Gloria Marchini
GUY BRUNET
(1945 | SWITZERLAND)
Guy Brunet was 16 when he began filling school notebooks with screenplays. Gradually, he took up drawing as well, at first using colored pencils to create his storyboards. Later he would go on to draw and paint his own movie posters on the back of those he inherited from his father (who had run a small movie house). He began by resorting to paint normally used in construction, but then turned to acrylic paint. Lastly, he began cutting out cardboard figures to portray a great number of actresses, actors, film directors and producers: these he brought alive and lent voice to, animating them within self-created, very imposing settings. This then was the last step before actually producing a film, which he carried out by attaching a little digital camera to a tripod.
A self-taught creator, Guy Brunet avails himself mainly of salvaged materials and supports: old TV sets that he dismembers, using their carcass to house his miniature settings; he also resorts to the backside of movie posters, cardboard chocolate powder cartons and LP record sleeves.
He draws on his childhood cinematographic culture for all the subjects and themes of his works, integrating the many movies he took in as a youngster at the Le Plaza movie house run by his parents from 1949 to 1963. Love and nostalgia are what have inspired Brunet to bring back to life the period that cradled him throughout his youth.
GUY BRUNET
(1945 | SWITZERLAND)
Sedicenne, Guy Brunet incominciò a riempire i suoi quaderni di scuola con una miriade di sceneggiature. A poco a poco utilizzò il disegno e le matite colorate per creare i suoi storyboard. Successivamente continuò a disegnare e dipingere i suoi manifesti cinematografici seguendo la passione del padre (il quale aveva creato una piccolo cinema): cominciò dipingendo normalmente con materiali comuni per poi rivolgersi alla vernice acrilica. Infine iniziò a tagliare figure di cartone e ritrarre un gran numero di attori, attrici, registi e produttori, animandoli all’interno e fatti parlare. Questo fu l’ultimo passo prima di poter realmente produrre un film che ha realizzato attraverso una piccola macchina fotografica digitale ed un semplice treppiede.
Creatore autodidatta, Guy Brunet si avvale principalmente di materiali di recupero: vecchi televisori smembrati, servono per ospitare le sue ambientazioni in miniatura; utilizza la parte posteriore dei manifesti dei film, polverosi cartoni e copertine degli LP.
Attinge alla sua cultura cinematografica per tutti i suoi soggetti e i temi dei suoi lavori, soprattutto dal cinema La Plaza, gestito dai suoi genitori dal 1949 al 1963. L’amore e la nostalgia per i film gli hanno permesso di tornare con la memoria ad una passione che lo ha cullato per tutta la giovinezza.
