Stink's Hernán Corera Talks Intertwined Artistry With IXYXI
Creative collaborations are a rare and intriguing phenomenon, and when they succeed, they're worth nurturing. Director Hernán Corera and the creative sonic force that is IXYXI have once again come together, showcasing their collective expertise in their latest endeavour: the music video "Amor Mio" for Maria Campos, a +Lab collaboration with Mama Hungara and Stink Films. Renowned individually for their innovative approaches and distinctive styles, this interdisciplinary collaboration pushes the boundaries of creativity and narrative in music videos.
With a history of successful collaborations, Hernán Corera and Mate Yaya (IXYXI) venture into uncharted territory with "Amor Mio", seamlessly integrating their talents in writing, directing, music production, and sound design. This project evolves from a deep-seated creative synergy honed through past partnerships, promising a visually stunning and musically enriching experience.
LBB writer Olivia Atkins sat down with the director to explore the pair's collaborative synergy, delve into the project's inspirations, and discuss how embracing serendipity can actually enhance creative outcomes.
LBB> What inspired the music video?
Hernan> The concept of “Amor Mio” draws inspiration from the endless conjugation of the verbs ‘to love’ and ‘to lose’. Love can be a symbol for the projection of identity onto another, a sense of territory and security. In its absence, love awakens its counterpart: loss, vulnerability, anonymity and ultimately, mystery.
In Spanish, the word ‘duel’ has a double meaning - it can signify both a fight to the death and the experience of loss or mourning. In either context, courage and bravery are necessary for a person to face their destiny, which is intertwined with prayer connecting the realms of the living and the dead. These themes resonate within an imagined world Creole metaphysics, rooted in the poetic universe of Maria Campos. Throughout shooting, we constantly kept Bioy Casares' novel “El sueño de los Heroes” (The Dream of Heroes) in mind.
LBB> How collaborative was the creative process? I read somewhere that the music video was written and directed by Hernan and Mate…
Hernan> Our creative partnership with Mateo Yaya on this project is truly interdisciplinary, we’ve collaborated across all aspects, from composition and musical production to the artistic direction of Maria Campos' visual universe. Between the three of us, we’ve created an enriching dialogue that inspires and motivates us to remain true to the vision we wanted to capture, regardless of what’s going on in the industry.
LBB> And how much did the music/sound design guide the film’s narrative?
Hernan> When we create images, we’re thinking of music, and when we create music, we envision images. That's how our creative method works. In this particular case, the musical production is heavily inspired by the Leone-Morricone duo. For us, this video serves a humble tribute and expression of gratitude for all the musical beauty they have brought to this world.
LBB> You’ve worked together before - tell me about your creative understanding of each other and what you enjoy about working together? How did you divvy up your skills/roles and resolve creative disputes?
Hernan> We put our friendship with Mateo ahead of any project we do, maintaining that bond is paramount. Our first collaboration was GAUCHOS DE MEDIA NOCHE, an experimental electronic band we formed with Komarck and remains a cherished endeavour (available on Spotify).
Professionally, we’ve collaborated extensively in the industry, each contributing from our respective roles. Personally, I’ve used a lot of Mateo’s songs in my short films and he has featured my photos as covers of his electronic project, YYY.
We approach our projects in stages and divvy out our roles. First, we jointly develop a particular aesthetic, then each of us shapes the concept within our primary roles. Finally, we come together to refine and perfect the details. We always resolve our creative disputes as gentlemen, with the final word given to whoever leads the specific role. With this project, Maria Campos had the final say, but she was great at giving us full creative freedom and the confidence to go wild creating the filmic world.
LBB> Why did you decide to shoot on 16mm?
Hernan> The history of cinema was written in 16 and 35mm, evoking an era where the emphasis was on beauty rather than cheap thrills. This parallels the design of musical production and the aesthetic vision that Maria Campos uses.
LBB> You shot in Argentina, but what did the pre-production process entail, were you able to be together beforehand? How much did you map out the shoot versus how responsive were you on the day?
Hernan> The pre-production and production process was designed by Belisario Saravia, owner of the production company +LAB. We’ve worked together for many years and I feel very relaxed with him. We have an almost telepathic way of working, which is rare and invaluable. During the on-site filming in San Juan, Argentina, we faced numerous challenges due to weather and difficult terrain. However, we embraced these limitations and used them to our advantage - which only enhanced the story we wanted to tell. In hindsight, the obstacles we encountered may have been serendipitous, but they aligned perfectly with the narrative we were creating.
LBB> What was the edit process like for this promo if you shot on film?
Hernan> We developed at Kodak in Atlanta, USA, and then moved the edit to Buenos Aires, Argentina. The editing process is the most crucial for me; it’s where my creativity flourishes and a part I really enjoy. It's a moment when I get to go back and start from scratch, starting fresh without the weight of previous thoughts or decisions. It's a blank canvas, akin to composing a song or building a city in SimCity.
