The Directors: Nico Bongio

Nico Bongiovanni is a Mexican filmmaker who began his audiovisual career at a very young age. His perfectionism and fascination for lighting and framing led him to choose photography as his first love. After a while, he realised he had the need to tell stories and decided to make a jump into script and direction, concluding his film studies in Sydney, Australia in 2010. He has made numerous short films, which were an opportunity to explore various narrative structures and develop different characters. 

His work has been recognised for his deep attention to a visual language with an aesthetic focus on detail, acting performance and creative storytelling. He ventured into the world of advertising in Mexico in 2011, managing to spend more and more hours in what he calls, 'his favourite whereabout' - the film set.

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them? 

Nico> My latest project, which is still in post production, is a Nissan campaign for their off road pickups. It was such a fun and challenging experience in many different ways. We had a four-day shoot in the middle of the mountains looking for wild and beautiful landscapes. 

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Nico> Well, I believe this industry is always evolving, in style, resources and ideas. There’s a need for constant adaptation and personal evolution, so we have the most important narrative tools at hand. People's attention span is so short, especially on screen, the need to grab the audience's attention in the first five seconds is paramount. This is still a very existing challenge.

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Nico> I love scripts that have a strong narrative arc, and ideas that appeal and create emotional connection. There is a need for responsible communication. 

LBB> How do you approach creating a treatment for a spot?

Nico> Every script is different. I first begin by studying the brand and their needs, then I focus on the creative idea and push it forward, and from there I try to find a personal engagement, something that I can fundamentally can connect within my own story. 

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?

Nico> It is extremely important. I need to understand the brand, their values and what’s important for them, who they want to talk to, and find a way to do it with creative and visual solutions.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Nico> It’s difficult to choose one, as this is an industry of pure collaboration. From my producer, to my DOP, actors... but also I have to say another very important relationship is with the creative agency as they know the client and the brand best. 

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?

Nico> I see myself as a very versatile film director. I like to push myself by exploring different styles and genres. That being said, narrative scripts are my favourite (but tell everyone). 

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Nico> Maybe that I could be quite stubborn when it comes to certain decisions. It’s important to challenge (together) what's best for the story being told. 

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Nico> There have been so many, but the first that comes in mind is when we were filming an airplane inside of a hangar. When we arrived there the plane was a complete mess and we didn’t have much time to do anything about it. So between the art and camera departments, we managed to focus on close ups and got away with it.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Nico> I think agencies are the ones that know clients/brands the best, and through honest and clear communication form the very beginning, I think decisions flow perfectly. Straight communication always wins.

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?

Nico> I am definitely open to mentoring and in fact, I already am. I’m mentoring three young directors at the moment. 

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)?

Nico> This is something that has come to stay. Different formats must be filmed separately as needed. This helps for better communication on each platform. Clients need to understand that it actually requires filming more, therefore these things take more time and ultimately, they have a better campaign.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Nico> I’m starting to explore AI visual tools. At first, I was resistant, but it is the time we live in and we need to adapt to it. Use it in a way to advance the ideas and the creativity. 

LBB> Which pieces of your work do you feel show what you do best – and why?

Nico> Nissan

Aeromexico

Reebok 

These commercials show more of my personal style and view. I had the creative freedom and trust of the clients and agencies and the result speak for itself. Everyone was happy.