectively crafting a fresh and innovative narrative language.

LBB> Which pieces of work do you feel really show off what you do best – and why?

Fernando> These three projects represent how my work is a fusion of creativity and craftsmanship. I strive to push the boundaries of imagination and storytelling, creating films that captivate audiences through surreal and visually striking narratives. Transforming ordinary scenes into extraordinary and whimsical experiences is my forte, injecting a touch of magic into the everyday. My films transport viewers to a world where reality and fantasy coexist seamlessly, leaving a lasting impression that resonates well beyond the final frame.