The Directors: Pierre Michel-Estival
Pierre, an acclaimed French director currently based in the vibrant hub of Los Angeles, has left an indelible mark on the world of filmmaking. His journey is marked by a distinctive style that effortlessly melds grandiose visuals with profound character-driven narratives.
Pierre's artistic odyssey commenced in his native France, where he delved into the realm of visual effects. His early career was nothing short of remarkable, as he contributed his creative touch to over 35 feature films, collaborating with renowned directors such as Oliver Stone and Alejandro González Iñárritu.
However, it was Pierre's directorial debut that set his trajectory towards the glittering lights of Hollywood. His exceptional talent captured the attention of the industry, leading him to an invitation from Digital Domain, the Oscar-winning company founded by the legendary James Cameron. Here, he had the opportunity to transplant his unique style into the American film landscape, solidifying his reputation as a leader in the field and becoming one of the most sought-after directors in the business.
Pierre's portfolio is a testament to his versatility and creative prowess. He has lent his directorial finesse to an array of projects for globally renowned brands, including Nike, Piaget, Lancôme, Ubisoft, Disney, and Cartier. His involvement extends beyond traditional advertising, encompassing high-profile events like Tribeca, the Nobel Peace Prize, and the Super Bowl.
In the world of entertainment, Pierre has collaborated with a constellation of stars, including luminaries such as Kate Winslet, Ryan Reynolds, LeBron James, Buzz Aldrin, Jennifer Lopez, and Conan O'Brien, among others. His ability to seamlessly transition between luxury commercials and ground breaking initiatives is evident, epitomized by his ground breaking work on Nike's first-ever auto-lacing shoe commercial and his expert direction of Ryan Reynolds on a London rooftop for Piaget.
Name: Pierre Michel-Estival
Location: Los Angeles
Repped by/in: Logan Industry / USA
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Pierre> As a director, my role is to make any script that comes my way stronger and then direct the best film possible. So I am not looking for something very specific but more if there is room to make it great. That said, I love when a celebrity is involved or if there is anything epic in there. It is always a nice bonus.
LBB> How do you approach creating a treatment for a spot?
Pierre> It evolved through the years. Now, I am very straight to the point. I lay down my vision, find the right references that go with that vision and add a strong creative idea that I know no one else will have — so that, if the clients like it, they will have no choice but to go with me! For example, on my last shoot, the original script was happening in a restaurant. I thought it had to be a gallery because of the theme of the film. It is a 'make or break' philosophy but it separates you from the competition right away. I tend to do that every time.
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?
Pierre> I direct beauty spots, video games ones, others with Ferraris in it… And I am not a woman, I drive a Volvo and I don’t play video games. That’s the role of a director to be able to shoot anything. I am here to create magic, that’s my strength. Just like an actor can hopefully do drama and comedy. But you have to do your research, that’s key. For Ubisoft cinematic, for example, I usually spend a few hours watching gamers online, reading everything I can about the game, etc. Trust me, after a full day, you become a specialist and you can jump on the phone with the agency/client and explain your vision.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Pierre> I can’t choose only one person. On set it is the DP and 1rst AD. If they do their job and I do mine, it is heaven. For the pre-prod/prod, it is the line producer/producer. For the post, it is your VFX supervisor.
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?
Pierre> I am known for Epic and Beauty - which is a strange combo. I am more drawn toward narrative and lifestyle now but I am happy with everything as I always see a lot of potential in any project.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Pierre> I will answer with a general feeling about the industry. There was a time where CDs would come to a director to direct something that was not in their reel. Today, it is not a common practice anymore - as someone, somewhere, has the spot in his/her reel already. It makes no sense to me why we don’t take risks like we used to do in the early 2000’s because, once again, that’s the role of a director to adapt. It would also keep the commercial world fresh.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Pierre> Not directly, no.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Pierre> I directed many commercials so I have a lot of stories! But if I had to pick one, it would be an A-list celebrity leaving the set at 3pm where I was told - most certainly wrongly - he would leave at 6pm. I had to adapt the shots list like I never did before. I finished the shoot with the stunt guy - shooting him in different creative ways. But as always, when you start to edit, you realise that you had plenty to work with.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Pierre> That’s the definition of being a commercial director. And as long as you know what you are doing, you explain why you are doing it, and you do it with respect they go along with you. They came to you for your vision so you have leverage. But it is also important to remember that you are here to help them sell an emotion or a product. So if you feel that they really need something to be different, you not only make it happen but you do everything in your power to make it great within the time constraint. That’s why 'Director’s cut' exists.
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?
Pierre> I am mentoring a few directors right now and I love it. I learned the hard way and I am pleased to pass my knowledge to others.
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?
Pierre> Not really.
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)?
Pierre> The big new things are the six seconds for social media and 9/16 or square versions that go with it. You are not going to come up with a board for a six seconds edit and you are not going to frame someone or something because of Instagram - as it would be taking the problem backward. So you plan for 16/9 and 60 seconds and then reframe and cut-down in post.
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)?
Pierre> It is just new tools to tell the same stories. Instead of doing a CG head, we might do deepfake now. Instead of a green screen, we go with Unreal on a VP set. It’s all very exciting and keeps the experience fresh.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Pierre> OnePlus. Piaget. Assassin’s Creed. And the next one of course!
