AN ITALIAN IN LOS ANGELES by Valentina Valentini

Bruno Miotto decided to become a director because he knew it was a place where he could combine all his passions together – storytelling, music, sound design, and painting – it all made sense in a director’s world.

“Semiotics and audiology combines a lot of philosophy and sociology as well,” explains the young director who studied Communication Sciences at the University of Turin in Italy, which is where he discovered semiotics.

“It is just a great subject that gives you a way to interpret all different types of text – movie, book, poem, etc. – so you can read the world and interpret all these sounds it’s giving off.”

Miotto applied all his knowledge of semiotics into movies and ended up with a 200-page thesis on David Lynch’s Mulholland Drive. He’s continued his passions and translated them into writing, having written most of the projects he’s directed to date.

“I’m really picky and that’s been hard to get music video and commercial gigs,” admits Miotto. “I’m really selective and often like to write my own projects that I direct, but I did get lucky.” [Miotto wrote and directed a Fiat campaign, a Diesel Jeans campaign and some other fashion commercials in Europe over the last couple of years.]

“Every time I work with creatives I like to sit down at the table with them and see if I can add something,” he continues. “It isn’t an ego thing – I don’t think I’m better than others – it’s because if I put my all into a project, I really have to believe in it. That makes it harder to take someone else’s writing and direct it.”

Miotto’s combined skills can be seen HERE (trailer only, full mv to drop soon!), in Aya Peard’s Don’t Let Your Love Annihilate music video featuring Flynn. The video received an Emerging Cinematographers Award for Michael Pescasio’s captivating and sexy visuals.

“The first time I heard Flynn’s song I felt it was so cinematic and I really wanted to write something for him,” Miotto offers.

When it comes to selecting projects, or writing his own that he eventually would like to direct, Miotto insists that cultural genre lines in cinema have become blurred: “There aren’t ‘European films’ or ‘American films’ anymore – there are good films and there are bad films.”

He’s been offered feature directing opportunities in Europe, but feels that there you can too easily become pigeonholed. As in, if your first project is a thriller, you’ll always been known for thrillers; or if you’re first feature is a flop, you’ll forever be a flop.

“I’m in a position where I’m still trying to fight to come out with my own feature,” Miotto says, “but at some point you do need to decide whether you want to make a break with someone else’s material, perhaps more commercial, or whether you wait. But perhaps then, you become stuck in limbo.”

Miotto’s unique style, with its slowed pace and heightened visuals adding to deep character arcs, seems to come from an osmosis of 1960s Italian films (since he says that he was not necessarily ‘into all those films’) and a fascination with American directors from the 1990s, like Robert Altman.

“I carry all this European background,” Miotto posits, “but the Italians call me ‘so Ahmereecain’ in the way I shoot. However, the more time I’m here [in the US], I find myself seeing that European influence come out.”

Most recently, Miotto has directed a music video for Jovanotti – an Italian singer-songwriter-rapper – as a creative consulting collaboration with director Gabriele Muccino. He and Muccino have collaborated on a television pilot and a few other projects in the pipeline as well.

“It’s a great way for me to step into the Hollywood side of filmmaking,” he admits. “And also to collaborate with another director…so often directors don’t talk to each other, you know? But this experience has been great, just great.”

Posted by Valentina Valentini on on November 9, 2012 at 12:10 am

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