Pietro Biz Biasia on Embracing The Unexpected
Born and raised in Milan, Italy, Pietro Biz Biasia cut his teeth as a self-taught, one-man show in directing, editing and producing music videos for rappers, collaborating with global artists like Quavo, Pop Smoke, Bree Runway, Shaybo, Meeks, K-Trap and more.
His work caught the eye of top brands across fashion and lifestyle leading to commercial work with GQ x Hugo Boss, Palladium, Jimmy Choo, Soho House, Hype Beast, Dr Martens, Louboutin, and most recently directing Nike’s HO24 Y2K Global Campaign.
Name: Pietro Biz Biasia
Location: Between Europe (Milan, London and Lisbon mainly)and USA; NYC, once my Visa gets approved
Repped by: London Alley for US Representation
Awards: Nominated as one of the Directors of the Year by Eye Candy Awards 2024; three times featured on EyeCandy; one time featured on FrameSet; three times in David Reviews; showcased in Outlander Magazine; honoured as one of the top 50 creatives by New Wave Magazine; featured in prominent outlets such as HypeBeast, Highsnobiety, GRM Daily; nominated for the 2024 Videoclip Italia Awards.
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Pietro> After the success of my Nike global campaign, I’m feeling excited to dive into more commercials with brands that truly resonate with my aesthetic. There’s a lot happening behind the scenes right now, things are in motion.
I’m also waiting for the perfect moment to bring my first feature film to life – this will be a huge opportunity to fully express my vision and show the world what I’ve been working on. My notes are packed with ideas, so it’s just about finding the right time to pull it all together.
On top of that, I’m really looking forward to working more in the US with music videos, especially with artists I admire.
I’ve got a strong feeling that this year is going to be a big one in the States, with exciting projects both in commercials and music videos
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Pietro> Brands are finally tuning into what's happening on the streets and embracing the real culture.
They’re giving directors more creative freedom, coming to us not just to execute an idea, but to capture our vision and energy. It’s cool to see how much more open the industry is becoming to young creatives.
Nowadays, you don’t have to follow a traditional path through university or film school to break through.
With social media and platforms like Eye Candy, up-and-coming talent can showcase their work, get noticed, and make a real impact.
It's such an exciting time for self-made individuals who are making waves in the industry on their own terms.
LBB> How do you approach creating a treatment for a spot?
Pietro> I begin by diving into my own mind, pulling from subconscious references – moments and visuals that have stuck with me over the years, whether from life, movies, or art.
I let these ideas flow and adapt them to the script, often sketching out shots and combining them with specific references. I’m always writing down random ideas in my notes, ones that might fit future projects, keeping them as a creative archive for when the time’s right.
Sometimes, I’ll read through the script and step outside to let the world inspire me. Once I have a solid base, I bring it all together with my team. We brainstorm, exchange ideas, and add more references, refining everything until it’s time to lock it into a cohesive graphic treatment.
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?
Pietro> I usually work inside a market I know well, people tend to hire me because they are looking for me, or because they align with what I do. But I know my style nowadays works for a bigger portion of the market and it’s trendy, so I’m always open to experiment with brands that do not necessarily come from the same background as mine.
It's actually exciting and challenging working with brands I’m not familiar with because I believe the outcome would be something special and fresh.
In these cases I research the brand history and recent campaigns, from books or videos, photos online – I try to read as much as possible about the brand.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Pietro> Collaboration and creativity. Some of my best work has come from collaborating with people I met the day before. You can often tell pretty quickly if there’s a vibe, if everyone’s on the same page. You can feel it in their work – the way they approach a project, how they communicate.
Whether it's a DP, a producer, or a VFX artist, their craft speaks volumes before you even begin.
For me, the most important thing is trusting your initial instinct and going with your gut. If you align with the right energy, the universe tends to work its magic.
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?
Pietro> I’m deeply inspired by work that feels authentic and stands out, no matter the creative field.
The biggest influence for me has always been street culture – specifically the energy of NYC in the '90s and early '00s, from the rap scene to the fashion and visuals that defined that era. That raw, unfiltered vibe.
At the same time, I’m really inspired by the creative pulse happening right now. Of course, I can’t overlook the influence of home, Italy and Europe. In general, I've always been drawn to niche films and underground movements, blending all these diverse influences – different cultures, time periods, and waves – into my own vision.
What I’m trying to do is capture that sense of nostalgia while mixing it with fresh, innovative techniques, but without forgetting to spread culture and knowledge.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Pietro> In commercial work not so many, in music videos one of the craziest challenges I’ve faced is when artists show up late or only have a limited amount of time. I remember one shoot where I needed the artists all day, but they only stayed for an hour. It definitely throws you off, but I’ve learned to adapt.
There’s always some kind of problem or curveball on set, and I’ve found that improvising and shooting extra scenes throughout the day is key. It gives me more options in post, and often, that’s where the magic happens.
I always try to capture a little more than planned, because you never know when a new idea will strike. Even when I’m editing, I might find a transition just looking at the footage that wasn't pre-planned.
For me, that’s just part of the process – it’s about embracing the unexpected. As long as I’ve done the prep work, I’m okay with things shifting. In fact, sometimes those changes end up making the project even better than originally envisioned.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Pietro> I believe there’s always a creative way to adapt to a brand's needs, but the key is doing so without sacrificing the essence of the project. Being adaptable while maintaining the creativity and uniqueness that defines the work is an essential skill for any director.
It’s something you have to learn and refine over time – finding that balance between flexibility and staying true to your vision.
LBB> Which pieces of your work do you feel show what you do best – and why?
Pietro> A$AP TWELVY - 'AS I AM'
This film means so much to me for so many reasons —the synergy was incredible. This was one of the first music videos that gave me real global exposure and suddenly, I had people reaching out from all over. And working with A$AP, for a European kid, that felt like a dream come true.
This project is proof that you don’t need big budgets to make an impact at the beginning. If you’re hungry, talented, passionate, and willing to take risks, you’ll find your path. Creativity isn’t about resources; it’s about the drive and the heart you put into it.
This project is incredibly special to me. I had the opportunity to fully express myself with the right budget. The freedom and trust the brand gave me were invaluable. Despite directing a global campaign with so many eyes on it, I was able to stay true to my vision and create something that felt authentic to me, for one of the biggest brands on earth.
