Where are you based and how did you first get into this line of work?
We’re based in Amsterdam, The Netherlands. Me and two close friends (that I met during Film Studies) wanted to make a movie. All of a sudden we were a Production company: DPPLR. In those early days we pitched on every project possible, from Red Carpet interviews to Aftermovies.
How did you get the An Amsterdam Bicycle Story. By Veloretti. project?
Jan Bosch & Tim ten Dam are creatives at Lemon Scented Tea. We’ve been working together for years.
One evening, during beers, we discussed their idea for Veloretti. Together we tweaked it into a workable script. So instead of me pitching to them, trying to sell my version, all our combined energy was put into shaping this film. This co-creation approach often leads to great advertising work.
What gear/cameras did you use and why?
We shot this on a 16mm Arri. I love shooting on analog film. I don’t get the chance to it that often, but I do try! For Veloretti, shooting on film was such a perfect match.
We wanted it to look authentic: gritty, with a documentary feel. We didn’t have budget to use a lot of lighting, although we did manage to light a motor scooter on fire.
Did you plan out the story structure from the beginning or did it come out in post?
We didn’t storyboard this film. From early on we wanted to capture the moments that we witnessed on the streets, in the moment. We prioritized a shotlist, matching the storyline with the voice-over so there was a basis.
What do you do differently from other filmmakers?
My focus on atmosphere. I think if the mood on set is right, it’s much better for actors to get into their role. I’m extremely passionate about cinema and photography. Especially in my advertising work I try to incorporate as much of this passion as possible. I’d like to think that this defines my signature.
If you had to go back and do it all again, how would you get a foothold in the business?
I think we basically did what we needed to do. Pitch, work hard, teach yourself and bluff. Of course we made tons of mistakes. And of course not every project worked out as imagined. Sometimes, I do miss the old days of the tiny crews. I think some of my best work is done with smaller crews, so that there was more time to shape the film.
What’s the one secret tip go-trick that you use often that takes your work to the next level?
Haha, wouldn’t be a secret anymore… I remember asking the same question to filmmakers I look up to though. If there were tricks I would surely definitely share them. So I said that atmosphere is very important in my work, I cannot emphasize enough that this also goes for the on set mood. On set we are all working as a team on creating visual content. I see it as a luxury that we all can make a living out of it. If the whole team believes in the output and everybody feels appreciated and heard it shows in the output.
What is currently the hardest part of doing what you do?
There is a lot of pitching and treatment writing. I think it is important to thoroughly write down what your plan is. It does cost met lots of time and energy.
What is currently the best part of doing what you do?
Our team is creating so many cool films. More and more they are shooting what we want to be shooting. With this Veloretti video as a perfect example.
What are some of your favorite stories, web videos that you’ve gotten inspired by?
I love the Short of the Week platform. Amazing shorts from all over the world. It is inspirational for both my advertising and fiction work.