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The Directors: Pierre Michel-Estival

13/03/2023
Production Company
Los Angeles, USA
68
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Logan Industry director on the evolution of his craft and why a director should be able to shoot anything

Pierre Michel-Estival is an acclaimed French director based in Los Angeles and represented in the U.S. for commercials by Logan Industry. Pierre is known for his distinctive style that blends grandiose visuals and intimate character work. His career began in France, where he worked in visual effects and contributed to more than 35 feature films alongside directors such as Oliver Stone or Alejandro González Iñárritu. He later joined Digital Domain where he directed a wide range of projects for many of the world's leading brands, including Nike, Piaget, Lancôme, Ubisoft, Disney and Cartier, among many others. He has also been involved in filming prestigious events such as Tribeca Film Festival, the Nobel Peace Prize and the Super Bowl. 


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 cinematics for example, I usually spend a few hours watching gamers online playing the games, 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 1st AD. If one of them screws up, I am screwed. 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 that 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. And it would keep the commercial world fresh.


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 (who has been wearing both a superhero and an anti-hero suit in his career) 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 realize 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> 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 6 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 6 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.

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