Birthdate : September 24, 1.938
Birthplace : Bogotá, Colombia
High School: Peacock Military Academy, San Antonio, Texas
University: University of California in Los Angeles (UCLA)
Home Address : Calle 3 No. 3A – E61 Torre 9 Apt. 204
Tel: 57-1-883-3733 Mobile: 311-272-9108
E-Mail: E-mail: firstname.lastname@example.org
Julio Luzardo is a professional highly versed in the visual arts of the XX Century: film, television, photography, computers, the Web. He was born in 1938 in Bogotá, Colombia, from a Colombian father and North American mother. He studied Film in the University of California in Los Angeles (UCLA) and Theater in the Pasadena Playhouse. Technology is his bag. He has always been an innovator in whatever he has set out to do and today he is one of the persons in Colombia with more knowledge of non-linear editing, digital technologies and with his son, Julio Jr., assembled digital workstations for three years. His second feature-length film, El Río de las Tumbas (The River of the Graves), filmed when he was barely 24 years of age, is considered one of the “classics” of Colombian films and it is still being shown in cine clubs 53 years after its premiere. Restless by nature, he has never wanted to be “type-cast” in one single craft and has been able to develop professionally as a producer, director, scriptwriter, editor, cinematographer and university professor in film, television, legitimate theater and commercials. He has even personally designed, produced and edited two printed directories entitled “S.O.S. of the film and television industries in Colombia” and “Consulta Grafica” of the graphic and design industries. You can easily say that there is no area of this business that is unknown to him.
Director of the feature-length films Tres Cuentos Colombianos (1963), El Río de las Tumbas (1964), Una Tarde…Un Lunes (1971) and Préstame Tu Marido (1972), La Ministra Inmoral (2007), of the 30-minute dramatic short Semana de Pasión (1984) the 50-minute El Gallo Cantó Tres Veces (1987), and the 11-minute theatrical short Reprobado (1994) for the Colombian Ministry of HealthTheatrical Director
Director of legitimate plays like Murray Schisgal’s Luv for Theatre Festival ’67, Henry Livings’s Eh? in La Mama Theater (1969), Peter Shaffer’s Black Comedy in La Comedia theater (1973), Michael Frayn ‘s Noises Off with the Teatro Libre (1987-1989) and Ira Levin ‘s Veronica’s Room with the Teatro Libre (1989), his biggest success being Noises Off, which won the year’s top honors from the critics of the nation’s two largest newspapers.
Director of the series Atanasio Girardot, Los Conspiradores and Las Heroinas for the historical program Revivamos Nuestra Historia (20 One-hour chapters)(1984), the television versions of the plays Six Characters in Search of an Author, The Ballad of the Sad Cafe and The Agony of the Dead Man with the Teatro Libre of Bogotá (1985), the sitcom Tomasita (27 half-hour chapters)(1985), a version of Frederick Knott’s Dial M for Murder (mini-series in three half-hour chapters)(1986) and the highly successful Por Qué Mataron a Betty Si Era Tan Buena Muchacha? (Why Did They Kill Betty If She Was Such a Nice Girl?) (48 one-hour chapters)(1991).
Cinematographer and Camera Operator
Director of photography and camera operator of the films Bajo La Tierra (1968), directed by Santiago Garcia, and Amar y Vivir (1990), directed by Carlos Duplat, of the 30-minute dramatic shorts El Potro Chusmero (1985), directed by Luis Alfredo Sánchez, El Hombre de Acero (1985), directed by Carlos Duplat, Suave El Aliento (1986), directed by Natasha Iartovsky, and the 11-minute short Desafio (1994), directed by Alba Helena Osorio, all filmed in 16 and 35mm. Camera operator of the feature-length Un Angel de la Calle (1967), Mexican-Colombian co-production.
Editor of the feature Carmentea (1960), the 30-minute dramatic shorts Tiempo de Sequía and La Sarda from Tres Cuentos Colombianos (1963), the feature El Río de las Tumbas (1964), the 30-minute dramatic short Fin de Semana from Una Tarde…Un Lunes (1971); the 30-minute dramatic shorts El Hombre de Acero (1985), El Gallo Cantó Tres Veces (1987); the 11-minute dramatic shorts Reprobado and Desafio (1994), the features Rizo (1997), Mexican-Venezuelan-Colombian co-production edited on an Avid 8000 system, Lunes de Carnaval, Mexican-Venezuelan-Colombian co-production and Sin Amparo, Colombian feature-length, edited on a Media 100 system
Adaptations of Tiempo de Sequía and El Día Señalado by Manuel Mejía Vallejo (1963), Pueblo Mocho by Samuel Feijoó (in collaboration with Carlos Duplat)(1965), Préstame tu Marido by Luis Enrique Osorio (in collaboration with Jaime Santos)(1971), original screenplay of the 30-minute dramatic shorts La Sarda from Tres Cuentos Colombianos (1963) and Fin de Semana, from Una Tarde…Un Lunes (1971), 22 half-hour scripts for the sitcom Tomasita (1985), and original stories and screenplays for the 11-minute shorts Reprobado and Desafio (1994).
Producer/Director/Cinematographer of TV Commercials
Producer/director/cinematographer of more than 700 TV commercials from the years between 1967 and 1993. He has won several prizes in the Cartagena Film Festival, the prize of Best Commercial of 1978 and 1981 of the Entertainment Critics of Colombia (for the clients Lander and Yodora), the Third Prize among 450 international commercials of all the Compton agencies (Gel-Hada -Zamba – 1982), the top prize of Best TV Commercial from banks between 0 and 1,000 millions in the Bank Marketing Association 1986 Advertising Awards Competition (Prestahorro – Iniciación), possibly the most important award won by a Colombian commercial in an international competition. The Golden Catalina for the Best Commercial in its Category and also the Best of Show of the XXX Cartagena Film Festival for the client Bogotá Yellow Pages (Ref: “Plomero”).
Directed Ojos y Voces, a series of 24 twenty-five minute chapters for Señal Colombia, the feature-length documentary Rómulo Lara Borrero: una vida de película, investigated and edited the fifty-four minute documentary 70 Años de Sueños and edited Historia del Cine Colombiano comprised of 8 chapters of twenty-five minutes each for Patrimonio Fílmico Colombiano and Audiovisuales.
Professor of a variety of subjects: Dramatic Writing for the Screen in the Universidad Externado of Colombia (1988), Workshop of Acting and Directing in the Politécnico Santafé de Bogotá (1995), Camera and Lighting (1997) and Non-linear Editing (1998) in the Politécnico Santafé de Bogotá. Dean of the Production and Direction of the Television Major in the Politécnico Santafé de Bogotá during 1997. Professor of Technical Directing and Editing in the post-graduate course of Directing for Film and Television at the Universidad de Bogotá Jorge Tadeo Lozano. Professor of Digital Editing in the Unitec Photographic and Film Technological University.
His love for the profession and the necessity of providing technical production information, motivated him to create single-handed the publication of two directories entitled “S.O.S.” de Cine y Televisión” and “Consulta Gráfica” of the large colombian graphic arts industry. In 1998 he started his own web page enrodaje.net, which evolved in 2011 into cinecolombiano.com. At a certain point the web page had more than 40,000 monthly visitors and some of his articles were read by more than 70,000 people. During this time he also designed several web pages in English.
During five and a half years he was the Cinema Expert of the Film Classification department of the Ministry of Culture. He was the first Representative of the Film Directors in the newly established film law (Ley de Cine 814) during two years, 2003 to 2005, and later on (in 2011 to 2013) he was again re-elected as the Representative of the Directors in the same Council.