COTTON commerical
M.A.D.D. commerical

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Truth in Advertising? Director Souzan Alavi
by Julia Laricheva

Souzan Alavi is a New Orleans-based director.

What spots have you directed in the past?

My first spot was a spec spot for The Cotton Industry, then I went on to direct spots for Marquis Spas, Strength shoes, National Automotive, HGTV, Partners for Healthy Babies (nonprofit for the prenatal care of young women),"LASPCA", Lux, Bond, & Green Jewelers, Revlon Run/Walk just to name a few. The PSA’s are by far the most gratifying to work on. They usually allow far more creative input and benefiting a good cause leaves me in a Zen-like place.

What influenced you as a child and what influences you now?

I was privately creative growing up. I was raised to think it was personal and should not be shared. I completely disagree now. It helped me evolve and enabled me to deal with problems. Today I am greatly influenced by still photographers and installation artists. Installation artist, Mona Hatoum, creates mood while heightening your senses. Danish painter, Vilhelm Hammorshoi, is a master of light: shadow and mood. I can go on for a couple of days about this.

How did you get into the directorial field?

It was ‘89 and I got the chance to work on an independent film. The movie was called Maggie May and the director was Marika Menutis. I started as a personal assistant and ended up being the Assistant Director. Although I was still really young I had already had about twelve careers that I wasn’t happy with. Once I did the movie there was no turning back cause I was completely hooked.

At the University of New Orleans you started out as finance major. What was your first job out of school?

Well, I never finished. [laughs] Ever since I moved down south, I have a bad record with education. I was always in the back drawing… and after working on Maggie May all I could think about was filmmaking.

Last year, you opened your own Production Company called Manpower Films. Not many women do that. Besides owning your company, what's the best part of it?

A male director owned the first company that I worked for and I guess since it was his, everything revolved around his needs. The entire staff worked on his shoots, which left me to fend for myself. It seemed self-defeating to generate income for a company that didn’t support me. The experience left me feeling that I needed to have a lot more control creatively and financially. That is what led me to work solo. Now I have a company with Lisa Robinson, named "manpower films." The name represents the way we work on a project. We go into it full force and work hard.

Where do you see yourself in 10 years?

For me, working in an intimate environment enhances storytelling: that’s why I am moving into indie films and documentaries. I acquired the rights to a beautiful short story that I will be shooting next spring.

Souzan directed a few rap videos before she worked on commercials. Advertising (much like the rap and hip-hop) world, is largely male dominated. Do you think that it's harder for a female to break into the directorial world?

It’s definitely a challenge. There have been rough times. Sometimes it comes from the crew. Other times it came from the record companies that I worked with but never the groups or agency creatives. On one shoot, the record company rep would call me over every other set-up to explain my interpretation of the lyrics. I would tell my rendition and he would be cool for a little while and then it would happen all over again. Now I realize it was an issue of trust. Once everyone realized I was committed to my craft as well as the musician’s intent, it would fall into place. I understand their skepticism, a white female directing rap videos. Well, I love all types of music and I grew up listening to R& B, disco and consequently rap. I am a huge fan of rap. The reason that I ended up moving away from the scene is cause I started getting more commercial work.

While I was at a film transferring to tape facility working on a rap video, a director/owner of a production house noticed my work and offered me a position. That’s when I wrote the "Life without Cotton" spot. The spot is a modern day interpretation of what life would be like if cotton didn’t exist. The American Indians utilized everything around them for their necessities. Their resourcefulness intrigued me and yet it seamed if we did that it would be very uncomfortable.

If you were a lamp what kind of a lamp would you be?

A tall Halogen light, so I could face the sky.

What do you think the women’s role in the industry is?

Women are the ones who are key in putting projects together, especially in agencies. Many producers are women, I think it’s because they really know what they’re doing. I think we spend less time networking than men do and that might be a problem. I personally love working with women. Our attention to detail combined with our communication skills gives us a tremendous advantage.

What awards have you received?

In '97, my first spot "Life without Cotton" shared the Silver plaque for Special Achievement in Direction at the Chicago International Film and Television Festival. I shared the award with commercial director Tony Kaye & Partners and was Short-Listed for Special Achievement in Direction at the New York festival. In ‘98 I won Gold for Special Achievement in Direction, at Chicago’s same festival for a "Mothers Against Drunk Driving" spec spot. In ’99, I won Silver for Special Achievement in Direction at the Chicago International Film and Television Festival for a spot for Strength shoes. I also picked up a few New Orleans ADDY’s for Strength Shoes, National Automotive, Revlon Run/Walk, and Lux. Bond & Green just won a Special Judge’s Award. You can view her reels at www.artsymag.com

What part of the country, or what agency or person do you think is currently putting out the most creative work?

I focused first on my own work and then check out the rest. Actually I really like the Volkswagen spots directed by Arnold Communication out of Boston. They have really taken advertising to a different level with their newest campaign. I also love humor in commercials. It really makes the person remember the product.

Do you have any advice that would be specific to female artists and art professionals?

You have to remember to work for personal gratification because at the end of the day that is what you will remember most. No matter what negativity is thrown at you, never give up. People who are successful in this business don’t take anything to heart. Whenever possible do spec work to build your reel/portfolio. Most importantly feed your soul by working for causes you believe in.