The Directors: Bodhi Le Belle
Bodhi Le Belle is an Amsterdam-based director and writer. Inspired by film from a young age, Bodhi couldn’t wait to get his hands on a camera, thus beginning his deep dive into the world of filmmaking.
Bodhi honed his craft by creating short films and commercials, ultimately establishing his own production company. Bodhi’s portfolio spans from commercials to fiction work. He makes stories with a witty and intelligent sense of humour that ranges from the dry and subtle to the absurd.
His approach to storytelling prioritises strong cinematic visuals and memorable characters. With great attention to detail, it’s safe to say Bodhi takes his comedy very seriously. He recently received backing from the Dutch Film Fund for his short film ‘Unreal Estate Agent’: a satire on the Dutch housing market currently in pre-production.
Name: Bodhi Le Belle
Location: Amsterdam
Repped by/in: CZAR NL
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Bodhi> I’m excited about scripts that combine clever storytelling, an intelligent sense of humour and a distinct visual style. For me, what sets an extraordinary script apart is the level of detail it’s created with and, at the same time, the simplicity of the concept. Think of scripts that have a rich universe, memorable characters, and sharp dialogue, yet convey a very simple and universal truth. The ones that really stick with me have something odd, quirky and instinctive about them. They are created with a kind of gut feeling that can’t be defined by theories or models. These scripts dare to take risks and are surprising in their twists. They stand out, feeling fresh and innovative. Plus, the people who created them happen to be really fun to work with.
LBB> How do you approach creating a treatment for a spot?
Bodhi> I like to go in fresh and with a lot of fun, finding the part about the project that excites me. Something that hooks and needs more exploring. Could be a universal truth, a great twist or a witty character. From there I start analysing the script, breaking it down, and trying to understand the brand strategy and audience. I find collaborating with the creatives helpful to narrow it down to the core message, the thing where it all started. From there I gather a lot of notes, pictures, scenes and even draw shots in a storyboard to find a visual and original approach to the story that fits the brand.
LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?
Bodhi> Research is key, but not too soon. For me, the script is the starting point. To go in fresh, I need to read the script first, gather ideas and find an original approach that fits the story. I try to be open for a new direction for the concept, by having an instinctive way of working while writing my proposal. I find it helpful not to look at what’s been made before to keep a fresh vision, in the end that’s what you’re asked for. To make the ad stand out, it helps not to go for safe and present daring ideas that are backed up by brand strategy. That’s where the research comes in.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Bodhi> For me, it’s the balance between agency and production company. I find the relationship with agency creatives very important. Collaborating, connecting and having open communication make the process fun and create a flow where stronger ideas come from. Operating as a team helps to discuss ideas and spark imagination. The same goes for the production side, my producer and DOP are very important to me. Creating a bond, open communication and shared passion for the work helps to bring ideas to life.
LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Bodhi> I’m very passionate about high concept commercials with a smart sense of humour and cinematic execution. I love to work on scripts with a narrative, witty characters and a great twist ending. Think of ads like Canal Plus ‘The Closet’ and Pepsi ‘Shaolin’.
In fiction I like to work on dark humoristic scripts. Currently I’m working on a short film, a satire on the Dutch housing market.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Bodhi> A common misconception about my work as a comedy storytelling director is that I can only tell stories from a humoristic perspective. Of course, that’s not the case. For me, a narrative with a more emotional approach like a Christmas commercial is very similar to a comedic one. The storytelling just has a different purpose. Whether you make people laugh, cry or move them, you still need to structure the story and align all film aspects to get that message and emotion across.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Bodhi> Madagascar was definitely the trickiest location to shoot and came with massive productional challenges. Safety and transportation were on top of the list. We had to hire a private military guy with an AK-47 to protect us from angry farmers while crossing their lands. Our lead actor was free solo climbing a massive cliff without insurance and possibility for quick medical rescue. Not to mention that Madagascar probably has got the worst roads on the planet, making our cars break down daily and turning eight-hour drives into 22-hour drives. While shooting sunrises and night scenes every day for ten days in a row, you can imagine that sleeping was not on our priority list. In these circumstances, the only thing you can do is to stay chill, keep the good vibes up, be flexible and never lose the fun. It’s a blessing to be able to do this work, so embrace challenges and use the unexpected circumstances to your advantage. It keeps you sharp and active, open to changes at any minute. I like that.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Bodhi> It’s very important to me to have an open collaboration with the creatives during the process. If you keep a good flow of ideas going together and make sure everyone is heard, there’s always room for a healthy discussion. Of course, as a director you need to stand behind your idea and protect it, but at the same time be open to ideas of the creatives, agency and brand client. If you maintain balance and use the extra pairs of brains helping you, it strengthens the project and makes it more fun. Which is very important to enjoy working together again.
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Bodhi> I definitely support opening up the production world to a more diverse pool of talent. Different voices inspire each other and boost creativity, so everyone should have a chance to work in this fun industry. I’ve also found my way in and got the chance to learn the craft from fellow directors who became friends throughout the years. I spent a lot of time on set watching them work, and meeting new people and found that very inspiring. Mentoring next-generation filmmakers is absolutely something I’m open to.
LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?
Bodhi> The pandemic definitely made us adapt. Zoom calls have replaced most physical meetings. It helps to speed up the process sometimes, but I prefer to sit around the table in ‘real’ meetings. Always better to meet in person and talk about the idea, it’s a different energy. Also, the pandemic made us really creative with different ways of shooting and solving problems. It gave the industry a new spirit of resourcefulness, something to keep in mind for the future.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?
Bodhi> Film and technology go hand in hand and it’s great that more and more is possible every day, however I believe technology should still serve the story. It begins with a clear story which can be told in different ways and with different tools. For me, technology should not be forced onto a project, but used to creatively to overcome challenges, boost innovative ideas or enhance a visual style. I see it as more colours on the pallet to push creative boundaries, so excited to see what the future brings.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Bodhi> I like the films I did for Centraal Beheer. The ‘Even Apeldoorn bellen’- ads have been part of Dutch culture for a long time and played a big role in why I went to work in the commercial industry. That type of humour with a smart twist and visual approach really fits what I enjoy making the most. Also, my work for KPN because it shows a brand that dares to stand out by making something different. It shows my narrative voice more on the absurd side of the comedic spectrum. Lastly, Univé because it’s high energy, yet subtle, and a nice piece of action.
