The Directors: Nico Beyer

Nico Beyer's signature visual techniques and his multi format approach make his work instantly recognisable. He is also well known for his versatility as a director; effortlessly infusing his films with character and humour across multiple and diverse brands. Nico has directed international campaigns for Star Alliance, Audi, Mercedes Benz, Nike, Swatch, Coca Cola, Adidas, Puma, BMW, Nissan, Lexus, Vodafone and has won multiple Clio, Cresta, Cannes, ADC, D&AD, and MTV awards.

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

Nico> I trust my first instinct. If I have to read a script several times, it's perhaps not for me. A script should give me a smile or an instant idea and how the film might look and feel. Sometimes it's just a character or a setting.

I love to make things work - even if the script is in a developing stage.

Generally, I love people. I like humour. I know, I don't have much dialogue on my reel - but I would really like to expand into that direction. 

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

Nico> Well … I write down my view or vision of the spot. After I’ve done that, I try to discuss my ideas with the creatives, before I get into finalising my treatment. On more complex jobs, I produce previews and little animatics to

make everyone involved understand what my intention is. I think that this is a really good way to work - plus I am very used to being part of a team. I never use ghostwriters or such for treatments.

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?

Nico> Hmm … So far, most of my commercial work has been for products I am familiar with. Nevertheless, an important part of my treatment is to research the brand in order to understand the brand identity, history and needs.

To be honest, the script is far more important to me, than the brand. What I mean is, I have no problem doing a toilet paper ad, as long as the script is fun. Of course, I wouldn’t work for anything unethical.

But again, it really depends on the script however, I wouldn't touch a politically charged project.

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

Nico> Definitely the copywriter. It’s their script. It's my job to make it come alive - but it's their baby. The 2nd important person is the DOP. The DOP is my eye. They need to be involved in every step of the project. 

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?

Nico> My background is in music videos and there was a time where the visual language of my music videos translated into car commercials to make them young and hip. But these days, I am much more drawn to humour and people. Currently, I am working on a feature film and I really want to make films about people and dialogue. This is why I love the English market. Germany just doesn't provide enough scripts for that. 

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

Nico> Very simple. German agencies think that I share their sense of humour - I truly don't and I would say I’m much more than a car director. 

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

Nico> We shot a big commercial for Mediamarkt (A German electrical goods market). The film in itself was insane and very funny. It was a six day shoot (shooting both day/night) in Berlin. We had two clients. One was conservative and seemed to hate the campaign and the main guy, who was the one pushing us to do even more crazy stuff. On shoot day four (nightshoot) we were shooting a bunch of knights in a zodiac on a lake attacking a french cabaret singer (don’t ask), when suddenly three police cars pulled up beside us. The policemen jumped out and arrested the main client in handcuffs … ooops …. 

The next couple of shoot days had a very weird atmosphere. 

It turned out that this client had taken money - it was all over the news the next day. I can tell you a ton of stories. Commercial shoots are surrounded by weird people and situations a large majority of the time.

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

Nico> I usually work directly with the creative team. They communicate with the client. I try to make the client understand what we are doing, so that they feel at ease and in a safe pair of hands.

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?

Nico> I think, that everybody should have equal chances and opportunities to work in our business. Its about talent. No matter, where you are coming from, which god you believe in or what your sexual orientation is. I just came back from the Berlin Film Festival and it was great to see films and meet filmmakers from all over the world. 

I work with art and film schools and employ film students on a regular basis to give them an inside look into our business. It has always been a great experience. 

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? 

Nico> Obviously we got used to communicating by zoom and remote working on shoots, grading and editing. That might make production more efficient and easy, but I prefer personal meetings face to face. I like to sit in an edit suite - personal contact is very important to me. In the end, we are working in a people business. 

What I like is that it isn’t important where you live anymore. I love my country life and since covid i can work from here - that's really great. 

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)? 

Nico> I am used to producing in many formats. Social media is a very important part of advertising now. These days, films need to function in every possible format. It's also a creative playground.

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)?

Nico> I am not a tech geek although I use every new toy, which helps me find new ways of storytelling. At the moment, I am obsessed with my FPV drone. For me, the script comes first and then I try to find the necessary means to produce a cool film.

I believe in film language. Film language works in many ways. Given this, I am always eager to learn and to try out new things. 

During the pandemic, virtual production became useful to me when travel wasn’t possible and post pandemic there are still benefits of being able to shoot many different scenarios within a studio.  I am also constantly shooting little test films - new lenses, old lenses, film or digital, etc. etc. etc

LBB> What's next for Nico?

Nico> A jolly lovely job in the UK.