Gijs Determeijer on the power of the YDA

As Executive Producer and Partner at film production company and photography agency HALAL, Gijs Determeijer, isn't just this year's YDA jury chairman but a bona fide YDA fan.

As the extended deadline to enter your work of May 28 approaches, Determeijer reveals why he agreed to sit as this year's jury head, and why the YDA isn't just crucial for directors looking to launch their fledgling careers, but is equally important for established production companies in getting their young talent noticed. 

Below, Determeijer speaks to us about the upcoming event and, ahead of the YDA Week and ceremony, you can also view this year's shortlist for the Born to Create Drama competition, and vote for the piece of work you think best encapsulates the spirit of the YDA.   

Why did you accept the invitation to become YDA jury chair for 2021 and how important is it to make sure new directing talent is recognised and nurtured? 

Nobody ever asked me to be president before, so it was basically an ego thing. I am only human! Of course, I have been a fan for years of the YDA, and I think it is one of the - if not the - most important award shows in our industry because it is 100% driven out of passion for craft and filmmaking. And what other platform gives you a global overview of the best young director talent? Young directors around the globe struggle to take their first steps into the world. It is always a chicken egg situation; make great work to get noticed, but need money to create great work, so where to start? 

What other platform gives you a global overview of the best young director talent? 

As a talent-driven production company owner I know how hard it is to get new directors flying, and a platform like this - along with things like Nowness, Vimeo and Dazed - is essential into getting the work out there. It is really rare that a brand will take a risk with a young director, so it is essential that people make editorial pieces, short films, music videos and docs to show their own style in order to get recognised. I think a place like YDA, which shows the best of the best, helps launch careers.

Above: One of last year's two YDA Special Jury Prize-winning films, Balloon, directed by Jeremy Merrifield.

The last 15 months have been hard for most people, but what impact - positive or negative - do you think the coronavirus pandemic has had on opportunities for upcoming directors?

Positives: Focus on local markets; smaller budgets; weird stuff.

Negatives: People don’t take risks; more established directors do smaller jobs just to work, cannibalising the market; it is really hard to shoot low or no budget in these times, corona measures cost loads of money and nobody want to risk their health just because of a music video, or experimental short film.

It is unlikely that a brand will experiment, so a director needs to let their own voice speak in other formats.

The YDA focuses a lot on longer-form work; how important do you think it is that new talent has a good understanding of directing work outside of the traditional 30/60-second format?

It is unlikely that a brand will experiment, so a director needs to let their own voice speak in other formats, like music videos, fashion films, short films and maybe even longer formats. Also, most directors dream of doing a film or a TV series at some time. Only some stories can be told in 60 seconds, right? 

Above: The second of last year's Special Jury Prize-winning film, Eyelash, directed by Jesse Lewis-Reece, which also picked up a Gold Screen in the Changing the World Frame by Frame category.

What will you be looking for when you’re viewing the shortlisted work, and do you think the access to technology has made finding good, new directors more, or less difficult? 

I will be looking for raw talent; directors from underrepresented communities; young directors who do something that makes me think, ‘Wow! How the hell did they do that?’; good story telling, and a bit of comedy. I would love to see some stuff that makes me laugh, the world needs it right now!

I will be looking for raw talent; young directors who do something that makes me think, ‘Wow! How the hell did they do that?’.

The YDA category, Changing the World Frame by Frame, aims to highlight work which concentrates on social good; how important do you think advertising’s role is in global social education?

It is very hard to keep your moral compass straight when choosing projects, especially when you’re just starting and there is not that much to choose from early in your career, or later in your career for that matter. So, putting time and effort into doing NGO work or good causes in general might help you balance your karma points a bit. So often there isn’t a huge media budget, so as a young director make sure you have a good PR plan to get the film out there. Also, make sure it is a great idea that will generate lots of talk, and it is your responsibility to make it super-great so when people see it, they see your skills.