Peer Review: Daniel Eceolaza

Who are three contemporaries that you admire?

The first filmmaker that comes to mind is Martin De Thurah. The sensitivity of his work caught me the moment I discovered it during my internship at a production company in 2011. I remember thinking, “Can you really do this in such a short time?” Whether it's a comedy or a highly epic narrative, he’s one of those rare directors who consistently brings deep humanity to the screen; it is humbling.

 Editing, in the sense of polishing, feeling the rhythm of things, and cleaning ideas, is not only a post-production step but part of the whole process.

Then I have to mention Alex Takács/Young Replicant. I find his work incredibly hypnotic - it always strikes a different chord in me. I hope he gets to make a feature film soon.

Lastly, DP Sebastian Winterø. I recently had the opportunity to work with him after years of following and admiring his work. It is always special when extraordinary talent is paired with humanity and kindness.  

Please share 3-4 pieces of work that exemplify great direction and explain why?

Speaking of Martin de Thurah and Young Replicant, I will put together a music video for each, with stories I believe could coexist in the same universe. They are Röyksopp’s Do it again (Martin De Thurah) and Alt J’s 3WW (Young Replicant). Both videos feel like short pieces of literature to me, where you can keep digging and always encounter new ideas. I find it incredible that they are both under 7 minutes yet so rich.

Everything is a work in progress, and everything can make an impact.

Also, I love watching Caroline Konings’ New Girl Nike film from time to time. She’s an incredibly talented filmmaker with such a strong voice, and this particular film is one of my favourite commercials in the last decade. From the message to the execution, I just can’t imagine a better way to do this film. 

And then, there will always be David Fincher’s Nike commercial.

What do you like most about the work that you do?

I love the contrast between collaborating and sitting down with myself to solve mental puzzles, and ultimately editing everything down as much as I can. Editing, in the sense of polishing, feeling the rhythm of things, and cleaning ideas, is not only a post-production step but part of the whole process. That’s when coming back to others matters, and talking and listening become so important. I love collaborating and being well surrounded.

What has your career journey been like so far?

It has been a constant search. For what? I don’t know. I started selling popcorn at a cinema (to watch eeeeevery film for free), and there I found great pleasure chatting with strangers about films. Then I assisted directors. I wanted to learn as much as I could in the most artisanal way, by being present. Then I started directing, and it has all been fuelled by doing, watching, traveling, and taking in as much as I can. 

I do have a picture of Aki Kaurismäki on my desk, just because he is the greatest of all time.

I am grateful to be European but also a foreigner – working and living in different countries. Shooting commercials is great, but that's just one part of who I am. I invest some of what I earn from advertising into my own projects: documentaries, little mindf*cks, photography… I have been painting for as long as I can remember... Writing is central to my daily life and my work as a filmmaker... So everything is a work in progress, and everything can make an impact.

What is one thing every director needs?

To understand the power of saying “No”.

 I love what I do and the act of creating: sitting down to write, plan, meet other humans, listen, learn from their experience, and film.

Who is the greatest director of all time?

I don’t think that such a thing exists or should exist. But I do have a picture of Aki Kaurismäki on my desk, just because he is the greatest of all time.