The Directors: Beatriz Sanchis
Having come up through film art-direction, Beatriz brings a strong aesthetic to her comedic projects. But unlike many, Beatriz blends her style with substance. Her characters are always three-dimensional and are cast with great care, be they in a commercial or one of the feature films she has made.
Her great reputation as a filmmaker and screenwriter (her works have been screened in festivals such as Berlin and Cannes, and she has been nominated twice for a Goya Award) speaks to her ability to tell stories with great sensitivity and success.
Name: BEATRIZ SANCHIS
Location: CURRENTLY BASED IN MADRID (Spain)
Repped by/in: SOLWORKS (Spain) EASYMONDAYS (USA) Rebolucion (LATAM) Go East (MIDDLE EAST)
Awards: EFI Nescafé Campaign
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Beatriz> Let me see, when it comes to scripts, I have a soft spot for those that make me burst into laughter. Humour is like a secret weapon in the world of advertising, and I've been trying to unravel the secrets of how it works. So, if a script can make me laugh, it has my full attention.
But it's not just about the laughs. I'm also drawn to scripts that have their own unique atmosphere, a distinctive style, and peculiar characters. The goal is to create an ad so memorable that you can't help but bring it up in your WhatsApp group chat.
LBB> How do you approach creating a treatment for a spot?
Beatriz> You see, in Spain, there has been quite an uproar lately regarding these treatments, with people demanding fair compensation, and I'm completely in favour of that movement!
When you already have a well-defined style and way of working, which are clearly represented in your reel, I believe that agencies know what to expect, and I find presenting a treatment unnecessary. Instead, I prefer to focus on how I envision the narrative of the piece and choose to create a visual presentation (shooting) of it. Most people are already familiar with my work; they can identify my distinctive style, unique humour, and the fabulous cast I like to work with. However, I think treatments become more necessary when you haven't yet found your style or when you're just starting out. In these cases, presenting a strong treatment can help you compete and establish yourself. In my opinion, this is when treatments should be most compensated, as starting out often means fewer work opportunities. You really have to pitch a lot to make a name for yourself!
Additionally, I believe that clinging too tightly to references in advertising often leads to a bit of imitative chaos. It's all about creating something truly unique, and with so much self-reference, ads end up becoming rehashes of each other. Personally, I prefer to work from a blank canvas: drawing the picture.
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?
Beatriz> For me, it’s a top priority to understand the brand’s context, especially when working in countries that are not my own and lacking essential information. My approach typically involves conducting an in-depth analysis of both the brand’s and the agency’s past campaigns. This allows me to immerse myself in the brand’s essence and tailor my approach more effectively.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Beatriz> For a director, one of the most crucial working relationships in creating an ad is with the creative team. Without an exceptional script, it's like trying to build a sandcastle without sand. First and foremost, that, and secondly, it's essential to have a strong rapport with the creative team. Always being on the same page and defining the direction clearly before starting the project.
The producer, on the other hand, is like the logistics expert. They help execute the project just the way you've envisioned it. It's about turning your dream ad into a reality. Having a strong connection, understanding, and a relationship of mutual trust is key.
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?
Beatriz> First and foremost, humour, and secondly, exploring the peculiar aspects of our existence. There's something extremely captivating about the unconventional, be it in storytelling, characters, or aesthetics. Crafting narratives with a unique visual style and a touch of singularity truly piques my interest.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Beatriz> I haven't personally worked with cost consultants in my creative endeavours. My approach to filmmaking tends to prioritise artistic vision and storytelling over strict budgetary concerns, which can sometimes lead to challenges in managing expenses. However, I believe it's important to strike a balance between creative ambitions and financial realities to ensure the successful execution of a project.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Beatriz> During a production, there was a rather unusual challenge when we encountered an unexpected snowfall while filming outdoors. We were in the midst of a pivotal scene when the entire landscape was blanketed in a beautiful layer of snow. Instead of seeing it as an obstacle, we saw it as an opportunity to infuse the scene with a touch of magic. We made some quick adjustments to the script, embracing the snow and using it to create a scene that had a whimsical and enchanting quality. It was a reminder that even the most unexpected challenges can add a magical element to filmmaking.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Beatriz> I use every tool at my disposal to explain the path I intend to follow. On one hand, there's the aesthetic aspect, with a clear and visual representation that closely resembles the final result. I also employ the shooting to convey the narrative. Additionally, when it comes to the acting, I utilise callbacks with the actors as rehearsal sessions. These callbacks serve as a way for both the agency and the client to preview them, ensuring that everyone shares the same intention and sees the script in the same light. I present all these elements in advance to make sure they see the movie I envision and that they loved it!!!
By following this approach, the shooting process always flows smoothly. Furthermore, I'm fond of introducing last-minute creative proposals to infuse a spark of spontaneity and foster creativity on the set.
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?
Beatriz> As a woman and a lesbian, I am staunchly committed to the idea of opening the production industry to a wide array of talents, regardless of their racial, economic, sexual, or gender diversity. I believe that inclusion is paramount for fostering creativity and innovation in our field.
I am excited about the prospect of serving as a mentor on set, and indeed, to the best of my ability, I am already doing so. I am always looking for ways to support and empower women who are taking their initial steps in this industry. The diversity of voices and perspectives in production is not only essential from an ethical standpoint but also enriches our narratives, contributing to a film and advertising world that is more inclusive and vibrant.
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?
Beatriz> Well, at first, Zoom meetings were quite a challenge for me, especially during pitches. Presenting in front of a black screen was almost distressing, not being able to see the people on the other side. But I quickly embraced it and learned to use it to my advantage. I'd say Zoom has been a bit of a presentation coach for me, believe it or not!
Now, I feel much more comfortable in this environment, and I see it as a tool that streamlines many things. Moreover, it facilitates working on a global scale.
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)?
Beatriz> I believe that in the majority of productions, the issue of format is often constrained by budgetary considerations. Everyone wants to encompass all possible formats, but in most cases, there is limited time available to shoot in a specific format. Personally, I have a penchant for shooting in full frame. I find it to be a pure and highly intriguing format for the type of advertising I typically create because it allows for capturing both the details of the settings and the performance of the characters. I also tend to frame quite centred because visual attention naturally gravitates there, and it's just a touch I have. Due to these elements being integral to my style, my work becomes much more adaptable to other formats, be it square or 16:9.
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)?
Beatriz> I could talk about this for hours, hahaha! I firmly believe that artificial intelligence offers us a future full of exciting opportunities. It allows us to craft stories with a surreal touch, explosively merging the capabilities of image generators to breathe life into settings and characters that veer away from reality. Furthermore, AI becomes a valuable ally in the visualisation and post-production of projects.
I'm a passionate advocate for AI, and I follow with great interest the debates that revolve around it. I believe that artificial intelligence exponentially empowers us as artists and professionals if we know how to use it. However, I also advocate for the importance of proper regulation to ensure that this powerful tool doesn't end up devouring us without control.
On the other hand, text generators are an absolute wonder. For example, right now, they're helping me respond to this interview in a language that isn't my native tongue. But what they do goes beyond mere translation; it's like a kind of magic.
