The Directors: CHCH

CHCH (aka Christoph Chrudimak) is an award-winning director known for cinematic interpretations. His approach to each spot is to honour the agency creative while bringing an original one-of-a-kind vision that is arrived through collaboration. With much repeat client work he is constantly in demand in the US and around the world. His witty yet dry humour also attracts much attention from clients such as Tiger Beer, Sony PlayStation, Guinness, Nintendo, and Levi’s. His Good Mood water piece has been acclaimed for its cleverness as well as its amazing camera work, storytelling and brilliant seamless transitions by winning awards around the world. 

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

CHCH> I get excited about those that spark a whirlwind of ideas and attention to detail. By the time I get involved, the script has gone through a rigorous process of revisions and approvals. It's like inheriting a well-seasoned recipe from a master chef!

At this stage, my role isn't to suggest changes that might alter the essence of the story. Rather, I strive to enhance the existing script by incorporating elements that enrich its impact and magnify the potential of the cohesive world we're creating.

The element most important to me is the cast. Ultimately it’s they who carry the story’s emotions or humour. So as the director you depend on your cast, it’s paramount.

Scripts that get me excited to shoot are the ones that have room for detail where my approach and ideas can add some kind of twist to it, be it visually or in tonality or in the sound design. Selling these ideas isn't always straightforward, especially when they demand a bit of imagination to fully grasp. So it’s exciting to see when that trust pays off in the final result—it's rewarding.

LBB> How do you approach creating a treatment for a spot?

CHCH> I disappear into hiding for a week, immerse myself into the idea to fully understand its intimate essence. It’s a process that I prefer to do alone.

I find too many meetings too early slow everything down, particularly if the vision isn’t yet crystal clear.

Treatments these days are like multimedia extravaganzas; the front cover is as crucial as the actual concept. So, it's a whirlwind of work, but the payoff is worth it, so it’s important to get that vision right at the beginning.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

CHCH> It's all about good energy. Respect and positive connections with everyone involved, for sure is the foundation of a smooth ride.

Beyond the basics, finding those rare creative soulmates, those who just click with your sense of humour and personality, is gold. If those creative soulmates happen to be in a key position, such as an ECD or CD, someone you ultimately need to share the same boat with, then that’s double gold. I have experienced lots of good things coming from such creative soulmate working relationships, so to me those are important.

LBB> What misconception about you or your work do you most often encounter, and why is it wrong?

CHCH> No.1 misconception is "too expensive.” While I have done big budget films, I'm all about stretching creativity, making something big out of even small budgets. Using my imagination to create a big feel with a small work around is hugely rewarding. 

No.2 would be the "too dark" label. Not sure how to argue this. It’s not a fashion, each story I’m given, naturally signals its own look and feel. I let the story lead the treatment. Not the other way around.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

CHCH> To be fair, Cost Controllers definitely have their place, keeping budgets in check and all. But, like any role, it's most effective when they know their stuff. For them to efficiently judge what or what not is essential, where to save and where to spend, you need to have an understanding of all components.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

CHCH> I was once handed a walkie-talkie on set with special instructions not to lose it because it was the only one they had. And when they said "only one," they meant it. Literally, a lone receiver. Just the walkie, no talkie. How did I solve it? Haha … accepted it with a smile.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

CHCH> Well, I find the core idea of an ad is what brings us all together, so it’s in everyone’s interest to protect it.

That said, I’m all for embracing fresh ideas that arise on set. I like spontaneity, even if it sometimes means readjusting the schedule. Those spur-of-the-moment ideas can often bring much to a shoot and elevate the storytelling or add that extra spark of magic. So for that, I’m always open to weaving in new threads of creativity along the way, and I’m up for the challenges it might bring into the process. That flexibility is only possible with good relationships between director, agency, client and producer.

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?

CHCH> Very open to it. This is how I started. I had no experience whatsoever and was lucky to have the right people believe in me and give me a chance. So if I can do the same, and somehow provide an opportunity for those who may not have had traditional paths into the industry, I am happy to do that, paying it forward and helping the next generation of filmmakers find their footing in this industry.

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?

CHCH> The pandemic has reshaped a lot of things. One positive thing for me is that in the past, declining to attend a meeting in person might have been considered impolite in some cultures, leading to unnecessary travel. Now, the pandemic has established a new norm where video calls are widely accepted. A change that's not only more efficient but also more environmentally friendly. That said, there are still many things in the production process that must be done in person. Knowing when to make that call is super important.

LBB> Which pieces of work do you feel really show off what you do best – and why?

CHCH>

SUNTORI - GOOD MOOD WATER

Why? A big script a small budget.

This one had such a great fun script and probably has been one of the most enjoyable projects for me. It’s the result of working in close relation with the agency creatives who wrote the script and gave me lots of room on all levels. And it had a client who understood that with a script like that you either approve it or you don’t, but once you do, you have to commit and roll with it… and that’s what he did.

Another reason I picked this film is the fact of it actually being a small budget film… So much for my tag of being a “too expensive” director.

TIGER - RIO FERDINAND

Why? One of my most memorable celebrity-based projects yet.

Working with celebrities often means tight schedules and strict rules. The same goes for Rio, except he is just such a down-to-earth personality, which made the experience a breeze. It felt like working with an old friend, and that chemistry translated into a smooth and enjoyable process.