The Directors: Franco Garuti
Franco was born in Italy but has lived most of his life in Latin America and the US. He has shot in several countries now, and he understands well the idiosyncrasies, challenges and rewards of working within different cultures. He has developed a particular visual style in which he mixes believability and naturalism with a clean, modern look. One of his biggest assets is the way in which he can start with simple ideas and develop them into longer visual stories, creating the best possible films for the particular market they are aimed at. He never shies away from challenges and loves getting involved in finding the best emotional returns for any given story. In today’s digital storytelling, he excels at delivering believable, warm human emotions for brands. And this kind of emotional connection is what clients are looking for today. Franco enjoys traveling and loves meeting new cultural challenges. When he is not stationed in Mexico City, he can be found in Los Angeles or spending time aboard his 40 foot sailboat, where he finds a bit of a slower pace from the other two places he calls home. Franco speaks fluent English and Spanish. He would love to bounce ideas back to you for your next job.
Name: Franco Garuti
Location: Los Angeles + Mexico City
Repped by/in: Camp Lucky
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Franco> What sets some scripts apart is the way they delve deeper into meaning. I really appreciate when advertising strives to put forth a nuanced or human connection, or captures a zeitgeist moment - and also when there’s a possibility of evolving the way the idea can be executed. Finding out the real truth and purpose to the script and direction is really compelling. When they open a door, and I have the chance to swing it wide open, that’s exhilarating.
LBB> How do you approach creating a treatment for a spot?
Franco> The first thing I like to do is to have a conversation with the agency or brand team. Then I distil down the most important elements to be the foundation of the treatment. This distillation is the first step to exploring possibilities, which are - of course - checked against the interest and ideals the campaign is trying to achieve. The agency is the ultimate keeper of the strategy and my job is to consider the human elements and creative choices – to be fresh eyes on the idea.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Franco> I really do believe that as you mature as a director you understand your role is to be an enabler to do their job at an elevated level, in a creative environment. I prefer for everyone to feel comfortable about the ride we are on together - from the steadicam operator to the creative director. If you let people shine through you will deliver the best result. An open, excited environment allows people to do that. In that situation, everyone is a partner so there’s not one role that is paramount over the other.
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?
Franco> I am always drawn to human stories - whatever the subject, the stories have to move you. That doesn’t mean they are always serious, but that they value emotional value over form. It’s about how committed the brand is in moving people’s souls a little, it’s about moments that have depth and dimension. And the stories that I am most passionate about are the ones I think my mom would be proud of.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Franco> Once a camera fell from a skydiving spot I was working on, and it landed into land prepared for sowing. It made a six foot hole and the footage was still on the card! That wasn’t a problem I solved, but it was a crazy situation...scary but also magical. Filming is a puzzle and the way people approach the craft varies from situation to situation, country to country - and I love the element of discovery that is a part of each production. Yes, I have a million crazy stories - but more than specific solves it is the fact that we are always facing challenges, in a short period of time, achieving what sometimes feels unachievable - and having a blast doing it.
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?
Franco> I am a Latin American-born director and have been lucky to film all over the world with crews of all backgrounds. And now, I am at the point in my career where mentorship is so important. Really, I would characterise it as a reciprocal experience where younger people bring me back to a film school feeling - and to situations where we can both learn. It unites my long time experience with their filmmaking resourcefulness in a two way street that makes for interesting collaborations.
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)?
Franco> We always need to think about the medium from certain technical aspects; however there’s a fundamental truth to the idea that when we create a link to people’s lives the medium is secondary. Connections come first. You can stop people scrolling with something that brings forth emotion.
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)?
Franco> I would start by saying that there will always be things that sound forward thinking but are not long lasting - 3D TV and NFTs anyone? I am all for new technology to the extent that they serve as a tool to expand our horizons and creativity. When things are embraced solely for form, they are a trend. Used correctly, innovations in technology allow us to have more creative freedom.
