Francisco Segarra´s props makes the magic of movies and television possible.
We have reached the final lap of the year and to close 2016, the majority of television companies make modifications on their planning. Some series and TV shows marked this fall schedule and it reached the end. This is the case of MasterChef Celebrity or Velvet. This successful TV series and talent show from channel 1 had the collaboration of our furniture and decoration firm . First is in favour of rigorous ambiance representative of its time, secondly it looks for glamour and radiance.
Artistic directors as the main people responsible of the scenography they are conscious of the importance of the props, more when referring to the seventh art, to create impact or give sense to realism to history, depends much in the research and the props. This is the reason for the collaboration of our furniture firm in the creation of special places, like in the movie A Monster Calls, American-Spanish movie directed by Juan Antonio Bayona.
Finalizing the film shooting , dismantled decorations, star pieces that return to Francisco Segarra´s showroom, subtle to the spectator, swept away by the fugacity of the scenes without the opportunity to be observed in detail, enhance and adorn, giving veracity to the group, quality environments represented by the reality of the script.
Notable efforts, a big group of people, intangibles in one unfinished list of credits that make the movies and TV magic possible. To those art directors, producers… thank you for counting on our peculiar aesthetics in their artistic creations in favour of a creative plurality and synergy among different form of art.
Francisco Segarra in the scenography of MasterChef Celebrity.
10 famous people put their careers on hold to perfection its passion; cooking, in this road they have learned new techniques, met reputable chefs and even some of them confronted the judge, last week, the adventure reached its end. Miguel Angel Muñoz won 75.000 euros of solidary price, a cooking course in the Gastronomic science institute Basque Culinary centre and the title of the first Masterchef celebrity Spain.
¨This has been for me one of the most special trips in my life, I’m going to put this trophy in a place everyone can see every day, to remember that if you fight for what you want and do it with passion and dedication, in the end dreams become reality¨ Miguel Angel Muñoz, said, he will donate the money to ¨Pequeño deseo foundation¨.
The successful end of the culinary show produced by Shine Iberia, swept with overwhelming results:
- Show seen since Tuesday with 4,258.000 spectators in the golden minute.
- 24,9% cuote, at 23:31hrs
- 7.493.000 people saw at any moment of the semi-final moment.
- 22.761 twits from almost 6.000 users, all about the contestants and the hashtag #MCCelebrity were the trending topic.
ULIA LOUREIRO ISHI-KAWA, Artistic director of MasterChef, that in one occasion declared to be a fan of our furniture firm. Responsible person of the scenography of the restaurant, preserving MaserChef 4 and the contestant room, both spaces run from the anodyne and aseptic scenarios and puts special emphasis in the natural and traditional.
The striking decoration of the restaurant
MasterChef 4 restaurant pretends to give a breezeof warmth trough the huge glass windows in orange tones or the fantastic old sideboards with uneven colour prints that repeat and mark the pass of time, Rattan and iron chairs, wicker lamps, iron fans…
I always try to open the scenography to the exterior using elements that give the illusion of being outside the walls of a television set.
Even though in scenography its commonly used I’m not a lover of the material that imitates others, in general and when I can do it, I try to use real natural materials, the light reflects good on them and the camera appreciates it.
The furniture ceded for the MasterChef restaurant is the perfect complement for this scenography that tries to open the exterior decoration, that it honours one of my favourite cities, of my Lisboan ancestor’s country. Through the lamp represents a big Japanese tent constructed with natural wood. (Ulía Loureiro Ishi-kawa.)
The Portuguese tile is actually painted wallpaper ceded to the show by the firm ¨ Tress tintas¨ from Barcelona.
The wood Loi lamp is a piece ceded by the LZF lamps company.
The rest of the furniture is ceded by Francisco Segarra.
The contestant’s room decoration.
The glamour and radiance of Hollywood, recreate a space where the participants used to the fame, compete for a good cause, recreating a time in particular, the golden age of movies, musicals, comedy and whodunit, where there was no opportunity for happy endings, it inspired the artistic director. It’s not hard to understand due to her extensive curriculum and experience like a professor in the school of cinematography and audio-visual of Madrid City. (ECAM) since 20207 through 2014.
Golden mirrors, tanned leather, recuperated furniture, the most elegant and seductive parts of our furniture catalogue, were selected for the scene composition of the culinary talent show in its first edition VIP.
Velvet, a spectacular scenography with some pieces ceded by Francisco Segarra.
Another production, the story between Ana and Alberto comes to an end.
Bambú productions since 2007 hand to hand of Ramón Campos and Teresa Fernandez-Valdez with the objective to develop and produce fictional projects for movies and television that outstands due to its technical and artistic quality.
The production responsible of Velvet counted since 2012 with the collaboration of Francisco Segarra by means of borrowing furnishings to recreate the famous galleries.
Antenna 3 TV channel broadcast today the last episode of Velvet and turns it into the main television event of the year. Part of this will be broadcasted live from locations in Madrid.
The Velvet galleries left countless moments to spectators, they laughed, dreamed, suffered and got emotional. The innovative god bye, well cared and very special is also the moment to take apart all the decorations that gave life to it. The ceded pieces by Francisco Segarra return to our showroom. During four seasons has been part of the fiction of the scenography created by Carlos Dorremochea, art director of Velvet along with Jorge De Soto.
Constructed in the studio 8 of antenna 3 with an area of 2,000 square meters and 400 more in another floor , composed of five zones, the galleries, the shops, offices and a cafeteria, in the interior of the studio and in the exterior, the façade of the galleries an alley and a rooftop view of the Gran via Madrid.
Among the most notable particularities in the decoration executed by Proes productions scenography which is on its level, up to 9 meters, Madrid in the mid XX century, required much documentation and appropriate props.
¨The producer insisted much on New York buildings from the 30s like the Chrysler building- Dore commented in the declarations to the digital SER communications chain-in this case there is much glamour in history, something spectacular¨
To design a space with life… Francisco Segarra´s collaboration in the movie a Monster Calls.
The movie directed by Juan Antonio bayona, produced by Telecinco Cinema has revealed like the most nominated to the Goya 2017.
A Monster calls, adaptation that talks about the relationship between mother and son, it’s already the most seen movie of the year in our country, Amazing results according mediaset and Universal. More than 4 million viewers have seen the drama starring Lewis Mac Dougall, it collected more than 23 million euros.
Critics and the public in general praise the work done, but a super production of this calibre requires not only the most advance technicians, the scenography takes the pulse of the script. The shooting ended on March 2015, after 16 weeks of filming. The exterior locations and the school were filmed in Colney Valley High School of Huddersfield (United Kingdom), the rest in the studios in Terrasa ( Barcelona)
It has transcended that Bayona wanted Lewis MacDougall looked like a younger child than he really is, that is why the home was built to a scale bigger that is The home of Connor O´Malley like her grandmother´s, character in charge by Sigourney Weaver, should appear real spaces with life. To build a home filled with real life experiences, during 108 minutes, it requires the joint collaboration of different firms. The wear marks of some recuperated pieces gave that veracity for those scenes.
The demands of the producers and artistic directors are materialized in mutual collaborations that give coherence and credibility to those ephemeral spaces. Furthermore our pieces used as props, are appreciated and form part of a context. Fiction turns into reality.