Meeting-up with Tony Petersen, Jury for Germany and Member of PRODUZENTENALLIANZ and President of the CFP-E.
With the tools to become a director now at everyone’s disposal, has that made finding new talent that can genuinely compete in the marketplace more or less difficult?
It hasn’t changed anything. talent shows his friendly face under any condition.
How important would you say the annual YDA competition is to the industry at large?
Throughout the years YDA has become the most important showcase for upcoming talent worldwide.
Last year The YDA introduced a new, socially aware category called Changing the World Frame By Frame; what role do you think directors and the ad industry at large has to play in global social education?
The advertising industry is – and has alway been – a mirror to the evolution in all relevant social areas. and the amplification. which naturally includes social and political aspects of our lives.
As more agencies and some clients continue take production in-house, what do you think these companies are missing out on by turning away from the more traditional model of commercial creation?
A filmmaker is taking risks. it is a part of his profession. in advertising the creative producer has to seek the balance between varying interests. the client, the agency creative, the director and all other artists included in the oeuvre. within this setup the producer has to make decisions, that can harm the relationship with his clients or the director. they may heavily reduce his profits – all under the ambition to finally get the best film. inhouse-production by nature doesn’t have these qualities. it is a top-down construction.
What will you be looking for in the shortlisted work when you sit down with your colleagues to judge the YDA?
It is always a great moment when a special talent starts to reveal. it is always entertaining to learn from other good people and their ways of seeing things.
