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Episode 4 - Los Pérez - Directing Together
557 Plays11 months ago
Los Pérez are known for their colorful, hyperbolic, and larger than life short form work. Like podcast hosts King She, director duo Los Perez are partners in life and in cinema. The two directing duos got together to discuss process, practical effects, and parenting through production. It’s easy to assume Los Pérez’s dynamic and detailed filmmaking sequences are all CGI, but the duo strive to create as much in-camera as possible. In this episode, Los Perez dive into their pre-production heavy process and share what makes their relationship so successful creatively and beyond.
Huracán Ramírez - Apple
JR JR - Gone
Indiewire
Young Director Award Impact
CGI - Computer Generated Images
Succession (Show)
Tinder - Going All the Way
Love Battle - Cat People
Coca Cola - Open that Coca Cola
Klarna - Get Smooth Again
This episode is sponsored by Somesuch, Supreme Music, Bonaparte Films, and Cartel.
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Transcript
Partners in Creativity
00:00:01
Speaker
I have to say that, you know, what we enjoy of working together is that we are a couple as well. We never disconnect. That's the issue. But at the same time, I think it's part of our life. And we always feel that we live in this kind of cult because advertising or filmmaking is a bit of a cult because you explain to other people what's your job. They pretend they understand, but they don't. You're listening to the Young Directors Award podcast.
Meet Los Pérez
00:00:25
Speaker
We're King Chi and we're your hosts. And this is episode four, Los Pérez.
00:00:33
Speaker
This week, we're talking to Los Perez, their directing team based in Barcelona, and their recent Tinder, Klarna, and Coke spots are incredibly breathtaking. Among the numerous awards to their name, Los Perez's video for JRJR gone gone, or I'm sorry, JRJR gone.
00:00:52
Speaker
I figured out my underwear as the top 10 of a decade. And also, Tanya, you won the Young Director Award for the short film Impact. You did a good research. Yeah. Hi, Adiran. Hi, Tanya. Hi, Ron. Nice to meet you guys. Nice to meet you. How are you, man?
00:01:09
Speaker
Thank you so much for speaking on a Sunday. No worries. A pleasure. Here at home, the little one is watching cartoons. iPad. Everything's in place. Exactly. Everything's in place. It's funny, I was saying to Joe, you were the fastest directors to respond to the request, both with work and having children. And of course, they're the ones that are so efficient.
00:01:29
Speaker
with their time. Yeah, exactly. When you have so little time, you're very, absolutely, absolutely. You're a director's duo, we're a director's duo, so we're very excited to talk. Maybe we can discover something. Yes, maybe we can swap some tips and tricks. Yes. I mean, honestly, I wouldn't be surprised if this becomes like a therapy session for me. I'm just warning you in advance. How have you been directing together?
00:01:56
Speaker
A little less than a year actually. We've been commercial directing since December. We kept seeing your images and your commercials in all the reference bolts over and over again. We were like, oh my God, it would be so amazing if one day we get to talk to you guys. So it's such an honor to be here in this conversation.
Co-Directing Dynamics
00:02:17
Speaker
I mean, maybe it'd be great if you could just walk us through a little bit of your process as a directing team.
00:02:21
Speaker
Do you guys take calls together in one frame or do you take calls separately? Well, normally, I mean, so far, I think together is just like a twin gum, you know, like.
00:02:35
Speaker
I mean, obviously, you know, we are a couple. I mean, we share everything. We share life. Even if we wanted, it would be difficult to be in separate rooms, you know. Because when we first started pitching on jobs, we were together in the same space, but we couldn't really fit on the screen. He kept, like, giving me a little bit of an elbow. That happens sometimes, too. Like, suddenly, no? Yeah, yeah, yeah, exactly. So I was just like...
00:03:04
Speaker
Yeah, I mean, it's, it's, I think it's a process. How long have you been co-directing together? We've been co-directing for more than 10 years. The very beginning was, it was difficult. Co-directing requires a lot of trusting the other person a lot, you know, listening to the other person too. Sharing everything, no? Even the physics and the space. So even the conmiverse. Exactly. So funny, I was so curious. I was like, when you guys go on location shoots, do you stay in the same hotel room? Or do you ask for
00:03:34
Speaker
So far, I have to say that, you know, that's really what we enjoy of working together is that we are a couple as well, which is a bit crazy because some people they ask, how do you disconnect from work? I mean, we don't, we never disconnect. That's the issue. But at the same time, I think it's part of our life. And we always feel that we live in this kind of cult because advertising or filmmaking is a bit of a cult because you explain to other people what's your job.
00:04:00
Speaker
They pretend they understand, but they don't. I don't know. I think it's fun to share everything, but obviously sometimes if you have a hard day or you're not in the mood, obviously it's a bit more complicated, but it's life. But also we have each other just to cheer the other up. Thank you. Of course. You know, you're our first directing duo that we're interviewing. And one of the things that Robert and I have, because we're partners in life as well, is we take the work home.
00:04:29
Speaker
I mean, all we would think and talk about is film, and I think there was definitely the concern of the separation between life and work.
00:04:35
Speaker
Always we have these questions. We've been asked these questions like, how can you manage to live together and work together? We love cinema. We love advertising. We love music. So everything that we love, it's our commonplace. So I think that's easy, you know? And for us, it's part of our routine and our challenges. So we share all the goals together. Yeah, I mean, that doesn't mean that obviously you have your arguments and like anybody else, sometimes you disagree on things. But again, that's part of the process. Do you guys have any rules around process?
00:05:04
Speaker
I think that the only rule that we have is at least never argue in front of the crew. That's something we take home, we process it and we try to figure that out for the next day because I think it's important always to make the crew trust your vision, trust that you are a couple but you have the same vision and if we have an issue with something or we disagree on some of the stuff, I think you should always address separately and move on. Not thinking that you are the only voice in the world because
00:05:31
Speaker
That's what happens, and sometimes you feel that your vision is the only one. As a baseline, is there any advice you would give to people trying to co-direct?
Trust in Creative Vision
00:05:40
Speaker
It takes some time, I think, for the co-direction to work, because at least in our case, obviously we had two strong personalities, Tanya and I, and obviously the first time we directed something together, we were kind of like, oh, but this is better. No, no, this is better. No, no, believe me, this is better.
00:05:58
Speaker
You know, there's no way to move on. So I think at some point you need to trust and you need to accept that maybe the other person sometimes have a better point of view or a more interesting point of view. And again, it's part of the process until one day you respond with the same answer to anybody, which is what normally happens now. Somebody in the crew asks something, Tania, I think she might reply with the same answer as I would probably give. So that only comes with the years and with the time. It's really about trust and letting go.
00:06:27
Speaker
I also think that what we have learned just to have that kind of, we are two different personalities, but we have to have one same voice together, no? It's like we do a lot of prep and for us, that's the whole thing to be a successful directing duo because with the prep, you really share all the doubts, all the fears, all those different ideas you put together, the elements. It's like cooking, you have to bring a recipe and see the ingredients and how it's going to be the process of cooking.
00:06:54
Speaker
Yeah, I think that that reduces a lot of the chances to fuck it up. Do you guys as both a duo as well as partners in life, do you guys have parameters that you set? Like right now I'm talking to you as your business partner versus talking to you as your wife or your husband. Is it ever like, where's the shot list? Go pick up the kid and then let's get on with the agency at the same time.
00:07:16
Speaker
Of course, you know, it's like part of the conversation you can mix up which are the lenses you're going to use versus we didn't pick up at the time our kid, you know, just like everything is part of the daily routine. But yes, I think that one thing is talking about work when it's really important. And then, of course, it's just like, OK, let's close the chapter and now let's move on and let's prepare dinner.
00:07:39
Speaker
From time to time, we try to make rakes, even though it's always, no, the shadow comes back and everywhere, follow me, no, emails and WhatsApps and we're part of, I don't know how many, WhatsApp group, how a production goes. But yes, at some point we try to disconnect and just like, okay, let's watch Succession.
00:07:56
Speaker
No, for sure. I mean, that's the thing. We were curious how you manage your personal lives and professional lives because we feel like we're always working and we don't even have time to work out. And we're like, we're going to die in five years. This is why the DGA has such a big pension.
00:08:13
Speaker
That's a good point. But I think, yeah, it's probably more intense because you do the same thing. But I think that's great. So difficult to find a partner that you can work with, no matter what the job is. Having a couple that understands your world, understands what you want to do, and shares the experience with you. At the end of the day, that's the best gift you can get. You know, it sounds a bit cheesy. It sounds like, I mean, now, Jennifer Aniston movie right now talking. But it's actually true. You know, I think sharing the experience with your couple is the best. It's amazing.
00:08:42
Speaker
Also, I know in your case, but when you think about an idea, right, and then you draw it in a storyboard, and then you discuss it with your partner, and then you shoot it, and then you see it's finished, that's really nice, you know? It's like, I don't know, like we are having babies every time when we shoot. Nice. Yeah, that's a funny idea. Yes.
00:09:01
Speaker
Some of the babies don't turn out as well as others, but you still love them, right? Some babies love on them. You're like, I'm sitting now at the boarding school. Yeah, exactly.
Personalized Pitching
00:09:12
Speaker
That's not my baby. My baby. No, I don't recognize that baby. It's not ours.
00:09:17
Speaker
What's your workflow like? How do you split the responsibilities? When a board comes in, do you guys just go into separate rooms, pitch together? Do you throw the ball back and forth? I mean, we receive the script for sure. Each of us read the script separately, and then we start talking about it, right? Like, I think that there should be this, right, blah, blah, blah, blah. So we can have at least an idea.
00:09:37
Speaker
But I think it's a filter. No, first we have a filter. Do we want to pitch that job or get involved? That's why the reading put early thoughts together. And I think then after that, we don't do that. We think about the concept. We like it. We're going to pitch it. Then we think about the concept, like the story is going to be about this, about some ideas, parameters of what we want it to be. And then, of course, it's a discovering process while you are pitching, while you're watching references, while you're thinking
00:10:02
Speaker
And also what is really helpful is that we start drawing and sketching. Even though we're not getting the job, we think we're getting the job. We think we're going to shoot it. And for us, that's how we make it ours. That's how we try to put our signature so we don't think about, oh, but they're not going to like it. Or what about if someone is going to say this idea is not good? We think how we're going to shoot it. And of course, then we succeed or not. But at least for us, that's the way that it's going to have our signature.
00:10:29
Speaker
So your approach to a pitch is almost to start prepping the job. Yeah. The thing is when we can, we try to do like a very rough storyboard, something that kind of represents the narrative and the kind of shots. And sometimes as you are doing it, you get excited and you're like, oh, that's really cool. And then you have more ideas because in the end, I mean, let's be honest, that's way more important than the treatment.
00:10:50
Speaker
The treatment is just pages and references from other directors, other people that help this agency or this client to understand a bit better your vision. But if you feel you're right, if you go through the storyboard process or you plan a bit the shots and the narrative, that gives you a stronger position because you directed already the conversation.
00:11:08
Speaker
You made it yours. You did it together. Yeah, you did it already yours. So I think that at least for us, that's how it works.
The Realness of Practical Effects
00:11:14
Speaker
I think other people, again, might have different approaches, but we want to make sure when we are presenting something is like, no, this is the way it's going to be better.
00:11:21
Speaker
Your guys' work is filled with such luscious color, epic sets, and this intricate camera movement, and what feels like effect shots, but I think you rely more on shooting practically than most people would guess. Is that right? Yeah, totally. 100%. We always have this conversation. Basically, you know, these days you see a lot of stuff that is, yeah, it's looking amazing, but sometimes you don't know if that belongs to the possible action company or to the director.
00:11:45
Speaker
It's hard to see sometimes the personality of the director is vanishing and then all of a sudden becomes CG driven and it's like, is it really directed by this director? I don't know. We tend to think that if it's not in camera, it's not really yours in a way. Sometimes it's impossible to avoid that and CGI is great. I'm not against that. But the more you can shoot practically or in camera, I think that the better and it's really how you feel that it belongs to you.
00:12:10
Speaker
It's funny, it's like shooting in camera two allows the effects work to have a little bit more physicality as well. 100%. Yeah, 100%. The textures, the lighting, everything. We normally try to shoot as much as possible. We don't even rehearse ourselves prior to the shoot. We shot ourselves acting and performing and doing very, very crappy boardmatics. But at least we are confident that it's going to work or we need this kind of help or we need this enhancement imposed. But we don't want to relay everything imposed because, yeah, for us, it's important
00:12:39
Speaker
and just to shoot it. And to have that control over it, because once you're done on a set, what we've noticed is it's very difficult to like shape the process as much in post. Yeah, you know, I think it's like, for instance, talking about that Tinder job that we shot a few months ago, some people, even friends, they say, oh, but there's a lot of posts there. And I mean, yeah, but not really in the way maybe you might think because basically the post is painting wires out.
00:13:04
Speaker
extending maybe the ceiling a bit here, adding a matte painting through the window here and there. But it's pretty much in camera, even that that should work as among the couple through their lips and moved out. That's actually accomplished in camera in two different plates. So again, I think that always the challenge is how can we make it more impressive in post using post-production, but keeping the essence, something that you shot and belongs to you again, how's your DNA?
00:13:29
Speaker
And so when you guys do a shoot like Tinder that is very technical, that is in camera, do you stay involved during the edit and finishing process?
Editing with Intention
00:13:38
Speaker
Yes, all the time, depending on the markets. We know that some agencies, they kind of steal all the material and they do it themselves. But I think that for us, it's really important to be involved and we try to always be supervising because that's the only way that you are going to succeed if you want to keep your vision because later on,
00:13:57
Speaker
If you are not in that process, you don't know how it's going to end, how it's going to be degrading, how it's going to be the effects. And that line is very thin, looking posty or looking crafted. So we're always really meticulous with the post-production. Yeah, I think regarding the edit, it depends on the market. Not, for instance, in the U.S., they have a different way to approach this, as far as you know, with directors. ANCs, they normally leave more.
00:14:18
Speaker
No matter what, I think it's always good to be involved, at least to give them a first cut so they can see your vision. Because, I mean, let's be honest, the one that knows how this is going to work is the director, is the one that is shooting everything. It never made sense that an agency is all of a sudden saying goodbye to the director and then editing the stuff. I know that maybe with some directors that they improvise more on set or they do a lot of coverage or things like that, that would work. But I think for directors like us, that we normally would want to plan every single shot.
00:14:47
Speaker
Normally our commercials, they are from A to B and we don't shoot with multiple cameras. It's always a journey for better or worse. We might succeed or we might fail, but that's the way we see it. So what happens sometimes even is we've been on set and maybe somebody from an agency is like, but what about the coverage? And it's like, well, we can do coverage.
00:15:07
Speaker
You know, it's like, this is how we see it. So why do you want to go? Because maybe we need more coverage. And it's like, why? This is the journey. So we don't need anything else. But sometimes it's a bit hard to explain, but at some point they get it, hopefully. But that's something that we have learned during these years that you have to be really strong on set. If they ask you for an extra shot, you have to ask to them, why do you think you need it?
00:15:31
Speaker
No, like breathe, relax and think about it, you know, before you go crazy and explain, we are not going to do this because if you edit this way, it might look like a mistake or blah, blah, blah, blah, blah. You have to really defend your shots the much as you can so you can have that edit in case you are not part of it or in case they want to do changes or a reason. You have to leave the structure clear.
00:15:52
Speaker
I think it depends a lot on the creatives background, you know, the creative team. They have worked with directors similar to your style. They will get it right away and they won't probably ask you for doing those things. And they will trust. Yeah, it's gonna be a process and you might have to explain, hey, this is how we work. Don't worry, it's gonna be fine.
00:16:09
Speaker
It's funny because our second commercial we did, we got what we wanted, but then we were like, we did everything that they asked us. And they were like, you're the most accommodating directors. And we realized like it wasn't a compliment. Totally get it. But I think that we have learned never shoot a shot that you don't like it. Because if you shoot it for a reason, we'll end up in the end. Right? So I think, of course, you can do maybe a coverage, it makes sense, but everything has to be part of the narrative.
00:16:36
Speaker
Yeah, because we've been in that situation where we shot stopped because we were feeling, oh, maybe they might need this for that. We were thinking too much about the needs of the agency
The Art of Taking Risks
00:16:45
Speaker
or the client. And then you see that shot that that is not what you planned and you see it in the edit and it doesn't work the way you want. And they don't like it either. Because then they look at it and they're like, Oh, this isn't like, you know, and it's, it was a very interesting, strong lesson.
00:16:58
Speaker
that we learned and we're trying to like manage that in our process now. It's almost like the inevitable thing that happens is as you're shooting and they feel the pressure from their client and then they come to you and try and kind of it gets confusing I think as a director too because then you kind of start losing sense of even what you're supposed to be shooting.
00:17:18
Speaker
100%. And I think that's something that maybe through the years and because I think at some point when you have done a lot of commercials, I guess there's some part of you that feels like, okay, we're going to take the risk. We are going to just do it this way. And again, if we fail, we fail, but let's do it. Let's take the risk because otherwise we will never be better directors, but you know, it will never be what you want. And I think at the end of the day, that's what you want. I mean, something that you can show to anybody and feel proud.
00:17:45
Speaker
And also they are looking for you for your style, for your voice. So it's like, if we are these kind of directors, why are you asking me to move this camera this way or to shoot that extra shot if that's not our style, you know? But yes, I mean, we've been in those situations. It's not like an easy job, right? Because if it was easy, everybody would be directing. But then you have to be really strong, for example, in a PPM once it happened that we
00:18:10
Speaker
did a whole storyboard and suddenly the creatives were asking other stuff. Like it was a completely different conversation. So of course, I think that every situation is always a challenge. Sometimes you succeed and then you are super happy with the final resort, but others, it's a struggle, right? Like you never know.
00:18:27
Speaker
So what do you do? So like in a PPM, right, you present a storyboard and then suddenly your creatives are saying, well, actually we should probably do it like this or we should also shoot that. What do you guys do? Like normally we do the storyboard really early in the process because we like to start drawing a sap just to see also what we have in mind, if it fits in the lens, blah, blah, blah, and everything. And also we are very imperfectionist with the storyboards. Like if you see the location, you will see the location
00:18:57
Speaker
Sometimes too much. Sometimes too much. But for us, that's our Bible, you know, and that's something that we make us stronger in a way that, hey, you like it, you will see it this way. Yeah, you know, I say sometimes too much because for some clients, you know, at some point they watch the storyboard and they feel that there's no other way to tell the story.
00:19:16
Speaker
Which for us it works quite well because that's how we see that normally we don't change it too much but sometimes you want to change the angle or you want to shoot it differently because you feel on set that maybe it's better and and yeah it's a bit complicated if the storyboard is so precise because normally what we do is we draw the location
00:19:33
Speaker
We take pictures, it's pretty much the shot. You see our storyboard, they are pretty much what you see later on in the process. So, of course, that has something good, but something bad in that sense, no? But I think it's the only way to, at least for us, to enjoy the shoot and not being, I wouldn't say nervous, but not relaxing, but enjoying, you know, the process, because you know the lesson, so you're writing the answer of the exam and it can only get better, you know?
00:19:58
Speaker
Because then you have to be really focused on the lighting, on the actors, on the work, like everything, then you can really curate your shot and enjoy that. Otherwise you are concerned like, oh my God, they are asking this or blah, blah, blah. But also it depends on the kind of director you are. Some DPs that we work with, they showed us stuff from other directors. I have one saying names here.
00:20:18
Speaker
very college directors and it's like crazy because some of them, they don't even go with a storyboard, right? Then you see the result that is beautiful and it works. But I think for us, at least that would be very stressful.
Collaborative Directing
00:20:30
Speaker
Arriving to a location, kind of knowing the shots, but not really planning everything. That sounds a bit scary. And I think especially for co-directing, I think the more you know prior to the shoot what you do, the better. Because even knowing everything, you get into the shit at some point.
00:20:45
Speaker
And do you guys split what you manage between like the directorial responsibilities or are you both across everything? I should say that we can be across everything, right? But of course, like Adrian, he's really keen on lighting and lensing and everything related more to the photography.
00:21:03
Speaker
side and for example I enjoy more being with actors and I really enjoy the fittings you know like for me personally the fittings is when you start creating the characters so I think in that way we kind of split the duties because we like to do it but that doesn't mean that Adrian could not be part of the fitting or I cannot talk to the EP you know of course we're always yeah I think we mix because yeah sometimes again I spend a lot of time with the DB but then Tanya comes in and says oh you know the lighting
00:21:30
Speaker
would be better like this. And that's very, very good because sometimes we are so focused on something that you don't really see the big picture and it's good to have somebody else with fresh eyes and same thing with wardrobe. I think sometimes she's obsessed with a look and I'm like, I'm using the other look. I mean, that one is much better for this or that. And again, it's a conversation could direct separately, but I think together we are stronger. Yeah.
00:21:51
Speaker
there's such a level of bigness and hyperbole to your work but it's also completely relatable with human charm and emotions and we were so curious how you do that like what filmmakers influence you i think that comes probably more from tanya's world because well i'm from spanish is from mexico and well you can explain it better but you have a culture of color
00:22:12
Speaker
Yeah, we have a culture of color. And it's funny because normally I'm more dressed in black, you know, and we are not very colorful at home. Everybody thinks that we have a really crazy house full of crazy colors, but not. It's more like being raised as a Mexican. Our culture, we treat death
00:22:31
Speaker
as a colorful and joyful celebration. So the color has been always like in the markets, in the fruits, I don't know, in the papel picado, like in the streets, like everything has been really colorful. Yeah, I think color is an element maybe to make it relatable, but also I think casting is another element. But that's really also what determines your sensibility as well. I mean, those are the heroes of your films.
00:22:55
Speaker
Those faces are your best special effect in a way. They represent your narrative, your sensitivity. So I think casting is also a key element to transmit what you want. The point is, it's so difficult to do these days. Like shooting stuff that is different.
00:23:11
Speaker
You're not repeating yourself all the time or you don't get labeled as the kind of transition director or drama director. Whatever is the label they want to put you, it's very difficult. And I think that's probably the most difficult thing working in advertising, knowing which scripts you should take and also getting the opportunities. I think that's why production companies are so important and being in the right production company is so important because if you're in the wrong one, you will never see those scripts that maybe can push you real to the moon.
00:23:39
Speaker
It takes years to understand that at the very beginning you are more maybe shy because you're building a reel and then you don't want to move, you want to stay a bit longer. But our advice is if you're not really moving forward after a year and you don't have two pieces that really helps your reel to move forward, you should just go somewhere else. You can stay in a place where maybe it's good for the pocket at some point. Everybody needs to pay the bill. But I think if you are starting, what you should do is just do great stuff all the time. It doesn't matter the budget, it doesn't matter what you get.
00:24:08
Speaker
and do great stuff, find your voice, because I mean, shooting like crazy all the time, that's the only way to understand yourself also as director, right? This is the only way to see, okay, this is the kind of director I want to be. That's my DNA. I repeat the stop shots because that's me. That's the kind of learning, I guess, we went through it all. You said something very interesting. How do you know when you're at a good production company?
00:24:29
Speaker
I think it takes time for sure. But obviously we've been in many production companies before. Of course, it takes time to discover how you're going to find the perfect partner because the producers have to back you up. And I think that you will discover it even when you are pitching, while you are shooting in the post-production. It's also like having another couple because the producers are part of our team and it's really important to feel that you're going to have a friend.
00:24:58
Speaker
and not someone to be arguing against because of this or because of that. I think that it has to be a very natural process. And you will notice when you have the right producer. Yeah, sometimes it's not even the company, it's the producer. What matters? You know, maybe it's not the best company, but they have the best producer for you. And I think it's in the end, you work with people and you have to trust them. And if you cannot trust those producers, then you should go immediately.
00:25:24
Speaker
Absolutely. That's I think that I would point like to work with people. You don't work with companies, right? Because finally in a company, you can find great people or the other way around, even though they have a name, you won't feel represented by the way they're working or the point of view. So you have to really team up with the people around. When you say producers, you're not talking line producers, you're talking like executive producers, like people that are senior at a company.
00:25:48
Speaker
Exactly. People that really, whoa, they are working with you and getting you the scripts, and they know your goals, they know where you want to be. I think those are producers we're talking about. And have discussions about the scripts that you are receiving, not like, shall we pitch this? No, why? Because of this, blah, blah, blah. Or this, but only if we do this, or this way of investing for the real. Of course, having those open conversations are very helpful.
00:26:17
Speaker
Yeah, and it's not easy because sometimes producers, they have also the pressure, somebody above in the company, they push you to shoot and shoot and shoot and you say, no, we don't want to do it. And then you receive another email. Oh, you should take another look because
00:26:31
Speaker
No, this agency is great, but yeah, we know they are great. Well, this group is not. Or it's not for us. Yeah. And sometimes you can feel the pressure too. But I think that when you start feeling that way, obviously then you see yourself that you haven't shot anything in two years and then maybe they are right. Probably should shoot those commercials. But yeah, I think again, you have to be comfortable. You have to be comfortable. Otherwise, I mean, this job is so crazy sometimes that you really need to love what you're doing. This is so great.
00:26:59
Speaker
Is there a certain amount of jobs as a couple and as a duo that you try and take per year? Do you give yourself a target? Is there a parameter that you put? I think, first of all, it's a job, right? It's a way of earning your money to live. We have children, you know, like, of course, it's a business. And then there is always the artistic side, even though we're doing advertising, to feel that we are not shooting enough, no?
00:27:23
Speaker
is that, OK, let's make it personal and let's make it this way. Because advertising could be something really artistic and something really cool. So what do we need for that? How many jobs we need for that? Is this the right project for this? Everything is an investment, could be an investment or could be time or could be something more artistic. Right. And of course, it's to think about the right balance.
00:27:45
Speaker
Yes, they're interesting projects money-wise because there are big brands, you know, it's like important, you're pitching with a big client and it's part of a director's life because it's part of learning a lot of stuff. And then of course there are some other small projects which they do not have all the resources, but then maybe you have the freedom to do something cool or something that you can make it yours. So it just like, let's take it. We're not going to get any money, but let's take it because it's going to be fantastic.
00:28:13
Speaker
it's having a balance but again it's not really on you because you never know I mean obviously the more successful you are the more scripts you receive but even getting tons of scripts every month I mean there's no guarantee that you're gonna find the one you really like or even if you pitch it you might lose it
00:28:29
Speaker
against all the directors, so there's not really a guarantee. Just to sum up this, it's like everything is an investment from your side. Either it's time, your creativity, it's an investment and it's an effort that sometimes of course is well paid because it's a job and sometimes it's just for the soul.
00:28:47
Speaker
I think that's so interesting too because a lot of directors that we've spoken to talk about how sometimes they get so depleted. They also feel very lonely. It's kind of an amazing thing to have each other for this type of process that you're talking about. Totally. Yeah, I think sometimes, for instance, we think about BPs and
00:29:05
Speaker
It's crazy, you know, the piece, the light that they have, they shoot twice or three times as much as directors do. And yeah, they are traveling all the time. I mean, yeah, it's a well-paid job for sure, but again, it has its pros and cons, right? And the loneliness is one of those things that mostly everybody has to go through, you know, if you shoot a lot. And do you guys bring ever your children with you when you're doing work?
00:29:26
Speaker
So far, yes. So far we did it. That's amazing. How do you do that? Do you have like a nanny that comes with you? We have a parallel production. But of course, I mean, we are lucky that nowadays everything has changed and that as mothers we can work and we can bring our kids and it's, I don't know, it's normal and it's alright. For us, it's been great because all our producers have helped us with nanny, with accommodation, you know, with all the needs, because of course we are always together, the three of us, always together.
00:29:55
Speaker
Yeah. Great to hear you say that because some of the young directors we've been talking to that have children have are also trying to figure that out and it's representation of mothers in workplace and fathers too, families in general.
00:30:10
Speaker
Of course, I think as directors, we're lucky that we can have a voice and ask for those stuff, you know, and we can be a reference for the rest of the crew members because it's just like, hey, when we were pregnant, no, like I was shooting pregnant or, you know, like I was breastfeeding on set, you know, and I'm trying to make it part of the daily life of a set. And that's something healthy. Everyone will change the chip. But we have all to do it, you know, together, moms, dads, so we can make it normal.
00:30:35
Speaker
so great because that also like the healthiness of a set, the spirituality of the set is something that we're very focused on too. Absolutely.
00:30:44
Speaker
You know, we talk about it in terms of vibes, like energy vibes, but also community and like how to foster that. No, it's like a really cool vibe on set, I have to say. I remember when they were showing a take and the little one came in and she watched the take. We don't know that she was there with us because the nanny was next to us, but we didn't notice it. And our kid, she started like giving an applause to the take.
00:31:08
Speaker
That's great, that's great. Obviously after that nobody can say that that tape wasn't amazing, right? So thanks for the support. Just wanted to rewind a little bit to get your background. We know you guys met in film school in 2009 and did you start to work together right away or was it a personal relationship that then turned to work?
00:31:29
Speaker
Well, we started competing against each other in cinema school. And unfortunately she won and I lost, but it was so unfair. We met in cinema school and then, yeah, I think Tana was working just pretty much right away in a production company here in Spain.
00:31:46
Speaker
You were with the band. I had a rock band. I got people. And I had some years just playing with my band and then one day we decided to merge the stuff. But we started co-writing each other short films like Let's Put This in the Story. I just started a collaboration, really natural as a couple. And then we started doing your music videos.
00:32:10
Speaker
Co-directing and with no money, but of course full of freedom. And I think that was the moment when we really started co-directing together. Yeah, that's true. The Capito music videos. Yes. The music videos, yes. Directing separately in different production companies. And at some point we were kind of tired, bored, frustrated. We say like, hey, let's do it together. I don't know. Let's be like the Coen brothers, but
00:32:35
Speaker
You know, like what a side director's duo. Yeah, everything came from there. He just made a big narrative piece for Apple iPhone, Apple iPhone Spot. There's so many gestures towards story and narrative in this one that it almost feels like is feature films or long form kind of the next step for you?
Aspirations Beyond Commercials
00:32:52
Speaker
Yeah, I think always the goal was shooting feature films, but from time to time, we also try to write and see if we can make a movie. You know, we wrote two feature films, two scripts, and we are trying to raise the money for that. So again, it's always, you know, after commercials, our passion is movies as well. Amazing. We'd love to see a Los Pres feature film for sure.
00:33:14
Speaker
We kind of wrap it up every time where we just ask if you could go back in time and give your earlier self any piece of advice, what would that be? Well, you want to start? No, you start without your answer. Okay, here we go. No, it's basically what I said before that. I would say, again, don't be so worried about, you know, to succeed in other, I mean, just shoot, shoot stuff, do more personal stuff, way, way more than I would think.
00:33:43
Speaker
We don't come from a wealthy family or rich background. We went through a lot of things to be where we are right now. At some point, I think a director needs, of course, to survive, needs the money and needs to shoot. But if I could, I would say to the director, okay, you will be fine. Just try to do more personal stuff.
00:34:01
Speaker
that's gonna reach also yourself, you're probably you're gonna hit a higher target earlier because that's really, well, basically, that's the way to show who you are, right? And you get trapped in the business for too long or too early in the process. Again, this is what I said also about respecting the business. Now you respect the business too much, you might lose your personality as director. And I think that is important to be like, you know what, we're shooting this commercial for ourselves.
00:34:27
Speaker
To me, that's the goal. And that's how we face every job. So that would be my piece of advice to do more personal stuff. I would just add like time is precious. So I think that time is really important. Everything that you can do just to fill up.
00:34:42
Speaker
that back for your inspirations, like go to exhibitions, like find books, like listen to records, I don't know, like visit friends, like try to do stuff that could later be your inspiration for writing, for making. I don't know, even a neighbor, an annoying neighbor could be an inspiration for a character, right? But you have to be really open to absorb everything from life because we are just here for a quick ride.
00:35:08
Speaker
Thank you so much. Yeah, it's been, and that's the thing that you're saying about the passion stuff because this was our passion project, this podcast. And so we're just enjoying doing something that's not actually like what people are expecting from us, you know? That's very nice. It's amazing. Yeah, it's great. Amazing talking to you guys. Thank you, Los Perez.
00:35:29
Speaker
You really enjoyed the conversation. Here we are, whatever you want, guys. Directors, I think we have to help us somehow in the business. So if you need something from our side or any recommendations or whatever. Any nannies. Yes. Nannies. We always need a nanny. Yes, we have our best nannies all over and contacts and everything because, yeah, we need help. This is amazing, guys. Thank you. Thank you.
00:35:55
Speaker
This episode was sponsored by some such cartel edit on a part in supreme music. Special thanks to our producer Joe Yardley and the entire team at YDA. The Young Doctors Award is in its 26th Eurocan and is the biggest fringe festival to exclusively promote the debut of directing talent in the commercial, music video and short form space.