The Directors: Alice Fassi
We're incredibly excited to welcome director Alice Fassi as one of our collaborators. This new relationship marks our move towards what we like to call FDR - full disclosure representation. We feel this open collaboration allows creatives to thrive whilst not feeling restricted by exclusive ties to one organisation.
We are launching a host of collaborators in this vein across creative direction and photography. We feel this new way of working is mutually beneficial, and is in keeping with our company culture of driving change, and striving for a non-toxic, healthy way of working. We’re excited to continue expanding our roster of top level talent.
Alice Fassi is drawn to the dreamlike and absurd, always pushing reality to the limits. Her profound curiosity in life manifests through a special interest for everyday nonsense, which has become inspiration for her work. She's not afraid to push boundaries - often with her signature comedic twist. Her films have been selected and awarded at Cannes Lions, Ciclope, 1.4, BFI & Berlin Commercial.
Name: Alice Fassi
Location: Paris/Milan
Repped by/in: C41 in Italy
Awards:
-1.4 – Award of Brilliant filmmaking
-Ciclope
-Berlin Commercial
-ASVOFF (A Shaded View on Fashion Film)
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Alice> I’d like to give more time this year to my short film I’m developing. I'm now working on the script for this short, a grotesque satire that makes fun of a pretty relevant habit in today's world. I’d love to shoot it this fall. Plus, I've got a bunch of other scripts waiting to be brought to life, including a totally absurd mini-series. I’d love to take this opportunity to say that if you’re curious about this and love surreal narratives, please do reach out!
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Alice> I'm always keen on exploring new techniques and experimenting with different genres. I love teaming up with brands that aren't afraid to take risks and don't take themselves too seriously. It should be fun, catchy and stimulating. It's awesome to see more brands valuing film, letting the directors dive deeper into narratives and craft cinematic experiences. Some are even making short film formats as an exciting alternative to traditional ads.
On the flip side, we have the rise of TikTok and the vertical format, which is developing alongside the cinematic revolution.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Alice> In any type of script, from ads to narratives, I always prioritise projects with a good dose of surrealism and a touch of humour. To be honest, this also mirrors the kind of movies I love to watch, no matter the genre. This is totally my cup of tea and that’s why I find the most inspiration from these.
LBB> How do you approach creating a treatment for a spot?
Alice> I was writing a lot before I started directing. My work on treatments always begins with the story, starting with the structure and then adding sketches, details, and some ‘Alice’ touches here and there. The second step is finding references or images that match the mood of what I've written. This part can be tricky as often there's nothing quite like what I've imagined.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Alice> I think the relationships with the WHOLE team is crucial to achieving the film you envision. I'm always focused on getting the perfect aesthetic for the film I'm shooting, so everyone from DOPs, scenographers, stylists, to SFX artists, all need all to understand your vision and make it theirs. It's all like one big family, and each person brings something essential to the table. If one of these 'bricks' is faulty, the whole castle can crumble, and the work won't be successful.
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?
Alice> It's not about a specific genre for me. It's about strong narratives with a great aesthetic vision that enriches the whole piece. As a viewer, I love watching movies that mix different genres and experiment with them. It's a way to push the 'limits' of a specific genre, and that's what I aim to do in my work too. I love projects that are absurd, surreal, edgy, and ironic, no matter which category they fall into. 'Uncategorizable'.
This approach works for any kind of project, not just my personal stuff. Even an ad about toilet paper could be boundary pushing if reinterpreted that way.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Alice> One of the main misconceptions is that my concepts or stories are sometimes considered too 'extreme' or 'risky' for the brand's current image. I always want to push brands further because it's not by playing it safe that a brand or a musician is going to be remembered.
Just think for a second about the movies or ads you remember—it's always the ones that really pushed the limits.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Alice> I think problems are always part of the production process, even if I would prefer not to have them. I don’t think I've ever been on a set where everything went smoothly and perfectly as planned—it's a utopia. The key is to stay calm and find quick, pragmatic solutions.
The craziest one? A few years ago, I planned to shoot in a location with sand dunes. During the location scouting, the producer asked the owner to keep everything as it was for the shoot. But when I arrived on set, the dunes had totally disappeared! There was definitely a misunderstanding. I had to quickly find another spot that could give the same vibe as the selected one.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Alice> I think it’s always a matter of trust. I always try to convince others about the strength of my idea, but I know I need to face different obstacles. The brand has an image, a target audience, a past, and a goal. I always try to fit my idea within the complexity of the brand's history while finding a way not to lose my concept. A good treatment and good energy always helps in that sense.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?
Alice> I personally prefer to shoot in real life and see everything with my own eyes. It helps me feel connected to what I'm shooting, and I prefer the aesthetics. I always prefer SFX over VFX, film over digital, and real animation over AI.
Of course, AI is fascinating for creating crazy stuff when the budget and time aren't enough to do it for real. It's also a helpful tool during the preparation process. But I can't see it as a replacement for real shooting at the moment, rather a complement.
LBB> Which pieces of your work do you feel show what you do best – and why?
Alice> 'Honey Boy' – I've always dreamed of creating a sticky, slimy monster, and my 'Honey Boy' turned out exactly as I imagined it. It was a super funny project to make.
'Choco Hoax' – This was a very low-budget passion project about a radioactive chocolate bar. It's meant to make people think about greenwashing in our society with a bit of humour.
Vogue Maserati – This was the first of my projects I was truly satisfied with. I loved the aesthetic and pastel vibes, and it was my first attempt at working with choreography and 16mm.
