The Directors: Manu Mazzaro
Manu Mazzaro began his career as art director, followed by advertising agencies in Brazil and abroad. During this period, he won important awards in prestigious festivals such as Cannes, New York Festival, London Directors & Art Directors, Clio Awards, Creative Club Festival, Wave Festival, Young Bullet and Cannes Young Lions, where he represented Brazil in the Film category. He was then invited to work at Publicis agency, in Madrid, where he lived four years and studied cinema. Upon his return to Brazil, he had the opportunity to direct campaigns for major brands such as Natura, Boticário, Audi, Citröen, Samsung, Bradesco and C&A. As a director, Manu has also been awarded at Cannes Lions, D&AD, Festival do Clube de Criaçaõ, Wave Festival, El Ojo de Iberoamerica and New York Festival.
Name: Manu Mazzaro
Location: São Paulo
Repped by/in: Landia
Awards:
Six Cannes Lions, one in film
Three Pencils at D&AD
Seven Clios
12 El Ojos
Three New York Film Festival Awards
One Ciclope Latin American
Eight Stars at Clube de Criação de São Paulo (Eighty Stars)
Young Lions in Print and Competing in Film
Young Guns Award
LBB> What elements of a script set one apart from the other, and what sort of scripts get you excited to shoot them?
Manu> I am drawn to scripts that not only fuel my creativity but also enhance my knowledge and learning. For instance, I remember working on a project where the script's intricate narrative structure pushed me to explore new storytelling techniques, which was both challenging and rewarding. I find that I thrive on projects that challenge me linguistically, as they open up new avenues for creative expression and collaboration with my team. It's crucial for me to find a script that resonates on a deeper level. The stories I choose to tell are not just about the dialogue or the visuals, but more about the underlying message and its impact. I'm particularly attracted to scripts that have a strong emotional core - stories that delve into the human experience and evoke genuine feelings. This emotional connection is what drives my decision-making process as a director. It's not just about the 'how' of the story, but the 'why' - the purpose behind it. Such scripts not only contribute to my growth as a professional but also as an individual, constantly shaping my perspective and approach to filmmaking.
LBB> How do you approach creating a treatment for a spot?
Manu> First and foremost, I stay true to myself. Often, scripts can be overly promising, and I'm cautious about not using deceptive tactics that some brands favour. It's a delicate balance for me to maintain a certain elegance in this business. That's my initial step.
Once I'm convinced that my experience can contribute, I initiate a philosophical discussion with my creative research team. After this, things become clearer to everyone.
Feeling engaged in the project, I select key topics to begin my research. Time constraints often lead me to rely on familiar tools, but given more creative leeway, I prioritize a deep understanding of the category, brand, or product. This approach allows me to formulate and present bold, convincing ideas.
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 the strategic and contextual side of the ad? If it’s important to you, how do you do it?
Manu> Building on my earlier emphasis on philosophical discussions and deep research, understanding new brands or markets is a natural extension of this process. My approach involves immersing myself in the brand's history and values, which is crucial for creating an authentic spot. This is complemented by engaging conversations with brand representatives, ensuring my creative vision aligns with their objectives.
LBB> For you, what is the most important working relationship for a director to have with another person when making an ad? And why?
Manu> As I accumulate more projects, I increasingly recognise the importance of collective effort. To me, the structure of working relationships in directing is less hierarchical and more akin to a form of nuclear gravity. It's about having multiple voices and perspectives orbit around a central idea, creating a harmonious yet dynamic interaction. This symbiotic relationship thrives on active listening, constructive arguments, and the openness to change one's mind.
In this setup, a director acts as a central force, not in a dominating sense but more as a unifying figure. It's crucial to have the social skills to keep everyone aligned and engaged. Understanding that, as a director, while you are at the core of this structure, effective leadership is about fostering collaboration and mutual respect among all participants This approach is key to not just maintaining harmony but also to bringing out the best in every member of the team.
LBB> What type of work are you most passionate about? Is there a particular genre, subject matter, or style you are most drawn to?
Manu> I have a deep passion for crime movies and thrillers. The complexity and layers within these genres often reveal the essence of human nature, which I find incredibly intriguing. Additionally, I'm drawn to sci-fi movies for their imaginative and speculative elements.
In terms of style, I admire directors who skilfully control the pace of the story, constantly manipulating the audience's engagement and expectations. This creates a captivating experience with high stakes. I also have a profound appreciation for projects that use cinematography as both a narrative and an aesthetic tool. An exemplary film in this regard is Paul Thomas Anderson's 'Phantom Thread,' which is a masterclass in directing, from blocking and lighting to staging.
I'm attracted to directors who are adept at using all the 'tools' cinema offers. To me, it's about a constant journey of learning, studying, and practicing to master these skills.
LBB> What misconception about you or your work do you most often encounter, and why is it wrong?
Manu> As a commercial director, a common misconception I encounter is the belief that my primary focus is on the aesthetic elements of the production, such as visuals and cinematography, rather than the story or message of the ad. This perception is incorrect, as my approach to directing is deeply rooted in storytelling. While visuals are a crucial aspect, they serve the purpose of enhancing the narrative and not dominating it. My goal is always to convey a compelling story that resonates with the audience, aligns with the brand's message, and evokes the desired emotional response. I strive to maintain a balance where both narrative and visuals coexist harmoniously, each amplifying the other. This holistic approach is essential for creating impactful and memorable commercials.
LBB> What’s the craziest problem you’ve come across in the course of a production, and how did you solve it?
Manu> One of the most intense challenges I've faced in production is managing the collective anxiety and high expectations of everyone involved. As a director, it often feels like I'm operating on low battery, constantly trying to meet the individual expectations that each team member has, both professionally and personally.
The most taxing aspect is ensuring effective communication, especially PPMs, where urgency often overrides the need for thoughtful discussion. It's common for team members to jump to problem-solving mode before fully understanding the issue at hand. This eagerness, while well-intentioned, can lead to misunderstandings and inefficient solutions.
To tackle this, I've had to intensify my efforts in ensuring that the team not only hears but understands my directives. It's about creating a space where people can pause, listen, and then engage in meaningful debate to arrive at the best course of action. This approach often involves guiding the team to slow down, reflect, and then collectively brainstorm solutions.
Navigating this has been a learning curve, but it's also been instrumental in fostering a more cohesive, effective, and responsive team dynamic. It's a testament to the fact that sometimes the biggest challenges in production are not the technical or creative obstacles, but the human elements of teamwork and communication.
LBB> How do you strike the balance between being open and collaborative with the agency and brand client while also protecting the idea?
Manu> In my role as a director, balancing open collaboration with agencies and clients while protecting the creative vision involves a few key strategies. First, I prioritise open communication and mutual respect, valuing the insights from collaborative brainstorming with clients and agencies. However, I also maintain a firm stance on protecting the core creative idea, articulating its value clearly and assertively when necessary.
Negotiation and creative problem-solving are essential in finding a middle ground where both the client’s needs and the creative integrity of the project are respected. By being adaptable and reflective, I strive to align these differing perspectives, ensuring the final product harmoniously blends our creative vision with the client’s objectives. This approach is about balancing effective communication, strategic compromise, and a steadfast commitment to the creative essence of the project.
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?
Manu> Definitely, I'm all for bringing in a diverse mix of talent into production. It's thrilling to work with people from different backgrounds and experiences; it just adds so much more to the creative process. I had a recent experience that really drove this point home for me. It showed me that having a variety of perspectives can take our projects to a whole new level.
I’m big on learning and believe that if you’re not moving forward, you’re falling behind. That’s why I’m really keen on mentoring and offering apprenticeships. It’s not just about teaching others; it’s a two-way street. Newcomers bring fresh ideas and energy that can challenge and invigorate the whole team.
So, in a nutshell, I’m all in for more diversity and learning opportunities in our field. It keeps things fresh and exciting, and honestly, that’s what keeps me driven in this industry.
LBB> How do you feel the pandemic is going to influence the way you work in the long term? Have you picked up new habits that you feel will stick around for a long time?
Manu> Yeah, the pandemic has changed a lot of rituals, both personal and professional. But some things never change, like the ambition where everything is based on profits - I mean, huge profits. For about 95% of people, it feels like we're just trying to survive the constant need to produce more and more. I think technology, especially AI, came to improve some aspects, but at the same time, it justifies the need to produce more with less. This, for me, is the real challenge we need to put on the table and discuss. Everyone is trying to survive and maintain a comfortable life, but we need to discuss the excess we're in the middle of right now.
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)?
Manu> In our rapidly evolving society, the trend of standardising low-budget productions is an inevitable response to new technologies and languages. However, as a consumer and creator, I often find myself lost in a monotonous ocean of influencers echoing similar themes. It's a reminder that gaining attention shouldn't solely rely on accelerating everything constantly. We're underestimating the audience's capacity for attention. Humanity has thrived on creativity, not just speed. This drive towards homogenisation, focusing excessively on numbers, risks creating a bland, narrative-less world. We're at risk of drowning in a cacophony where everyone is shouting louder to be heard, losing the essence of thoughtful storytelling. Our focus should be on fostering original narratives and creative diversity, not just amplifying the volume.
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.)?
Manu> I have a deep fascination with new technologies, especially for their potential to save time and offer fresh learning opportunities. Technologies like virtual production, interactive storytelling, and AI-driven visuals are not just tools for me; they are gateways to exploring new creative avenues every day.
However, I maintain a realistic perspective on technology. While I embrace its benefits, I'm aware of the need for regulatory measures. Without proper governance, technology could lead us away from its intended purpose of creating, learning, and societal improvement, trapping us in an increasingly virtual existence.
In my work, I strive to find balance. We're in the midst of a thrilling digital revolution, which is incredibly exciting. But I'm also cognisant of the risks. Without appropriate laws and regulations, this digital leap forward can be as daunting as it is promising. So, in my projects, while I leverage these advanced technologies to enhance storytelling and efficiency, I also advocate for a responsible approach to their adoption and use. The goal is to harness these innovations to enrich our narratives and society, not to replace our reality with a virtual one.
LBB> Which pieces of work do you feel really show off what you do best, and why?
Manu> Andalsusian Crush
Andalusian Crush was my latest project, one I'll remember for a lifetime due to the profound connections I made. In Spain, I found not only a dear team that provided invaluable insights but also encountered the heart warming people of Andalucía. Their impact on me during my nearly two-month exploration of various cities and provinces in southern Spain was profound. Working with the agency, producer, and client was like living a dream where I could exercise my creativity using a blend of research, intuition, heart, experience, and innovative thinking. Active listening was a key aspect throughout the project, which ultimately led everyone to passionately commit to creating a difference in Andalucía's tourism. The moment the client first viewed the offline version and expressed how it rightfully positioned Andalucía, I felt an immense triumph in my career. This project holds a special place in my heart.
Here, it's one of my favourite projects because it was thoughtfully conceived over a significant period, even with a modest budget. The successful execution of this project was due to precise choices in team selection, weather prediction, location, and special effects, allowing us ample time for assembly and post-production. This led to an outcome that I consider a milestone in my career. I hold a deep affection for this work because of the atmosphere we achieved, which aligned with the agency's and client's brief to elevate Brazilian perfumery to international standards. This was made possible through a harmonious expectation alignment based on a favourable time for these decisions. The feedback we received suggests we successfully met these ambitious goals.
Running Box was a car project where I could infuse my personal and cultural passions for motorsports. It was particularly special as it involved a Japanese brand, a country whose cinematic, culinary, behavioural, musical, and social culture I deeply admire. Transforming these elements into a somewhat post-apocalyptic film, reminiscent of Blade Runner, with a stylish yet slightly bad boy protagonist in his '40s, was an enriching experience. It allowed me to layer many dimensions into the project. This Brazil-Argentina coproduction was memorable for its open-minded team, a client willing to listen, and a trusted crew passionate about bringing to life some of my initially intimidating ideas. Seeing these ideas mature and executed so well as a team brought me immense satisfaction.
Sleekform was one of my significant personal productions, beginning with a dream, almost a nightmare, that I transcribed into a script. I sought out a band and production team that resonated conceptually and aesthetically with what I envisioned - a kind of '80s Italian B horror yet with a more refined aesthetic. In this project, I was able to infuse aspects of my psychological personality, working with a practically zero-budget team who were all committed to achieving the best in both craft and narrative. It was heart warming to know I could rely on such talented individuals, and I always strive to offer my time and affection in return. This mutual exchange is crucial to the final outcome of any project, whether it's personal, advertising, or any other kind of creative endeavour.
