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MYBOSSWAS is a creative studio where a network of film directors, musicians, graphic designers, photographers, programmers, and artists join in the idea that the only Boss is the sparkle of inspiration generated by a project, and lies in the shared intent to offer an alternative idea of digital creativity.
What actually matters is not who the really Boss is, but how its intangible presence can lead the way to the success of each project. Federico Biasin and Giorgio Ferrero founded MYBOSSWAS in 2011, involving professionals from differents backgrounds. MYBOSSWAS is creative consultant for major brands, publishers, international institutions (such as Nike, Condè Nast, Alfa Romeo), for which it produces cross-media contents. In just two years MYBOSSWAS took part in the creation of important works exhibited at the Biennale event of Bordeaux, at the MAXXI in Rome, at the Museo del Novecento in Milan. MYBOSSWAS took part in the fulfilment of major feature films and documentaries screened at numerous international film festivals (Locarno Film Festival, the Film Festival in Venice, Annecy Festival du Film Italien) as Pietro and Ruggine by Daniele Gaglianone, Sette Opere di Misericordia by Gianluca and Massimiliano De Serio, Polvere by Niccolò Bruna and Andrea Prandstraller, Nozze d’Agosto by Andrea Parena. MYBOSSWAS collaborate closely with the writer Paolo Giordano, supporting him in the direction of the presentation shows of the new novel ‘The Human Body’ for which were composed original music performed live.

MYBOSSWAS

Our interview with MYBOSSWAS, creators of the experimental shortdoc "Riverbero" at its online premiere on Good Short Films.

MYBOSSWAS is one of the most innovative creative studios in Italy. The Turin collective has a very contemporary way of dealing with the visual medium and its production. Each “product” is based on three assumptions: the deconstruction of the concept of “boss” (the “boss” is the project); the use of cross-media or experimental languages​​; the participation of the best professionals around. Here’s our interview to getting to know them.

You are a collective that acts as a single identity, how did the need of rethinking the concept of the “boss” come about?
MYBOSSWAS: We like to think that our work can live independently and regardless of the identity of the individual members of the group. We like to think that we can bring attention to the result of a research and an expressive urgency, rather to expand our resumes. We created our studio in order to be able to realise complex projects like Riverbero, not to update our Linkedin profile.  Everyday we face this social distortion, a situation in which the most important thing is to clearly define one’s role, one’s place in a long list and how it could be released on various channels, which tags to use, what links to put. We find that this derailment of the digital cred led to a thirst for pride and not for intellect. We also don’t like to think of or compare ourselves to certain  experimental 70s collectives who  truly done their time, we have inside roles and hierarchies, but that concerns our method and not merit. We simply like to think that the result of our work can be fulfilling and sufficient enough to involve the talent and enthusiasm of every person involved, with no ulterior motives.

What is the background of the MYBOSSWAS members? 
MBW: A multidisciplinary approach and  an overall digital creativity are in the DNA of each component and collaborator. We obviously have individual competences related to specific softwares or disciplines, both for education and personal interests, but this is only a mere technical issue. We like to think that a certain vision, a certain authorial method can be applied to different forms of expression into a single totality of experiences. We come from various areas of studies, from Architecture to Communication Sciences or the Dams, we attended more or less technical schools, from Ied to the APM, but we mostly worked hard  in different fields, from publishing to advertising, cinema and carpentry, collecting experiences and professionalism.

You’ve been active for only three years, but you already have a long list of collaborations with important brands. How do you find your clients?
MBW: Our professional history is actually much longer. We’ve been working in this field for more than ten years, collaborating and participating in complex projects for big clients. Some of have have been collaborating closely with each other for about five or six years. In a way, MYBOSSWAS is the result of a slow and complex process of self-selection and awareness. We don’t have accounts or managers in our study and we are proud of the fact that our works are what primarily bring in new customers. Usually, when we get in contact with authors, brands, institutions with whom we would like to collaborate, we send a link to our site; sometimes this results in a dinner, sometimes in an correspondence between professionals and sometimes, as in the case of some illustrious collaborations like the one with Paolo Giordano, in a productive relationship based on collaboration, planning, ideas, common vision and obviously of fierce yet loving criticism.

The concept of “border film” is very interesting. Can you tell us more about it? 
MBW: We have a studio in an area that’s central from a geographical point of view but far from social and cultural circles. Many of us come from the border zones, both urban or territorial, and we love having unusual experiences, meeting unsettling characters, keeping a close bond between the so-called high culture and the hypnosis for pure entertainment. In this sense, the idea of ​​the border film came naturally. We would like to build a bridge between different disciplines (Riverbero is a short film but also a typeface, a photographic project, a record…) whose subject of investigation are experiences of underground lives, that perhaps are implied but still essential in our daily lives.

What do you think of the “shortfilm form”and its current potential? 
MBW: Unfortunately, it’s a less considered form and it’s difficult to convey. Potentially, the emergence of digital culture, of the intense but quick experience, the shock fruition of contents should encourage the use and dissemination of works like this, but the road is still being built. We made a removal work, we collected a lot of material, written and illustrated countless pages and took thousands of photographs, and this seemed to us the most fitting way to go.

Two short films that you recently loved  … 
MBW: 37°4 S by Adriano Valerio is a border film in a way, as it’s extremely poetic but also terribly concrete. This is definitely one of the most exciting products in recent times. We recently had the pleasure of helping Alessandro Baltera and Matteo Tortone in the sound postproduction of ‘Swahili tales‘, 3 very intense short films shot in Tanzania that were presented at the Festival dei Popoli.

What are your upcoming projects and what’s the next “Border Film”? 
MBW: We are working on a couple of very interesting ideas, we are just starting to think in detail about the next chapter. We will soon have a way to talk about it, we hope.

What is your dream? 
MBW: Well, considering that we already own a tinted windows SUV, total-black alloy wheels,, a DVD player and mini-bar, a night with two women might be the only thing left, but someone already gave this answer (Stephan Sagmeister, ‘Things to do before I die’, ed) and the female part of the studio  would be penalized by it.

Tommaso Fagioli

Tommaso Fagioli

Tommaso Fagioli

Founder @ Good Short Films. Fond of great stories, great thinkers, great food. My motto is: your motto.

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