Martin Romanella took music, painting and sculpture lessons during his childhood in is home city, Buenos Aires. He began to study cinema in Argentina and completed his degree in New York, where he took his first steps as Videoclips Director. In 2002, after being recognized for films such as Candela and Funeral Etiquette, he went to Europe to continue his career.
Romanella has worked with celebrities like Kate Moss, Giselle Bundchen and Olivia Wilde, and clients as McDonald's, Coca Cola, Fiat, Nissan and Adidas. Recently he became part of the Cortez Brothers' team for the U.S. Hispanic market. Q: How did you become a Director?
MR: In romantic terms, I think it was due to the convergence of two of my passions: writing fiction and photography. In practical terms, to win awards that funded short films that did well at festivals. From then on what became clear to me was that the audiovisual medium is one in which you never stop learning. Each project, regardless its length, has a challenge. I don't believe you will ever become a Director, instead you insist on testing different ways of storytelling in order to see what you get. As Peter Seller pointed out: “People always end laughing in the wrong place”. Q: How do the Fiction's Director and the Ad's Director complement each other?
MR: Ads forces you to read quickly where to find those two seconds of a take that works: that gesture that summarizes clearly what is intended to show. In fiction, where there are minutes long sequences, you learn about the power of silences, pauses, hesitation. I think that after a while all this methodology mixes up. I have many commercial projects that end feeling like part of a film. And things about fiction are told in a strike of a second. Q: In which fiction's projects are you working currently?
MR: I am rewriting the script of a feature film caller Spinner, which is in the last round at Sundance 2018 for the Screenwriters Lab. Also, I'm in the middle of a press tour for a recently edited book in Spain by Caligrama of Penguin Random House, entitled ¡Oiga Bier!. And working in a novel that will be edited in October 2018. Q: With which clients have you been working recently? Is there any with which you would like to work with?
MR: 2017 and the years before I've been working a lot for Coca-Cola, mostly in global projects. McDonald's, Directv, Mediaset, California Lottery. And also with more local clients like El Corte Ingles in Spain, Navarro Correas in Argentina, Lavazza in Italy. I really like creativity within beer and beverages brands, and global projects. In the U.S. I like the creativity of Kia, Honda, Audi, Budweiser, Google, Apple, T-Mobile. Q: Where's Martín Romanella heading in the future?
MR: I'm passionate about what I do, writing and directing in any format. I hope to get to do more and better. Test with new formats such as series. Continue to write novels and push for their translation in other languages. Keep on writing scripts and trying to find the perfect producer for its development. I push and propose, then there is some of luck and fate, which is what at the end defines that future. Q: How do you envision the future of advertising?
MR: Huge. I think it surpassed average standards due to social networks. There are campaigns only for Instagram, digital content with great ideas, cases. Formats continue to bloom, and nobody can give any guarantees. I believe that creative challenge and that adrenal exploration have saved the classic TVC model, that already is somehow stiff. Don't misunderstand me, I'm not saying TVC is obsolete, only that the magnitude of new options is so big, that necessarily is pushing for an update in form and content.
Cortez Brothers, EE UU
Contact: Martin Feuerstein
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