TEJADA: “Sometimes We Just Want to Feel Something, and that’s Where Film Comes in”

Sometimes, the most powerful films are those which surprise us. And the art of surprise is something which TEJADA, the Brazilian-born filmmaker and storyteller for the likes of HBO Max, Budweiser, and Diageo, has utterly mastered. 

In fact, it’s hard to think of anything which is unsurprising about TEJADA. From his early days as a professional unicyclist (yes, really) to a rich experience in visual effects and post production, this is a director who has never been one to work by-the-book. 

As a result, there was no telling where a discussion with TEJADA might go. So when LBB sat down to chat with the Immigrant director, we did so with an open mind. Over the course of our conversation, TEJADA touched on VR, music videos, the secrets to creative fulfilment and, naturally, the 2007 World Unicycling Championships in Denmark. 

And, perhaps most surprisingly of all, the director made it all make sense… 

LBB> TEJADA, let’s start at the very beginning - what kind of a kid were you growing up, and at what point did you start to think of yourself as a filmmaker?

TEJADA> My family is far from what you might call ‘normal’: my dad was a professional motorcycle rider, studied engineering, and worked in sports his whole life. On the other side my mom studied arts, and works in the medical business. That strange and unique mix made our house a very open and playful environment. There was sports, arts, and a lot of freedom.

But, funnily enough, I never saw myself as someone with artistic capacities. I did well in school, and was always chasing more technical paths that resembled my father’s. 

It was years later that I discovered filmmaking, thanks - of all things - to being part of the unicycling community. And that’s a whole other story! 

LBB> Please go on - how did unicycling inspire your filmmaking?! 

TEJADA> I was lent a unicycle by some friends who were Trials riders, and I really dug it. It was supposed to be a training tool for Trials, but I found myself getting into it on its own merits. 

It was around 2004 that I started joining some online forums and found out that there is a big unicycling community with their own different riding disciplines, world championships, brands, and even professional riders. Alongside all of that was a bunch of young guys discovering the internet, and creating videos of their tricks and achievements. That's where I first found filmmaking. But it wasn’t until years later that I knew it would be my career. 

The pivotal moment came in 2007, when I somehow persuaded my parents to let me fly out to Denmark at the age of 15 to the Unicycling World Championships. It was just full circle: I met everyone I had talked to online, made new friends, and got a factory sponsorship. For the next four years my life would be pretty much working locally to make some cash, and attend unicycling events around the world. There, I’d shoot footage. A lot of footage. 

Gradually, I became a better filmmaker and that became my job. Unicycling slowly faded away as I started to look forward. I don't ride much anymore, but endurance sports, like marathons and road cycling, are still a big thing in my life.

LBB> That’s amazing. Artistically, what were your sources of inspiration in your early years? And how does it compare to what inspires you now? 

TEJADA> My mom was the artistic cornerstone of the family. I grew up crawling in art exhibits and vernissages showcasing work from her friends. And she did an amazing job showing us all kinds of art: the most classical and also a lot of popular stuff that was going on at the time. It gave me a nice background, but most importantly a free space to feel things and develop my own taste.

On the film side, we were not that geeky. We watched all of the classics at home but personally I was more interested in blockbusters, heavy VFX films, and more commercial stuff. Was thinking less about the narrative and more about the aesthetics and technicalities. That's what inspired the fourteen year-old, immature me: stuff that looked great and innovative.

As I grew older, I started looking for messages and questions that had a more philosophical meaning. And it really doesn't matter if it was an indie or a blockbuster. An installation or an AR piece. Art for me is really about getting that message out. It doesn’t even matter if I can fully understand it… what’s important is that it triggers something in my gut.

I still keep an eye on contemporary stuff, of course, but I'm always trying to look for inspiration in references that are relevant yet unusual. It may be still photography, art installations, book characters, or bits of choreography. Anything that has a lot of conceptual thought behind it will help you bring a cooler and more tasteful look than just a nice frame that everyone ends up copying.

LBB> As well as directing, you also have strong experience in post production. Do you think that knowledge has helped you become a better filmmaker?

TEJADA> Definitely! Not only post production itself, but the technological knowledge I built up along the way.

Being totally honest, I think everyone can learn to do big VFX films as long as they have the right VFX team behind them. I've seen directors that never shot green screen do amazing stuff in their first CGI intensive piece.

The coolest thing about gaining all this VFX knowledge - and crucially how much it all costs - is the ability to bring specific solutions for shots and scenes that another director just wouldn’t.

The thing is, sometimes dope CGI can be super cheap. And in some other cases, really simple stuff you find on the agency script can be complex and hyper expensive. Knowing when to bring it in and when to suggest alternatives is just great. It saves time, money, and allows us to invest where the production value will really shine through on-screen.

LBB> Looking back on your filmography to date, is there a project which stands out in your memory as especially important or memorable for you? If so, why?

TEJADA> Yes: The music video Do Not Tell Me for L’Homme Statue. 

I was playing a lot with 3D capture a few years ago, and was eager to use it on something. However, I hate using stuff just because it looks cool. If I’m exploring technology in my work, it needs to have purpose and a deeper meaning. I was searching for the perfect opportunity and, on the craziest day in 2019, I found it. 

Doug Bernardt - a genius director and loved friend - called me and told me his friend's house had caught fire, that he was a performer, and that they wanted to shoot some stuff at whatever was left of the building. I went there to have some of the most emotional days of my life: these were people who were dancing over the ashes of their belongings. 

We shot a music video that day and, over lunch, ‘Do Not Tell Me’ was played to me. It just matched a lot of the energy of the 3D capture tests I had. It all made sense.

I developed the whole concept with another friend, the director and animator Marcello Costa, and we shot it guerrilla-style. All was going well, until a few months down the line. At that point, the pandemic struck. 

Resultantly, our post partners were no longer able to help us. We had about three minutes of CGI data to be manipulated, animated, composed, and rendered. 

We ultimately accepted the truth: we had to do it ourselves. 

And we did: we dove into post production, got some nice render stations, learned how to use new software, and we finished it with a huge crew of two CGI guys, the directors, and one amazing flame artist called Diego Morone. All through the pandemic!

It got quite a few awards, but I just loved it was shortlisted to D&AD on Music Videos VFX. All the other contenders had huge VFX crews and tons of money. I don't think this whole film cost more than 5K USD!

LBB> You’ve worked with cutting-edge technology through the likes of Oculus. Do you think that the world of VR and AR has still yet to reach its potential? And does it still excite you, creatively?

TEJADA> It does, yeah. I still think we are going to see major changes in how we consume entertainment within the next few years. The Apple Vision Pro has breathed some additional life to this discussion, as it seems to elevate the bar solving many of the problems we had with previous wearable headsets.

While as a super nerd I find the technology exciting and awesome for working purposes, creatively it is kinda scary. The important thing about VR and AR is immersion. It is about giving freedom to the audience so they can choose the paths. And that is gaming, which is a completely different craft. It’s another kind of script where messages and outcomes may be influenced by the audience's choices.

I'm not sure how advertising will find its way in, but I feel like we are gonna see more and more experimental gaming narratives that are less focused on actual quests or challenges and more about social relationships and experimenting with different realities. And I optimistically believe that at the same time, film will keep entertaining and conducting people through stories that are just how the director wanted them to be. 

Gaming demands decisions, and sometimes we just want to feel something. To experience things that are not the result of our own choices. And that's why film is so important, especially in the crazy world we are living in. It gets us in other people's shoes better than any immersive and interactive experience. Because it’s a singular perspective.

LBB> Finally, imagine you have the ability to travel back in time and give your past self one piece of career advice. What advice would you give, and why? 

TEJADA> I think everyone has their own style, personality, and career path. I worked from a very early age and had to experience certain mistakes and situations that were necessary for my development at that time. And I really can give many examples of directors that came from the most different backgrounds, at different ages, and they had their very own struggles.

What I think many people don't realise - but good directors usually do - is that everything about you matters. Every bit of experience makes who you are. And everything can and will make you a stronger person and professional. So don't hide any of it. 

We want to work with others who can share knowledge. Or who can bring something that will make that piece of work greater. Your knowledge and experience in every field you are interested in can be more valuable in certain situations, jobs, and organisations than you think. 

So, I’d encourage my past self to embrace who I really am and become known for it. Even if that does happen to be a professional unicyclist!