The Directors: Cyril Guyot
Cyril Guyot is a film director and creative based in New York City. Native to Paris, Cyril grew up surrounded by high-art and history but always admired the edgier imagery that was emerging. On that basis he left home to study film at New York University Tisch School of the Arts where he fell in love with the city’s grit, charm, and electric energy. It is from that dichotomy of cultures and taste as well as being part of the LGBTQIA+ community, that Cyril draws his best inspiration.
Graduating amid the Y2K luxury boom, Cyril naturally found his way to the fashion industry, directing big films straight out of college for the likes of Prada, Dolce & Gabbana, Louis Vuitton, Michael Kors, Tom Ford… and later gained even more heavy hitters like Steve Madden, Estee Lauder, J.W. Anderson, Armani, Tommy Hilfiger, Mercedes, Netflix, and Samsung.
A natural born creative, Cyril considers himself part of the 'maker movement', getting involved in every aspect of content creation in pursuit of the best output: directing, creative directing, editing, animation, graphic design, photography, and script writing.
In 2018 Cyril founded ARTSIDE, a creative and production studio, where he exercises each of those skills for a wide range of clients. Drawn to large scale, innovative, and forward-thinking briefs, Cyril pulls from his past experiences to execute memorable brand moments that push boundaries and stir conversation”
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Cyril> Typically, I like to be surprised. Most of the time, I’m already familiar with the product, but it's the unexpected and innovative approach to telling its story that excite me. As well as, how much of my own voice will I be able to put into the script?
LBB> How do you approach creating a treatment for a spot?
Cyril> I usually start by asking a lot of questions. I need to understand everything and understand the rules of ‘the game’. Can I go in and start challenging aspects of the script or do I need to really stick to what has been shared with me!? Then, I take a moment to freely think and explore visual references. Then, I dive into the treatment, and see where it takes me, what ideas come out from the images I see, words I write. I try to remember that the client and agency came to me because they appreciate my vision… therefore… I need to put my own personal voice and approach into the 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?
Cyril> It's crucial to understand the context and purpose of the project. When I work on a brand, I am not so familiar with, I want to grasp the brand’s language, DNA, target audience, and any historical background. Equally significant is simply asking the question, "What are you guys looking to achieve with this spot?" Are you seeking buzz, client loyalty, product introduction, or reaching out to new tribes? This understanding helps shape the creative approach and ensures alignment with the brand's objectives.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Cyril> I guess it’s important to keep an open conversation with everyone. To me, it's essential to always remember that you've been hired to promote someone else's product, not your own. This requires engaging in a dialogue with the client and agency, actively listening and exchanging ideas. Creativity thrives when you communicate and involve everyone on your crew. I never know who might contribute a brilliant creative touch or suggestion to the project. It could be my producer, a prop assistant, a makeup artist, or my own assistant. Ultimately, the goal is to create the best possible film, and that often stems from harnessing and challenging the collective creativity of my entire team.
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?
Cyril> It has evolved over the years. Having been raised during the golden age of music videos in the 90s, I was very drawn to crafting visually captivating and powerful imagery. Then I became more interested in projects that encompassed a substantial narrative element, paralleling my personal narrative projects. At the moment, my focus has shifted towards actively exploring and embracing new technologies, such as avatars, virtual reality, AI, and any post-production advancements.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Cyril> People see a 20’ spot on TV and have NO idea how many people worked on it, and how much work, time and thoughts went into it. From meticulous planning, extensive collaborative effort to countless hours spent discussing details like the colour of a couch, casting choices, or selecting the perfect music. There is also a constant challenge in balancing your creative expression with the need to meet objectives and adhere to the brand’s vibe. I usually say, we are not really “artists “but we are doing “artistic” work.
LBB> Have you ever worked with a cost consultant and if so, how have your experiences been?
Cyril> Yes, but I usually try to leave that part to the producer. However, there are times when I need to advocate for additional resources for specific items. Today, you always have to strike a balance between creative needs and budget considerations. In some instances, some of them have been instrumental in convincing the client of the necessary requirements. On the other hand, there may be situations where certain aspects of the project have been under-budgeted, leading to on-set challenges. You just have to navigate these situations and find solutions that maintain the creative vision while working within the given constraints.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Cyril> This is our industry’s recurring joke. No matter how experienced you are or how many projects you've worked on, something unexpected will always happen. However, the essence of our work lies in finding solutions and making things work. We need to be highly reactive and ready to come up with quick solutions on the spot. I remember a crazy moment from an underwater shoot in the Bahamas. The talent had to dive from a boat into the ocean, but her swimsuit had shinny buckles that were attracting many aggressive barracuda fishes which started to circle the boat. She did not want to jump anymore. With no way to change the swimsuit at sea, the team, including myself and the producers, had to jump into the water and create a wide circle around her to scare away the barracudas. Sometimes, you just have to do it and jump into the water!
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Cyril> I am sure some directors don’t love it and rather be left alone, but I like the collaborative process. It's important to value and consider the ideas and input of clients and agencies, as the director, I have a crucial role in shaping and leading the project. There are times where doubts arise or concerns are voiced, often driven by fear or uncertainty during the shoot. It's during these moments that I usually follow my guts and step in, to reassure everyone, and take a proactive leadership role by being “the director”.
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?
Cyril> We have to! Talent stems from curiosity, which is a quality that can be found in individuals from any backgrounds. While considering the best person for a project is still important, it is urgent for clients and agencies to keep listening to diverse pools of talent. Embracing diversity not only fosters inclusivity but it also brings different perspectives and experiences to the table.
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?
Cyril> Not sure I fully had time to reflect on it. It definitely, exposed the fragility of our work and industry. It has forced us to adapt and find new ways of creating within challenging circumstances, which in a strange way, is also very interesting and humbling. During that time, I tried to explore new technologies for a different kind of creative expression and educate myself about their workflows and possibilities.
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)?
Cyril> It’s amazing to be able to see your work on so many platforms and formats, however, let’s be honest, it’s a total nightmare to put together. It’s a real challenge to deliver an amazing emotionally moving 60’ cinema spot that can be as impactful in a 9x16 10’ on TikTok!
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)?
Cyril> I’m obsessed with it. You can’t fight gravity. It’s happening. I am embracing it. I think it can really be used to help push your creativity. Instead of viewing it as an obstacle, I see it as an opportunity to explore innovative ways to a different kind of work. It's a mindset that allows me to leverage constraints as a catalyst for innovation rather than seeing them as limitations. However, I also understand that it’s not for everyone, and I don’t think making a good project has to include future-facing tech.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Cyril> Hard question. I might see something I like in a spot that some people might not grasp and that simply because I am emotionally attached to the project, or the way it was done, the experience or the people that worked on it, or it marked a milestone like my first car film. Not sure, TV commercial director look back at their work the same way feature film directors look back at theirs. Our work involves creating content that has a shorter lifespan and is quickly consumed by audiences, and five years later it often feels dated!
