CFP-E/shots YDA: Max Tsui

Young, gifted and winning at the cfp-e/shots Young Director Awards this year. Our pick of the newbies explain their work with violent hamsters and grandads

How did you get into directing?

I studied cinematography at the Dortmund University of Applied Sciences and Arts in Germany.

In 2006, I was the cinematographer on Germany’s first web series Nina’s World, which led to me working on numerous shorts, ads, corporate films and viral spots.

The most important thing about being a DP is to have a strong relationship with the director. I love the idea of teamwork and working together to unravel the mystery in a story. I want to be active in my work, rather than just somebody waiting to be told what to do. By 2013, I began working as a director and Steampunk Coke was my 2014 graduation piece.

Where did the inspiration for Steampunk Coke come from?

I’ve been influenced by the movies I grew up with – Back To The Future and the Indiana Jones and Star Wars franchises. Those worlds and their larger-than-life stories inspired me. I think the creatives involved were brave to tell a story in a way that had never been seen before. Since I was a kid, I’ve wanted to do that. As I’ve got older, I’ve seen how storytelling changes in the corporate world, how many works don’t focus on the beloved details. I liked the idea of creating this alternative world, from a time when steam power was so important but still it was vital that Coke was served cold!

What was the process behind the making of the ad?

The main problem in doing this sort of work is money, especially when you are still a student. If you don’t have money, you have to try to attract the crew and supporters with a brilliant idea. So I tried to get the story right from the beginning. I was lucky because many talented VFX artists and actors liked it and got on board. They gave me their hearts, spirits and energy – and of course their valuable time.

Once I had recruited my team, I then had to complete the pre-visuals and animatics – which was a first for me, but it was a great learning curve. I felt lucky to have the opportunity to learn all those skills. I believe that directors must understand all the tools they need to tell a story, but also remain true to the original idea.

Shooting the ad was an amazing experience. Getting the light right was very important in creating the world of the film. In a way, it brought storytelling right back to its roots by focussing on every little detail.

How did you shape the campaign to appeal to Coke drinkers?

Rather than focus on how greatly refreshing or hip Coca-Cola is, I wanted to remind viewers about the origin of the drink. Everybody knows Coke but they sometimes forget its history – it’s been around so long, even before I was born! Anyone who has ever sipped on a lukewarm Coke knows how dissatisfying it is, so it felt logical to focus on this as the start to Coke’s success story. In a way, it’s a kind of modern fairytale.

Are you represented by a production company yet?

For a short time I was represented by several small production companies in Germany. But I am now working as a freelance director and cinematographer. I am definitely open to the idea of being represented again.

What challenges do you foresee for the future of advertising and how do you plan to go about tackling them?

My biggest hope is that advertising agencies will focus more on the power of storytelling. Of course, technology will develop further and faster, but I’m not afraid to adapt to new tools. I think every director and creative must choose his/her own tools and how to approach the project in the right way – so I guess, finding the balance is my biggest personal challenge.

What does winning the YDA award mean to you?

Winning the YDA as a new director means a lot to me. I have previously worked as a cinematographer, so it was risky to do such a big VFX spot for the first time, but the story was important to me. I didn’t want to lose sight of the story or be seduced by unnecessary CGI stuff, so to have my work awarded means that I made the right decisions and makes me feel very honoured.

What can we expect to see from you in the future?

I would love to continue doing this sort of work. I feel very connected to images – and working with light and shapes. But I also love telling a good tale and would like to experiment further with more innovative and entertaining work. Hopefully, the next stop will be Cannes, only this time I will branch out of the test film category…