REEL DE ORO

The director Daniel Azancot grew up between Barcelona and Milan. Son of an Argentine mother and a Catalan father, he learned French in Toulouse and English in London. He speaks five languages, so devoting his life to the world of communication was almost inevitable.

He began as a photographer, but immediately became interested in film direction. In addition to filming advertising, he has been also a theater director, and awarded at many national and international festivals.

He currently is based in the US, where he is part of the In & Out family and works between America, Europe and Asia, always looking for new concepts and stories to tell.

Q: When did you decided to take the leap from photograph to director, and why?
DA: The truth is that my photographer career was very short. I loved to make portraits and the world of fashion, but I was much more attracted to everything related to the cinema world. I always wanted to tell stories, even as a photographer I did stagings in which I talked about emotions or drew narratives contrasting images.

At that time I lived in Barcelona and I shared a studio with an advertising production company that offered me to work in still photo and that’s where it all began. I learned a lot at that time. I was fascinated of watching the work of the directors and their relationship with the actors.

During that time, one of the shootings that I remember most was a campaign shot by the French photographer and director, Jean Marie Perrier. We shot it in the industrial zone of Barcelona and the director insisted on bringing a new American actor that fascinated him … The actor was a very young Benicio del Toro! I remember dearly that shooting. My photos of Benicio were published everywhere and that gave me strength to go out there and try my luck as a director.

It took me a long time to shoot my first piece, but after working a few years in Group Films, I moved to Madrid and my career took a turn. I haven’t stopped shooting around the world since then.

Q: How did your experience as theater director nourish your work in advertising?
DA: As a director, in addition to telling stories or depict the concepts of a campaign, what I like most is the work with the actors. I respect the actors very much and I like having them as travel companions, searching for an expression, a gesture or an unexpected but accurate reaction … It is fascinating. I have done several courses and workshops in acting to understand actors better and learn how to get the best out of them. It’s great fun to be in front of the camera, but I still prefer to be at the other side.

Theater implies a deep acting experience, where working as a director is very different. In cinema, the director has much more control and many more resources to handle the performance. In theater, you work with the actor before he goes on stage and then you lose control. If you have not built the foundations of what you want, nor created a convincing character for the actor, everything falls apart on stage. When that happens, it is very painful. Once they are on stage, you can’t help them anymore.

In the shootings I try to maintain the same criteria. I set the objectives of each character but I invite the actors to improvise the way. If the actors are connected to each other, they know clearly what they want to get from the scene and they feel free, my job is to preserve that space of freedom so that they continue to create authentic moments. It is a precious team work.

Q: In which projects are you currently working on? Do you have any fiction or documentary going on?
DA: Luckily, scripts don’t stop coming. I shoot in the US, Europe, Asia … My way of working and relating with creatives and clients make many of my work “Repeating Business.”

During my career I have shot almost everything, but in recent years most of my work is related to cars. The automotive market is very grateful. I just shot Toyota in Los Angeles with the Burrell agency and now I’m involved in the shooting of a very fun KIA project.

I really like to work with vehicles, but I yearn to shoot different pieces. Stories with emotion, with humor or that are simply visual, but with strong concepts. Agencies and clients tend to pigeonhole directors. I have always tried to rise against that, however is not so easy.

Now I just presented a treatment for Coca Cola with Burrell. The team has trusted me and given me the opportunity … Here I am, trying with passion each opportunity that turns up.

I am very interested in fiction, but the opportunity has not come yet. I’m working on an idea but it’s too early to talk about it…

Q: What book, record, picture … has been with you throughout your career?
DA: I find it very difficult to answer this question since I have always been very promiscuous in my literary, musical or cultural interests in general.

When I discover an author, musician or filmmaker that I like, I usually read everything he has written, or to listen to all of his music, or watch all the films he has made or get informed about all his work, whatever the author’s discipline is. I do the same when I get into an advertising project. I always research as much as possible about the product, the agency or the audience to which the piece is being targeted … Knowing everything possible about the project and the product, helps me to better visualize what is intended to be told.

Making an effort of synthesis, and focusing only on my profession, the bedside book in my advertising career may have been Whatever you think, think the opposite of Paul Arden. The title describes clearly the book. All its contents are simply examples to explain that idea expressed in different ways.

As advertising director, I think that synthesizing the idea of a campaign is always our biggest challenge. Our job is to summarize the ideas and transform them into emotions or images, so that the message reaches the consumer with the greatest possible strength. Good publicity is always the synthesis of an idea.

With cinema, I am not able to give a sintesis … I am fascinated by “Good Fellas” of Martin Scorsese, “In the mood for love” by Wong Kar-Wai, and “Wild Stroberries” by Ingmar Bergman.

Q: What motivates when you get to a set?
DA: I go to all shootings willing to enjoy the most I can. Filming is the moment where you put into practice everything you have thought and planned with the agency. It is a place where you face unexpected realities and your ability to improvise to continue improving ideas is put to the test.

Throughout my career, I have noticed that you begin to feel mature as a director when everything becomes an opportunity to enjoy. From the demands of a client, an agency or a tight budget, I now see them as challenges to find solutions that I continue to enjoy.

I try to make of the set a nice place. A place where I don’t just do what I planned. I try to always leave room for improvisation, to find better ways to do what is planned. I like working with creatives to find together details that add to the idea. I like to share and enjoy the moment with all the parties involved in the process.

I think if you do not enjoy, it always shows in the result.

Q: Where is Daniel Azancot is headed?
DA: I’ve asked him that many times, and he always gives me the same answers…

“Daniel is heading towards the challenge of continuing to enjoy with passion each project that comes to his hands” hahaha…

I love my job, I enjoy it, and I feel very fortunate to be part of this business. I will always follow the new adventure that appears in my hands.

Production Company:
In & Out Productions, US
Contact: Mari Tato
T +1-305-458-8020

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