The Directors: Kid Burro
Kid Burro are André H. Saito and Cesar Nery, a groundbreaking duo of award-winning Brazilian directors. This pioneering pair have made their stamp both in advertising and film through detailed character building and powerful aesthetics. Their work spans through ads, entertainment, branded content and music videos.
KID BURRO have gathered recognition and awards in several international festivals - Cannes Lions, Clio Awards, El Ojo - while working for major brands such as Instagram, Volkswagen, Jeep, Orange, PepsiCo, amongst others.
In 2016, they were featured at Meio & Mensagem's ranking as one of the Top 10 directing New Talents in Brazil and, subsequently, featured again in 2019, as one of the Top 10 Advertising Directors in Brazil.
After a string of trailblazing shorts, Kid Burro are now in development of their first feature film.
Name: Kid Burro
Location: São Paulo
Repped by/in: MADRE in the US, Madrefoca in Mexico, MyMama in São Paulo
Awards: Cannes Lions, Clio Awards, Ciclope Latino, CCSP, SBT Melhor Comercial do Brasil, Globo Profissionais do Ano, NYCFF, Prêmio ABC
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Kid Burro> A great script stands out through its unique ideas and concepts that capture the essence of the brand and, most importantly, that we can visualise creative and impactful ways to portray this message. What excites me about shooting a script is when it offers opportunities for innovative visuals or an emotional resonance through the actor's performance. We are always thirsty to create a lasting impression on the audience.
LBB> How do you approach creating a treatment for a spot?
Kid Burro> Our approach is to delve deep into the core concept of the script. Through talks with the creative team, we first analyze the key elements this particular spot is leaning on as a pillar and develop a visual and narrative strategy that aligns with the script, finding unique ways to bring it to life. The treatment serves for us not only as a blueprint for the production, showcasing the visual style, casting choices, locations, and any special effects or techniques, but also as a perfect space to spitball several ideas that were not present in the first script but that we believe can elevate the project in a meaningful way.
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?
Kid Burro> Crucial. By gaining this knowledge, we can ensure that the ad resonates with the intended audience and effectively communicates the brand's message in a relevant way to all parties involved. By watching what the brand has done before and understanding its visuals and current strategy, you already know what ideas will fit well with that company instead of wasting energy on missteps. Every brand has a unique brushstroke, and we need to understand which brush to use to add to this painting.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Kid Burro> I would say it is the relationship with the creative team. They are creating a foundation for the project and have come a long way since offering this idea to us. So being close to them becomes the best recipe for success.
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?
Kid Burro> Since we are filmmakers and screenwriters, we light up when a script seeks to evoke real emotions via an actor's performance. We go all in for projects that bend the 30-second barrier and try to tell a provoking story with characters bound in real life and told through a cinematic lens.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Kid Burro> We are viewed as a jack of all trades. Since our path to becoming directors went through several phases (food, fashion, post-production…), it's a fair label to give us and not a complete misconception. However, if you have a story with well-developed characters, great performances, and a compelling narrative, it's where you will get our very best.
LBB> What's the craziest problem you've come across in the course of a production – and how did you solve it?
Kid Burro> The craziest problem we've encountered during a production was when our leading actor had a severe allergic reaction on set. It was a high-stakes shoot, and we couldn't afford any delays or replacements. We quickly assessed the situation, and while the actor received medical attention, we reworked the script on the spot to incorporate another character who could seamlessly take over the role. We adjusted the storyline and salvaged the shoot without compromising the overall concept.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Kid Burro> Striking a balance between collaboration and protecting the director's vision is crucial. We feel that the best way to do that is an open line of communication with the agency from the beginning, creating an environment where different or new ideas are welcome and no hard feelings if they don't land. Speaking candidly about what we are trying to do makes everyone more keen and open to taking creative risks. When a scrip hits us, it has already been scrutinized in countless meetings and cuts. This can affect the soil needed for planting the creative seed for the film to grow in an interesting manner. We always try to shoot some risky elements as extra shots and present them later. The client is more likely to accept something they have already seen.
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?
Kid Burro> We are strong advocates for a world with a more diverse talent pool. That is not only crucial to bring a fresh perspective, find unique voices, and break stereotypes, but also needed to understand the high cost it takes to get into this business. Specifically, living in Brazil, it's easy to see how the audio/visual market is elitist at its core. We started to act as mentors for upcoming artists that approached us in a program called "Amplifica Cine," which works with artists from outskirt communities. Having an open conversation with artists entering the business helps them learn the ropes, pitfalls, and processes of the industry.
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?
Kid Burro> The pandemic has undoubtedly impacted how we work, and some habits we've developed during this time will likely stick around. Remote collaboration and virtual meetings allowed us to work simultaneously with several crews and in several locations. At one point, we were pre-producing and directing from home, LA, Bahia, and São Paulo. Directing remotely wasn't a good experience for us. We feel that being on set is crucial to our craft, but several other stages of production have proven to work effectively when done remotely. PPM meetings with clients worldwide, first location scouting, and even first rounds of casting were successfully conducted remotely.
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)?
Kid Burro> The advent of new formats is a huge discussion that is long overdue in the industry. Right now, we tend to shoot a big piece and cut whatever you need in different formats from that. This process isn't perfect and limits how you can explore the framing of your film. The best way would be to treat each format as one and have the scripts explicitly written for them, not adapted. Some brands already understand this, but it could use more discussion and formal guidelines.
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)?
Kid Burro> We are passionate about exploring new technologies and incorporating them into our work. We are constantly studying new work coming out and how it was shot. At the same time, our chosen style (emotional narratives and lifelike performances) calls for a more human approach. Our films always pop out more when we focus on the deeper meaning inside. So yes, we are always trying to incorporate cool features, fresh styles, and new cameras, but in this sea of AI, we are betting on evoking real emotions and telling good stories to achieve longevity.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Kid Burro> The works below tell a lot about who we are and what we want to bring creatively. In all of those projects, we worked alongside with the agency in order to develop great scenes and narratives to the original presented ideas. They were all projects that grew a lot after we started working together with the creative team. In the Open Doors we were able to bring character from films and the vibe of cinema to the advertisement format and on the other we were able to capture a meaningful message. That, for us, is the golden standard.
