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French titles '50s-'80s.

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Lucio

Lucio
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Scroll down to read this interview in Spanish.

Unai Guerra: "During the shoot, the directors Aitor Arregi and Jose Mari Goenaga were in Paris interviewing Lucio, when they asked him if he had kept any of the original material that he had used for his forgeries. He explained to them that he hadn’t - that when he had to escape from Spain, he had handed all his material over to an old friend of his who lived in an old farm house close to the border with the instructions to burn the evidence. Lucio thought that his friend had complied and destroyed the material, as it was heavily incriminating and could have sent him behind bars for a long time."

"Nevertheless, the directors located the farm and Lucio’s old friend who still lived there and asked him if he had kept any of the material that was given to him. To their surprise, he took the directors to his attic and showed them boxes filled with hundreds of pictures, reproductions of documents, photo negatives, printing plates, different kinds of papers - an endless amount of original material used by Lucio himself. When the directors called me to make the title sequence for them, they showed me this material. It was like a box filled with treats. I was able to scan the original material, retouch it, post produce it and bring it to life, which was a very pleasant experience for me."

"The idea was to start off with titles that would draw the spectator into the story from the very first frames of the film. I wanted the audience to think: "Wow! I’m going to see something different, not the typical boring documentary." I also wanted to create a link  between the titles and the images. By mixing all the elements at my disposal - scans of Lucio's original material, archive footage and computer generated images - we created a sense of authenticity from the very onset of the documentary."
 
Isn't it unusual for a documentary to have such an elaborate title sequence?
Guerra: "The documentary itself resembles a thriller. There are many reenactments of real events in the movie that generate tension in the story. That’s why a title sequence was chosen that looks like a sequence from a fiction film, rather than a documentary."


Article: Remco Vlaanderen, © Submarine Channel, 9 June 2008.

* * *

Título del diseñador Unai Guerra. "Durante el rodaje, en Paris se entrevista sobre Lucio a los directores Aitor Arregi y Jose Mari Goenaga, cuando se le preguntó si había mantenido alguna copia del material original que había utilizado para sus falsificaciones, les explicó que no había - dijo que cuando tuvo que huir de España había entregado todo su material a un viejo amigo  que vivía en una casa de campo cercana a la frontera, con  instrucciones de quemar las pruebas. 

Lucio pensó que su amigo había cumplido  con destruir el material, como esto fue incriminativo, pudo haberlo enviado tras las rejas por un largo tiempo."

"Sin embargo, los directores encontraron la finca del viejo amigo de Lucio que aún vivía allí y le preguntó si había mantenido algún material del que se le había entregado, para su sorpresa, él los llevó al ático y les mostró las cajas llenas de cientos de imágenes, reproducciones de documentos, negativos fotográficos, placas de impresión, diferentes tipos de documentos - un sin fin de material original utilizado por el propio Lucio,

Cuando los directores me llamaron para hacer la secuencia de títulos para ellos, me mostraron este material, era como una caja llena de golosinas, fui capaz de escanear el material original, retocarlo, después reproducirlo y llevarlo a la vida, fue una experiencia muy agradable para mí. "

"La idea era empezar con los títulos que atraigan al espectador, dentro de los parámetros de la primera película. Yo quería a la audiencia pensara:" ¡Wow! Voy a ver algo diferente, no el típico documental aburrido "También quería crear un vínculo entre los títulos e imágenes mezclando todos los elementos a mi disposición -.. análisis de material original de Lucio, tomas de archivo e imágenes generadas por ordenador - hemos creado un sentido de autenticidad desde el inicio mismo del documental ".

¿No es inusual para un documental tener este tipo de secuencia de títulos?
Guerra: "El documental se asemeja a una película de suspenso, en la película hay muchas representaciones de hechos reales que generan tensión en la historia.. Es por eso que la secuencia de títulos fue elegida, por que se ve como una secuencia de película - ficción, en vez de un documental."

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Title designer

more about Unai Guerra

About Unai Guerra

Unai Guerra

“From the first moment, I knew I wanted to become a computer artist-animator,” says title designer Unai Guerra, who studied fine arts at the Basque Country University. Before finishing his studies he was working as a motion graphic designer at the regional BasqueTelevision. Since then he's been working for several production houses as a graphic designer, a motion graphic designer and a post-producer. In 2004, he founded his own company with two colleagues. In 2006 he joined Irusoin. Lucio is his title sequence for a feature film.

more about Unai Guerra

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