Linkedin Rise

Your latest spot for LinkedIn, Rise,  features some cool visual effects – involving wires and cranes to make actors effortlessly float in the air. How much of the stunt was captured in-camera versus realised in post? What were the biggest challenges from a practical and technical point of view?

The VFX involvement in the effect was minimal – just some cable cleanup. The actor was suspended from a crane, and we moved him by pulling cables attached to his body. The challenges were that moving the crane from one point to another is a slow process, and that being suspended by cables for a long time takes a toll on the body – it requires a lot of physical endurance from the actor.

You’ve always been masters of illusion, but your spot for Apple x Orange raised the bar a few feet in terms of visual effects and production design, involving the creation of real oversized props. Why did you decide to go down that route on seeing the script (and did you question your decision at any point?) Did you have a go-to prop team to call on, and how long did the process take?

Our approach was simple: it had to feel like when you notice quirky details on the street while taking a walk – something observational, almost documentary-like. [US comedy docu-series] How To With John Wilson was the first reference that came to mind. That’s when we knew the oversized objects had to feel tangible and allow interactions with the environment, so the only option was to build them.

Jose Tirado was the production designer on the project and also handled the design and execution of all the large-scale elements. If you look closely, there are tiny details on the objects that might seem unnecessary – the tag on the cap, the napkin on the donut – but those are precisely what makes them believable. We were lucky to shoot in Barcelona, the art and construction crews are incredibly talented there.

We never ruled out using VFX for cleanup and final touches, but honestly, the build quality was so high that we barely needed any. We never really questioned the decision – it was the most logical choice for the project, the most cost-effective, and in terms of timing (the whole construction process took less than two weeks), it was much faster than what a VFX team would have needed.

Aside from the gigantic donut (was it actually edible?), our favourite object was probably the outsized roller skates – how did you achieve the effect of someone skating in them? What was the trickiest prop overall to create, and why?

The most complex prop was probably the roller skates, since they had to be functional. It took us several tests to figure out how to make them move properly. At first, we tried making each roller skate move independently so the actor could move their feet separately, making the movement feel more natural, but it was impossible. They were too heavy for the actor to control, and it was way too easy for them to go off balance.

We considered motorising them individually and programming the movement… but in the end, the simplest solution was the winner: fixing both roller skates together so they wouldn’t separate and pulling them with a rope. Sometimes, you go through all these complicated ideas only to land on the most straightforward one.

The oversized jacket, designed and made by costume designer Violeta Comella and her tailor, was also more complex than it might seem. Even though they used lightweight fabric, there’s an entire internal support structure to maintain the shape and allow the actor to move freely.

The rest of the objects also had their tricks – materials had to look realistic but be light enough for the actors to handle. And about the donut? Well, only a small part of it was actually edible.

Are you always happy to lift the curtain on your production processes, or are there times you’d prefer to keep the mystique in how you achieve your extraordinary films?

We haven’t done anything too crazy in terms of effects yet, but we are always happy to share the how-to. We love watching behind-the-scenes and making-of videos from other directors, whether from movies or commercials—it’s a huge part of how you learn to do things. Oscar Hudson’s Apple Bounce BTS or Megaforce’s Burberry Open Spaces making-of are incredible to watch. It’s amazing to get a peek behind the curtain and see how great films are conceived. We’re always happy to share and truly grateful to those who do.

Réalité directing duo: Jason Causse and Alba Solé

Other standout spots on your reel include Cisco Breaking 2024 (announcing the official inclusion of breakdancing at the Olympics) and Leroy Merlin Wind. Looking back on the past couple of years, which of your projects has really pushed your filmcraft in new or unexpected directions?

We believe Wind is still the craziest one in terms of craft and process. It was our first shoot with effects, and we truly enjoyed the trial-and-error process… and luckily, we eventually succeeded.

It’s all in-camera, so the engineering behind the air movements was no joke. We built a house inside a studio, filled with fans, blowers, and hidden air ducts to create the wind currents. And when the wind effect was finally perfect… we realised the air was so strong that the Steadicam operator couldn’t move forward. So, we had to figure out a way to redirect the airflow—strong enough to affect the characters but leaving a clear path for the operator. It was definitely a fun one.

Réalité check: Self-portrait of the directing duo

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