The Directors: Jose Pedro Sousa
Jose Pedro Sousa is drawn to the narratives that capture the essence of human experience, finding his inspiration in the drama and comedy of life. Always with a touch of intelligence and surprise, his work is a testament to the richness of storytelling.
Jose discovered his cinematic calling through a profound love for photography. Transitioning from still images to the dynamic world of cinema, he found it to be a more versatile canvas for storytelling. An admirer of Asian cinema from an early age, particularly its narrative and rule-defying tradition, Jose to this day draws inspiration from Japanese masters like Kurosawa, Mizoguchi, and Ozu.
When captivated by a film, Jose experiments with re-editing and altering the sound, extracting new emotions, different to the ones experienced initially. Jose believes in revisiting films multiple times to discover diverse layers of experience. This profound engagement with cinema, combined with his appreciation for the nuances of storytelling, marks Jose as a director with a distinctive approach to his craft.
Name: Jose Pedro Sousa
Location: Lisbon
Repped by/in: More Maria
Website: https://www.moremaria.pt/josepedrosousa
https://josepedrosousa.com/
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Jose> I'm drawn to scripts that blend intelligence with surprise. I have a deep appreciation for the entire spectrum of human experience, whether it's portrayed dramatically or humorously. Count on me for stories about people — their triumphs, struggles, love, laughter, and the complexities of life.
LBB> How do you approach creating a treatment for a spot?
Jose> When approaching a script, I always ask myself how I can bring a fresh perspective to it. If a script is straightforward, I try to find a new way to do it. Rather than overwhelming the treatment with technical details, I prefer to convey my emotional connection to the film. Over time, I've come to realise that what sets films apart is the director's genuine passion for the story. While many can create beautiful and modern films, capturing true emotional intensity is rare.
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?
Jose> Understanding the client, their communication style, and the context they exist in is vital for me. I actively seek out numerous campaigns, examining how the brand has evolved and positioned itself over time. Some brands strongly emphasise the history and development of the societies they engage with, locally and globally. This comprehensive study is key to grasping the brand's "voice" and the tone it uses to communicate, discerning the space it occupies in collective consciousness.
Whenever possible, I request internal information from the client to delve deep into the brand. In this context, I explore everything, from muppies to radio communication, colour codes to the press. Understanding the brand's history, positioning, and ambitions is crucial. Beyond personal enrichment, delving into a brand often unveils the culture and social dynamics of a country. Recognising how it positions itself becomes a fundamental tool for effective communication. To comprehend the commercial and cultural landscape in different countries, I survey relevant works and reach out to creators. This exchange, especially with musicians, opens doors to the vibrant cultural hubs, offering insights with high social and cultural awareness.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Jose> The key figure is the producer. They are a partner from the outset when anything is achievable. With the producer, we envision the impossible, and it's this liberty and partnership that make projects distinct and innovative. It is the producer who knows the director in all the aspects. A true producer is a fundamental part of the creative success of a project. While I value the relations with all creative departments, my belief in this fusion of talents for a shared goal begins with the producer.
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?
Jose> Everything that has to do with the human dimension. I love filming people.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Jose> I have the feeling that my way of working is very clear, it can sometimes seem like I make the process more complex, because I like to fully understand and make people understand what we are really doing. I like exchanging ideas with all departments, with creatives and with Clients. I really believe in this power of exchanging ideas — it cab be a process of great discovery that builds trust between those involved. I have, over the years, had very good experiences in this regard. The client has a relationship and an interpretation of their brand that is different from everyone else, and this knowledge, the history of the brand, the goals ans issues of the brand, is extremely precious information.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Jose> I acknowledge the importance of their role. In my experience, they work in a serious, competent and conscious way, exist to reassure and clarify the client's doubts, and not to block the creative process. In this regard, the more comfortable the client, the better for everyone.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Jose> The major challenges often revolve around casting — finding people with a combination of rare characteristics, for example, a very beautiful woman, in her 25s/30s, who was capable of staying for long periods of time underwater; or a boy who looks like a super model and can ride a horse without a saddle; fortunately I have a casting director who is brilliant at finding solutions to these problems; In both cases, the people found were perfect.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Jose> The greatest protectors of the idea are the creative teams and it is with them that I work deeply on as many creative steps as possible. I believe that this combination is where magic happens.
The entry of a director into the creative process is very important because the director brings with him the baggage of all his departments. From the search for common ground between the creative’s direction and the director’s the great works are born.
I try to be available to exchange ideas with the creative team at all times; the creative process is not stagnant, it is constantly evolving, and it is good that this path is followed together.
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?
Jose> Absolutely. The future is today.
I'm always looking for new talents to help me, to be present and participate. Always!
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?
Jose> The pandemic showed that the creative process is unstoppable. We found new tools, some of which we'll keep, others not. In this realm of creative minds on a mission, I don't anticipate major post-pandemic changes—except the firm belief that nothing, creatively, can stop us.
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)?
Jose> My focus is a cinematic language; the way the story is told. The format, and format variations, must be approached with care and attention, but do not limit my creative process. With rare exceptions, the formats can be adapted easily, though it might need extra work and planning in specific cases. But ultimately it is an important need, which should be seen as a creative and visual challenge and never as a problem.
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)?
Jose> Ideas dictate the need for technology. If the idea doesn't ask for technological innovations, I don't use them. My goal is always to find a universal and timeless form of communication, a story, told visually, that lives forever; It works in cinema, so it should work also like in advertising.
Now, if the project has a very specific positioning, at a certain time and moment, technology can help to mark that period, and it should be used there. As I said, it is the idea that requires the technology, if the technology enhances the idea, it works, otherwise, if it is only in the field as a tool for visual exhibitionism, it's unnecessary. There are currently many examples of good ideas destroyed by language errors.
We don't need new words to tell stories, we need the right words.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Jose>
Super Bock 90 years
I love making films with high levels of research and detail, and this one in particular, as it represents 90 years of my country's history, is an exercise that I am very proud of.
Super Bock Hip Hop
Once again, a period film delving into the history of hip-hop in my country. I have a fondness for history and enjoy the meticulous research and attention to detail across all departments. In this instance, with a more contemporary setting, I appreciate finding the balance between different periods and paying attention to the details.
NOS “ Exchange"
I like portraying people's daily lives. In this particular project, I like the naturalness of the actions and the final result as a representation of a day in the life of this character.
ALTICE / CR7
Working with a figure of planetary dimension presents numerous challenges, and this film, shot in several countries, is one I appreciate for its upbeat vibe and commercial appeal, all while maintaining a personalised touch in each action. The pacing is something I particularly enjoy as well.
