In the director’s chair: Caroline Koning on how ‘living in 2018 comes with a certain responsibility’

Who or what inspired you to be a director? (or who are your creative heroes and why?)

John Baldessari. Sofia Coppola. Andrea Arnold. My dad. My ex-boss. The book ‘Without You, There is No Us’. ‘Y Tu Mama Tambien’, which made me want to do film and go on roadtrips. Gus van Sant's film ‘Restless’ (cried my eyes out). Lynne Ramsay. My friends. Lovers who broke my heart. Pedro Almodovar's choice of music. Denis Villeneuve's Icendies.

Outside of work, what are you into?

Brown cafes. My soccer team. Plant and flower names. Cinema. Animals (and their Instagram accounts). Reading newspapers in the weekend. Ballet and dancing in general (anytime, anywhere). Poetry. Exhibitions. Film photography. Organising games with friends. Binge watching interviews on YouTube with actors, singers, directors.. you name it. Morocco. Mozambique. Mongolia. Karaoke. Learning French. To do lists (as you probably noticed by now - I love lists).

How would you describe your style of commercial/film making? What are you known for?

I think my background in fashion always manifests itself in one form or another, even if it's a non-fashion project. I like to work with casts of non-actors; there is something more 'human' about that. I like a soft cinematic gaze, and a sensitive and poetic atmosphere. My work is often described as poetic and natural.

Have you got an idea about what sort of projects you’d like to work on or are you quite open minded about what work comes your way?

I'm quite goal oriented. I know what kind of topics I'd like to work on, the sort of brands I’d want to collaborate with, the type of crew, and so forth. However, I'm also open to everything that comes my way. That sounds quite contradictory. But the past couple of years I’ve really experienced that you can try to plan everything, but you never know. It's about balance. And who's got that figured out? No one, really. So, there's no point in chasing a perfect plan. But, regardless, it’s definitely nice to have a strong sense of where I want to be, to consistently build towards a specific goal. It almost makes for a sort of compass to help navigate.

When you’re looking at scripts and projects that come in, is there anything in particular that you’re looking for?

Building on what I just mentioned above, I actually keep a list of stuff that I want to do or try out. So, whenever a script arrives I go through my document to see where I could incorporate something that's been on my wish-list for a while. That could be a location, a camera style, or even a simple line someone could say.

Lately I'm also really trying to look for some sort of social meaning in a narrative, or a bigger idea that could mean something to a specific community. I feel that living in 2018 comes with a certain responsibility. Especially with regards to reinforcing stereotypes, building on biases or mindlessly being stuck in a routine without making conscious choices. As a director, I don’t take these choices lightly and always put a lot of thought into it.

What's your funniest moment on set?

Quite a lot actually. Film crew people are usually quite funny. There's a certain type of humour on set. Shooting abroad, in particular, brings out the best in people too. It creates a bond between crew, producers and so forth that I find quite special. You work together so closely, and all strive towards the same goals. If it clicks with someone it can feel like you've hit the jackpot. But yeah, funny things on set. I squatted in an ant’s nest in the tropical forest of Thailand at 6AM in the morning. Or another time, we almost lost the most important prop of the film in airport security because the art director wanted to keep the vintage razor close to her. But yeah, try flying with a razor. I haven't kept track of all the funny quotes and anecdotes; maybe I should.

What's your best piece of work?

I think it's my latest work with HALAL for i-D in collaboration with Loewe. It's a fashion film, but also speaks to the culture and legacy of British designer William Morris. It's a poetic but natural story with an amazing cast.

Which ad do you wish you'd made?

I find the old-fashioned Eternity spots by Calvin Klein really amazing. The edit is quite messy and the shots often repetitive, but there's something nostalgic about it that I find very attractive. Nike's Serena Williams ad was wonderful and powerful in its simplicity, same for Samsung's Feel More spot.

And of course, Spike Jonze's latest Apple film is just amazing for its choreography and art direction.

How well does the information flow between client, agency and production company on a job?

It completely depends on the job, the agency and the client. Usually the process is smooth, but it can be rough as well. Especially in the post-production phase, the expectations aren't always aligned between client and agency for example. It can be disappointing if you feel you need to compromise because of political issues within a company.

What's been the biggest change to the industry during you career?

Firstly, the creative freedom that the internet gives you as a maker. You don't need to find a client or a specific platform in order to share a personal project. More importantly, good and relevant work can ‘easily’ reach new audiences and attract eyeballs.

Secondly, the role and position of the female maker is changing. Or, at least, the issue is on people’s radar. I’m an advocate for gender equality in any professions. In my particular field, I try to be a positive voice and help put the spotlight on female positioning. People who make films do more than just write scripts and make up characters. Just pick music. Just create a work environment. We make choices. There is no excuse for having all the information right at your doorstep, and not using it. In a world where I can’t do much to promote more women to CEOs, I can create them in films. So that’s what I try to do. I find this important, and platforms such as Free the Bid have an extremely important role in turning words into action.

Have you worked on any client direct commercials (no agency involved). What's been the difference?

I have worked directly for Scotch & Soda and Hunkemöller. On the one hand, quite logically, the flow may seem more efficient because a layer is taken away. On the other hand, an agency can also help support you in creative decisions which is sometimes helpful. I think it all depends on the project, and the client.