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The Directors in association withLBB Pro User
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The Directors: YUANN

29/03/2023
Production Company
London, UK
137
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FAMILIA director on why knowing what needs to be made and why it needs to be created is key

YUANN is a Japanese-Chinese Film Director and Photographer. He began his career as a graphic designer and art director in the fashion industry.  In 2019 he founded the creative collective Kidzfrmnowhere in Tokyo, Japan. A prolific creative, Yuann has photographed and directed scores of spots and campaigns for international brands including Adidas, Burberry, Marc Jacobs, Nike, Versace, and Zara, to name a few. Yuann is fluent in Japanese, Chinese, and English, but his dynamic work transcends language and culture, and is celebrated by a global audience.


Name: YUANN

Location: Tokyo, Japan

Repped by/in: FAMILIA


LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

YUANN> This year has been really fascinating for me, for me it’s been about focusing on creative expression and excellence across different genres, new ventures and collaborations not only in Japan and East Asia but Europe and the United States. Recently I made a film for a Korean video game brand kartrider that is taking South Korea, and soon Japan, by storm. I was able to work directly with the brand, we were really able to push the creative idea and make some really fun and crazy visuals. Of course, I will always stay true to my background in fashion and still love to create fashion films as they often offer the most creative freedom.


LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?  

YUANN> I think the trend towards new innovative technologies in film are particularly exciting. There is some much change happening at this point in time in our industry and finding ways to implement these new technologies into my films is always at the forefront of my thinking. My film language is characterized by fast-paced cuts, unique camera movements, use of detailed sound design and VFX. 


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

YUANN> I don’t believe that there’s a bad script per se. It really depends on how you treat the script, the director’s vision and creative solution-finding. I have my own creative style with which I approach each script bringing in unique camera movements, sound design as well as other elements to create an exciting film. 

My background is in fashion so therefore this is what I like to bring into my films. Particularly I am drawn to narrative scripts that allow for a kind of “fashion element”.


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

YUANN> First, I study the brand in depth to see how the creative idea proposed by the agency/brand lives within the brand’s universe. For me, it’s about balancing between what the agency requests and my creative ideas. We always want to push the envelope to create something new, innovative and exciting.


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?

YUANN> Knowing what needs to be made and why it needs to be created is key.

It is incredibly important to understand a brand and also the culture/context within which it exists. So I will look at previous commercials and also their homepage which is the face of a brand. 


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

YUANN> I think one of the most important relationships is certainly with the creative director from the agency side in order to really align with their creative vision. Additionally, I also believe in a collaborative approach in which I work closely with the post-production teams including VFX, sound etc. to ensure the best possible quality for the film. Meanwhile, the producer I would work with on each job is a crucial partner in bringing all these elements together.


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?

YUANN> My style is really about having a strong narrative concept, bringing in a fashion element. Because I come from fashion films and have built up towards narrative, I really believe in creative expression and bold concepts. I bring in innovative VFX for my films, putting emphasis on sound design to create truly immersive films. I love how brands like Apple and Spotify have always pushed for creative driven films. There is an anticipation that each new spot/ commercial they produce will be better than the last and push the creative boundaries further.


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

YUANN> My films are often described as edgy, modern, good fast pacing with strong VFX elements, and a sense of fashion. I think what people sometimes underestimate is the organic storytelling within my films, the element of localised cultural narratives incorporated into my creative approach and expression. 


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

YUANN> Making films is always an adventure. For one shoot, I fell ill the night before the shooting. The morning of the shoot I was only able to tell my team. But because the pre-production was done thoroughly, communicating closely with my AD and the rest of the team, the shooting was executed just as planned. Followed by a meticulous post-production process in which I was directly involved ensuring quality, creativity and the final vision.


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

YUANN> …. While the client very much sets the standard, I think it’s important to be open and communicative with your creative ideas and opinions. I believe in a collaborative and transparent process in order to create the right balance satisfying client needs while protecting the creative vision.


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? 

YUANN> I myself do not have the classic film school background of many filmmakers. Therefore I deeply believe in opening the industry to all creatives whatever their background, titles etc. It’s really all about what they can make, their talent and drive. As long as we mesh well in terms of style and vibe, I love bringing on new diverse talents, exchanging ideas, helping them grow. 


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)? 

YUANN> We try to push the creative boundaries to suit each platform. However, the work I do usually comes as a package. Therefore, we focus on the main film before adapting it to other formats.


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)?

YUANN> To be honest, I’m quite a tech nerd. So I love incorporating VFX, CGI, AI into my films. I very much surround myself with these artists, hitting them up via instagram worldwide to create global collaborations. ____ ASAP Rocky VFX designer LINK


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

Kartrider

I had exceptional creative freedom to come up with the concept, script and overall vision. We worked with VFX partners from ____ and created an action-filled film with my signature fashion elements.


This is was a full remote production which was a challenge but ultimately produced a bold expansive fashion film.


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