The Directors: Alessandro Pacciani
Alessandro Pacciani is best known for his action-packed car campaigns, short films, and game cinematics work, which include the critically acclaimed video game franchises like Dark Souls, PUBG, and Mortal Shell. His campaigns for Lamborghini, Porsche, BMW, Mercedes, Audi, Ferrari, and others have been widely recognized. His works have been showcased at the Institute of Contemporary Arts in London. Prior to his directing career, Pacciani developed a strong foothold in design, animation, and visual effects. These skills allowed him to establish his own signature look by blending digital technology and high-octane visuals with cinematic storytelling.
Name: Alessandro Pacciani
Location: US / Japan
Repped by/in: JOJX in United States
Awards: International Motor Film Awards, UNESCO Award, New York Advertising Awards, AICP
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Alessandro> As a filmmaker who works in both advertising and video games, the elements of a script that differentiate commercial campaigns from video game cinematics are primarily the intended purpose and the storytelling approach. In commercials, the script typically focuses on concise storytelling with a strong emphasis on capturing attention quickly and delivering a clear message within a short duration. On the other hand, video game cinematics often has more room for character development, immersive narratives, and the opportunity to explore a broader world in a non-linear narrative.
When it comes to scripts that excite me, I look for a few key elements. Firstly, a unique and compelling concept that stands out and pushes creative boundaries, striving to tell stories that transcend reality and are larger than life. Secondly, a well-crafted script should have well-defined characters that engage and resonate with the audience. Characters who undergo growth, face challenges, or possess distinct personalities often make for exciting narratives.
And finally, a script that offers opportunities for creative collaboration and allows me to contribute my artistic vision is always appealing. Scripts that provide room for visual storytelling, creative cinematography, and unique stylistic and technical choices can be truly inspiring to work with.
Overall, the scripts that excite me to shoot are those that combine a strong concept, well-developed characters, and a collaborative spirit that allows for creative exploration.
LBB> How do you approach creating a treatment for a spot?
Alessandro> When approaching the treatment for a spot, I follow a structured yet creative process that combines strategic thinking with visual storytelling. Here's a breakdown of my approach:
Understand the Brief: First, I thoroughly analyze the project brief, ensuring a clear understanding of the brand's objectives, target audience, key message, and any specific requirements or constraints. This initial step helps me align my creative vision with the client's goals.
Research and Concept Development: I conduct comprehensive research and confront it with the client’s data, diving into the brand's identity, market trends, and the target audience's preferences. This allows me to gather insights, generate ideas that resonate with the brand, and engage the intended viewers.
Develop a Watertight Concept: Building upon the research, I brainstorm and develop a compelling concept that aligns with the brand's values and effectively communicates the desired message. The concept should be memorable yet straight to the point and capable of capturing the audience's attention quickly.
Most importantly, the concept should be entertaining. I always get inspired by feature films rather than other advertisements; I like the idea of creating content that people would be willing to pay to view.
Visualize the Story: Once the concept is established, I visualize the narrative arc and determine the most impactful beats and visually captivating way to tell the story and convey the message. This involves considering shot compositions, previsualization, camera movements, gear choices, lighting techniques, production design/art references, and other visual elements contributing to the desired tone and atmosphere.
Craft the Treatment: I start crafting the treatment document with my creative development team once everything is fleshed out. This includes a concise yet evocative written description of the spot's storyline, key scenes, and character arcs. I incorporate visual references, mood boards, style frames, in some cases ripomatic or previsualization, and any other relevant visuals that effectively convey the intended look and feel of the spot.
Communicate the Vision: Finally, after going through it with the production team, I present the treatment to the client, ensuring effective communication of the creative vision. I articulate the concept, story, and visual style, and how they align with the project objectives. Collaborative discussions and feedback sessions allow for refining the treatment and ensuring everyone is aligned before moving forward.
This process ensures a thoughtful and strategic approach to creating compelling spots that effectively communicate the brand's message to the target audience.
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?
Alessandro> Understanding an ad's strategic and contextual aspects for an unfamiliar brand or market is crucial. Extensive research helps me gain deep insights into the brand's history, values, target audience, and market trends. Considering competitors and consumer behavior provides valuable information for differentiation and tailored messaging. Collaborative discussions with clients and brand experts further enhance my understanding of the brand's goals and help align my creative decisions accordingly. Investing in research and collaborative insights ensures that my creative work effectively communicates the brand's message and resonates with the intended audience.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Alessandro> I would start with the premise that every head of a department is crucial in helping me put out fires. You never know when the unexpected will happen. I always hire the best people in the industry. If I'm the smartest person in the room, it means I'm in the wrong room.
That said, my most important creative relationships are with my producer, cinematographer, and editor. The producer plays a crucial role in understanding the project's scope and ambitions. Most importantly, they are the person willing to take risks alongside me. The producer's support allows me to focus on the creative aspects during production.
Working closely with my cinematographer strives to shape the aesthetic and visual dictionary we will use. We navigate through the technical complexities of cinematography and explore the best creative approaches tailored to each shot, resulting in the intended artistic direction.
My editor essentially becomes a creative partner, shaping the ad's narrative flow. Together, we refine the grammar of the ad and create a cohesive final product that resonates with those who see it for the first time.
These creative relationships function as a safety net. Together, we refine the creative vision, navigate challenges, and deliver.
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?
Alessandro> I’m drawn to action-oriented and larger-than-life situations, especially in the realm of science fiction and within the video games, feature films, and advertising industries. I believe this passion is partially reflected in my works, where you can see that I find great excitement in bringing high-energy sequences to the screen and creating visually high-octane spectacles. Whether through intricate stunts, expansive world-building, intense chase scenes, or explosive set pieces, I thrive on the adrenaline and the challenge of orchestrating these grand moments.
On the other hand, science fiction captivates me with its unique blend of science and social elements. It allows for the exploration of technological advancements, speculative ideas, and their impact on society. I am inspired by the genre's ability to entertain while also provoking reflection on our own world and what it means to be human.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Alessandro> One misconception about me and my work that I often encounter is that people in the automotive and advertising industries assume I am "The Car Guy." While it's true that I have a passion for shooting fast cars, my creative pursuits extend far beyond that and overlook the diverse range of my expertise and experiences that go beyond a single niche.
As I mentioned before, in addition to my work in advertising, I am actively involved in game development. Here, I bring my skill set as a filmmaker and my past experience as a visual effects supervisor to this realm. In this case, I don't incorporate any elements of the automotive industry and instead focus purely on storytelling, world-building, and interactive non-linear narratives.
Furthermore, my background as a visual effects supervisor equips me with a deep understanding of the science behind computer-generated imagery and real-time technologies. By embracing a multidisciplinary approach, I transcend the limitations of live action alone.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Alessandro> I have never had the opportunity to work directly with a cost consultant, but working within budgetary constraints and dealing with financial restrictions can present challenges. However, challenges often pave the way for creative solutions to logistical problems. When faced with limitations, I see it as an opportunity to think outside the box and explore alternative approaches, striking a balance between creative aspirations and financial considerations. It pushes me to find efficiencies, streamline processes, and make the most of the available resources. Ultimately, this ensures that the creative vision remains intact while being mindful of the financial realities.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Alessandro> In production, every project presents its own set of challenges, mainly when working with celebrities, high-value cars, or in extreme conditions. Unexpected problems can arise.
One incident that stands out is during a location scouting trip in the desert. While scouting, the dune buggies we were using broke down simultaneously in the sandy terrain. To make matters worse, we had no cell reception and no immediate access to supplies. It was a daunting situation. With no other options available, we decided to trek back to the base camp on foot. Under the scorching desert sun, we walked for kilometers, navigating the challenging terrain by following our tire marks before the blowing wind erased them completely. It was physically demanding, but we made it.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Alessandro> Balancing openness and collaboration with the agency and brand client while protecting the idea is crucial. I achieve this by fostering trust and transparency through effective communication. I listen to and value their input while clearly articulating the creative vision and rationale. I encourage an open exchange of ideas and constructive feedback, ensuring everyone feels comfortable contributing. At the same time, I remain vigilant in preserving the core idea's essence, articulating its importance, and advocating for it while considering valuable insights. This balance relies on trust, open dialogue, and a shared understanding of the creative vision.
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?
Alessandro> I embrace the idea of opening up the production to individuals from various backgrounds, allowing them to contribute their unique perspectives and skills to the industry.
I have had several conversations where people have asked for guidance on their journey toward becoming directors, and it brings me great fulfillment to see that they have established themselves as filmmakers in different departments. I was lucky enough to recognize their talent and give them their first opportunity in the industry, and they have proven me right.
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?
Alessandro> The pandemic has undoubtedly had a significant impact on the way we work, and it has influenced me to shift my focus toward game development, which, fortunately, was not really affected by the pandemic.
One key habit that I have developed is the ability to adapt quickly to changing circumstances. The pandemic forced us to rethink our traditional ways of working and find innovative solutions. This adaptability has become ingrained in my approach, allowing me to navigate unforeseen challenges and pivot when necessary, regardless of geographical constraints.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?
Alessandro> When the work needs to be translated across various formats, it's crucial to prioritize the integrity of the original concept and its intended impact. Finding that balance is a constant endeavor, and I leverage my experience and expertise to optimize the work for different formats while staying true to its essence.
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)?
Alessandro> As I mentioned before, my relationship with new technology is deeply intertwined with my game development and VFX background spanning over two decades. My understanding of the science behind computer-generated imagery and real-time technologies has heavily influenced my workflow, incorporating future-facing technologies such as AI generative tools, virtual production, real-time tools, actor performance capture, and proprietary technology that has yet to be released to the public.
Overall, my journey from technology to live action has instilled in me a profound appreciation for the transformative potential of new technologies and their applications.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Alessandro> Lamborghini - From Now On (Revuelto Launch Film) This was a significant undertaking for the new era of Lamborghini, marked by the introduction of their latest flagship car—a true marvel of automotive artistry. I had the incredible privilege of channeling my preferred type scope and aesthetic.
ACURA - Beginnings (Winner "Best Commercial Film" International Motor Film Awards)
This piece of writing reflects a deeply personal story that holds great meaning to me. It captures the essence of the emotional storytelling style that I am passionate about.
Porsche - Shaped by performance (Winner "Best Commercial Film" International Motor Film Awards)
The approach to this campaign resembled that of a fitness commercial, infused with abundant grit and kinetic energy. Furthermore, this project stands out as the pioneering utilization of FPV cinematography in a commercial, marking a remarkable milestone.
BMW - M4 factory
This one holds a vintage charm, crafted nearly a decade ago. Many people recognize me primarily because of this iconic advertisement, which has attained a classic status over time. It remains a cherished piece of work in its own right.
