Connecting with Audiences Through Emotion with Enrique Escamilla

Enrique Escamilla is a Mexican director based in Lisbon. It was not until he finished his degree in filmmaking that he discovered advertising; for which he fell in love. ESCA, as he’s known, gets particularly happy when a new board arrives, he is equally comfortable working with celebrities or real people: each project has its particular challenge and he is eager to face each of them with the correct one.

He loves storytelling, and breathtaking imagery, but above all he is always trying to find ways to connect with the human element of a story. Working for the Mexican, Portuguese, German and French market since 2008, he has been awarded with several awards, including a (twice) best director from el ojo de ibero-america.

But above all he is, always, most excited about the next project.

Enrique sat down with LBB to discuss emotional connections with scripts, and why keeping your mind open for new technologies is essential for a director

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Name: Enrique Escamilla

Location: Europe

Repped by/in: The Deli, Canada

Awards: El Ojo de Iberoamérica, EUROBEST among others

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

Enrique> To be honest every script gives me the thrill. The story is the first thing that gets me. I feel that is the centre, from there is where we can take this story, what we can do to make it achieve its full potential.

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

Enrique> The first thing is understanding the script. It can be more story-driven or more visual and I always try to make ends meet. If it's story driven, I find a visual power to it, and if it's a visual concept, I try to find a narrative line to make it cohesive. To be honest, I take it by heart. I want to create an emotional connection with the script. The stronger my emotional link and commitment to a project, the stronger the emotional impact it will echo in the viewer.

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

Enrique> This is a really tough question. The thing is that we are only as good as the people we work with. And each relationship has its different approach. Respect is a thing I take along the way.

I could tell you that the DOP is the most tight or close relationship I have on the set or in the process, and it is true to some extent, but we make this little family for a short period of time on set, and everybody matters.

I believe that if you work this way, everybody’ll feel that they are giving something to the project, that we are building something together. When this happens, it’s when we make and achieve awesomeness.

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?

Enrique> Whatever allows me an emotional approach. I really like when we make someone feel something. If we can make someone feel something we should feel proud and happy. People deserve to feel nice things.

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

Enrique> I am a little bit shy and introverted, sometimes it can take me a beat to respond to a certain question, and I guess people might not understand the amount of thought I will give to make your thoughts be taken care of. I will really think about how to make it work for the needs of the story, agency and client.

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

Enrique> I try to forget about any problem in the past. I just know that we always work it out. Again, like a family, [you] make it work.

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

Enrique> The first thing is to protect the idea. And for this we have to establish that the idea comes from the client’s brief that resulted in the agency’s script.

This means that we should all protect the idea, and find a ground of communication where we can all understand that the idea is the project, the idea defends the brand and we are all here to make this idea into a beautiful and successful spot.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Enrique> We need to take technology and use it in favour of an idea. Human talent and emotion are the centre of our craft, but technology can give us an extra boost. I've used virtual sets in order to give the project the look it needed, and I believe that when we encounter different tools, some stay, some go and some come back. I began working in 35 and 16mm, then came digital, and we are going back to use film for certain projects. Keeping our mind open is truly essential in our job, because in the end, everything can work.

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

Enrique> Via Verde, Mitsubishi, FPF, and Buchanans