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The Directors in association withLBB Pro User
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The Directors: Renee Maria Osubu

19/10/2022
Production Company
London, UK
169
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Somesuch director on capturing the everyday, still using a pen and paper and the draw of exceptionally talented people

Renee Maria Osubu is an award-winning British Nigerian photographer and film director from London. She often investigates themes of community, identity, race and childhood. Using the nuances of everyday life as her visual language.

She is best known for her on-going photography series Dear Philadelphia, which over time became an ode to a neighbourhood and its residence. Like much of Osubu’s work in the US and UK, this project harnesses the political power of documenting, capturing and normalising the tenderness of the black family, whilst maintaining a specific focus on fatherhood. 

The photo series was later extended into an Oscar and BAFTA qualifying short film. Winning the Jury award for Best Short Documentary at Blackstar Film Festival and having its international premiere at Sundance Film Festival 2021.

One of her most recent photography series 'Fathers & Figures',  was commissioned by Leica Camera and has been exhibited around the UK after winning The Portrait of Britain Award. 

Name: Renee Maria Osubu

Location: London

Repped by/in: Commercial/Music Videos - Somesuch and TV - 42mp

Awards: Qualified for the 94th Academy Awards 2022 - Dear Philadelphia /  BAFTA qualifying short film 2022 - Dear Philadelphia/ Portrait of Britain Award 2021 & 2019/ Sundance Film Festival 'official selection' 2021 - Dear Philadelphia / Blackstar Film Festival Best Short Documentary Jury Award 2021 - Dear Philadelphia/ Vimeo Staff Pick Award winner at Blackstar/  Michael Wilson Photography Award


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

Renee> I love having the opportunity to capture the everyday life of a person or a community, and bring to light the beauty of it. I’m drawn to scripts that aren’t afraid to talk about difficult topics but humanise them through moments that feel familiar to the audience. I also love a script that takes risks and goes for the unexpected tone or approach.


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

Renee> I always bring pen to paper and sketch out my ideas. For me it’s about world building, the sooner I can imagine the people and places the more excited I get. After that it’s about the research, making sure this idea is rooted enough for it to connect with my audience. Collecting images along the way that all contribute to conveying my idea to the client. 


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?

Renee> It’s really important to me. To me being creative, is also about investing in the work you put out. I would want to research to make sure I understand and therefore can best support the brand, but also be sure that the brand aligns with who I am. 


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

Renee> I don’t think there is just one person. An ad wouldn’t be possible without so many contributors. I really value the effort that everyone puts in at different times and often means building multiple relationships.


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?

Renee> I’m really drawn to a subject matter. Anything that elevates untold stories, a project that empowers people in their everyday lives. If not that, then a project that’s exciting and can push creative boundaries. 


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

Renee> My first piece of work was a documentary that focused around vulnerable story telling. So often people can place me just in that. Those types of stories will always be dear to my heart, but I’m also wanting to make work that feels completely different. 


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

Renee> For me it’s about fostering an environment that feels comfortable enough for them to give input and share ideas. Ultimately we all want the best for the work, but also being able to have the confidence to trust myself and my concepts is integral. It’s not about being stubborn but assured and able to communicate well.


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?

Renee> I’m drawn to working with exceptionally talented people. So as a result I have the honour of always working with a diverse pool of talent, because a truly talented crew looks diverse. If there’s the capacity, then I’m definitely open to mentoring and shadowing opportunities on set. I think it’s amazing to have others learn from different steps of your journey and it’s a joy to do. 


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? 

Renee> The pandemic taught us that location doesn’t have to be a barrier. Face to face is always great but sometimes we can just jump on zoom, this also means being able to work with talented individuals from all over the globe. 


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)? 

Renee> Being a photographer and director in both film and commercials, I’ve had the pleasure of seeing my work on exhibition walls, cinema screens, TV screens and framed on peoples walls. So if the job allows for it, I’m always considering how the work can be experienced in different spaces. This especially impacts the sound design.


LBB> Which pieces of work do you feel really show off what you do best – and why? 

Renee> Dear Philadelphia was one of my first pieces of work. It really encompasses a lot of who I am and creatively the work I love. Not only this, but the process of making this film was a special one. It was an intense and exhilarating project to make, which was later edited and mixed during the pandemic. It shows what true collaboration can do, it’s a project that shows my love for community. It also highlights how I like to play with colour, composition and music and taking the less traditional approach to tell a story. 

I recently worked on a campaign for the Prince’s Trust called Class of Covid. What I loved about this project was working with real life stories to inform our commercial. Having the opportunity to sit down with four young people and learn about their resilience, then build from that and see them on TV screens, empowering other young people to feel seen in their experiences. I also had the chance to work with Ashley Walters, who is not only an incredible actor but an incredible person and to come together with The&Partnership to bring this idea to life.

This week my TV commercial for COAT Paints came out. It’s their first ever tvc and it was just a joy to bring their beautiful product to life through our commercial. I absolutely love working with people, and this commercial was a challenge because it didn’t have any. It was a challenge I’m glad I could be a part of, we were able to really focus on the script and the stunning design within the room. I have two more commercials coming out with them in 2023 and can’t wait to see them. It’s so rewarding to be part of those beginning stages with a brand. They’ve invested so much into their product and to see their appreciation of the commercials in priceless.

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