Top director: SEGA

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Renfe_PopUp.jpgEvery fortnight Campaign Brief Asia is turning the spotlight on a hot director that is currently in the news. Campaign Brief Asia speaks to SEGA, who recently signed with The Sweet Shop for global representation.

 

The Spanish commercials director SEGA – Sergio Garcia – got his start in advertising as a designer and then, art director. His break as a director came with a group of promos for a television channel called Cuatro, where the client gave him total freedom to interpret and visualize the concepts. Describing his first few years as a crash course in directing, he has since worked across Europe for brands including Chrysler, Orange, Metro and Seat.

You’ve recently signed with The Sweet Shop for globalrepresentation.  Why The Sweet Shop and where do you expect to do mostof your work?

The Sweet Shop was kind enough to find me and offer me globalrepresentation. This, for me was an opportunity for a greater presencein different markets and the ability to gain insight into the variousagencies within them. It was also a chance to establish a fluid yetconsistent position within these markets. In addition to this, it hasgiven me the opportunity to collaborate with the many varied andskilled people associated to the industry. This is important for me asI enjoy establishing strong ties with teams that I feel comfortableworking with. And of course The Sweet Shop’s quality of work and howthey focus their projects is what helped me make my decision. I amlooking forward and hoping to be able to work in all the markets TheSweet Shop is present in. It isn’t important where the project comesfrom, what’s important to me is to be able to work on something thatinspires me and allows me to grow professionally.

 

Have you done any work in Asia? Is this a region where you are actively seeking work?

 To be honest, I am not focusing on just one specific region. I am openand welcome the possibility of working in all regions. And no, Ihaven’t worked in Asia, but I have to admit I am very attracted to thiscontinent, its culture and its aesthetic. I think it’s a market I canwork in, but it’s also a market which can teach and help me visualizeand interpret stories/concepts in a different way. Thus enriching theexperience even more.

 

Why is your directing name SEGA? Can you explain what it means?

The story behind my nickname isn’t very glamorous I am afraid, it’sactually kind of silly. During my time as an art director in an agency,we spend more than the recommended time playing an online video gamecalled Quake. (I was lucky not to be fired for playing so much!) Thecomputer automatically generated the names using the first two initialsof the first and last name. In this case, Sergio Garcia turned intoSega. The name stuck and began to filter through cyber space and here Iam. Like I said, it’s a silly story, I wish the story was moremysterious, sorry.

 

What are you working on at the moment?

Outside of my local Spanish work I am currently treating severalprojects with The Sweet Shop. One of them is for the Asian market! I amkeeping my fingers crossed!

 

You started out in graphic design in Madrid and then worked as anart director before turning to directing three years ago. What promptedthe career change? Was it difficult to make the transition?

I truly enjoyed my years as a designer or art director but I suppose Irealized I simply needed a change. I also thought in a market such asthe Spanish one, I would be able to freely express myself as a directorrather than a creative. And to be honest it was not at all easy in thebeginning. I was surprised at how little I knew about the dynamics of aproduction company even though I had a close working relationship withthem. I didn’t realize their problems and limitations they have attimes.  Without a doubt my first few years was an intense crash coursein directing.

How has your background in design influenced your directing style?

It has helped me a lot, but I do try to be as versatile as possible. Itry to make sure my past, as an art director isn’t a factor that,classifies or limits me as a director. I attempt to make sure theaesthetics, which at times isn’t always a vital factor in a project,becomes a necessity. Although I have to admit it isn’t always easy.

 

What was your first big break as a commercials director?

It was a group of promos for a television channel called “Cuatro”. Itwas a fun project. They gave me total freedom to interpret and visualthe concepts. Even though the result in the beginning wasn’t what theclient expected, both the agency and myself were very satisfied withthe final result.

View Cuarto here: 

 

MetroMadrid_Wedding.jpgWhat’s the two most memorable spots you’ve directed?

I am not sure if they are my best work but for some reason or another they still stand out to me: Metro de Madrid “Wedding” and Renfe “Pop Up”.

What do you love about directing commercials?

Each spot is a learning process that supplies different and singularexperiences. Each one requires a creative and technical analysis thatmost likely will never repeat itself again. And even though it soundslike a cliché, I like the people you meet, the places you suddenlyappear in and never thought you would gain access to and the sense of ateam that can surface when faced with challenges and when laughing outloud.

Do you have aspirations to make short films or features? Any projects in the pipeline?

It’s something that is in the back of my head and tickles me every oncein a while but at the moment it isn’t a priority for me.  It requiressuch a great amount of effort and time to bring something to the silverscreen; I would need to find an idea or a story totally irresistiblethat I can’t live without telling. But for the moment I willconcentrate on bringing to life the stories the agencies and theirclients confide in me to tell.

 

What are your favorite three commercials?

There are many, but the first three, which pop into my head, are:

Levi’s ‘Condom’ by Michel Gondry. I still love this one!

Guinness ‘The dreamer’ by Jonathan Glazer.

Philips ‘Carousel’ by Adam Berg.

You can view SEGA’s latest reel HERE.

Previous featured directors.

Top Director: Sam Bryant (Luscious International)

Top director: David Denneen (Filmgraphics)

Top director: Dave Klaiber (Plaza Films)

Top director: Henry Lu (Moxie Pictures)

Top director David Gaddie (The Sweet Shop)

Top director: Amy Gebhardt (Exit Film)

Top director: Simon McQuoid (Revolver)