Typically, they come at much lower budget points, which reinforces the gender pay gap. Often the creative for these spots have nothing to do with my wheelhouse (absurd comedy and design focused). The problem isn’t that I don’t like working with these demographics it’s that it reinforces gender stereotypes of women as caretakers. Sophie> I am often sent scripts that involve children or the elderly.
LBB> What misconception about you or your work do you most often encounter and why is it wrong? If a script comes along with a narrative element, the opportunity to world build and dig into character is exciting. Sophie> I am drawn to absurdist comedy supported by strong visual concepts. LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to? A producer who actually acts on their good intentions to create an inclusive workplace results in a better outcome for the ad itself. I know too many people who have quit the industry because of toxic and homogenous work environments. My favourite producers are ones who prioritize diversity behind the camera. It’s a creative job, and they take on a lot of challenges from every side. I love a producer who shares the same priority (which is the creative), and who can balance that with the resourcefulness required to achieve it. They are the go-between for myself and the agency, and having a strong rapport with them makes the whole thing go smoothly. Sophie> If I had to choose one, I would say the producer. LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why? I want the treatment to support the tone, and for my creative voice to enhance and enrich it. Putting the actual treatment together is all about telling the story. This is where my understanding of the tone and my unique take on the spot develops. What parts inspire and excite me, and get me looking for visual references and jotting down fresh ideas off the bat? These pure instincts can get lost in the muddle of pre-production, and having them available for quick reference helps to ground us back to what matters. Sophie> I write down all my first impressions and what draws me to the spot. LBB> How do you approach creating a treatment for a spot? I see this format as a space to challenge myself creatively, and when a script comes along that offers an opportunity to try out new cinematic techniques I am interested. I have a background as a production designer, and am drawn to scripts with unique visual concepts. Sophie> If a script has a strong handle on tone, my ability to envision it comes naturally. LBB> What elements of a script sets one apart from the other, and what sort of scripts get you excited to shoot them? She currently resides on unceded xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and səl̓ilwətaɁɬ (Tsleil-Waututh) territories (aka Vancouver), sharing an apartment with her bad cat, Bunny. In the summer of 2021, Sophie will shoot her live action feature debut, Invasions, with Experimental Forest Films. Lately, she is immersed in the world of stop motion animation (recent works include commercials for Vancity Bank, and the upcoming short film Zeb’s Spider with the National Film Board). In studio, Sophie has an exacting vision for practical set builds and in-camera effects. Her world building approach focuses on tactile elements: she has a penchant for 16mm film and unique locations. Sophie’s work is notable for evocative imagery, high concept visuals, and an absurdist sensibility. Watch her 2018 Pecha Kucha talk here to learn more about how her directing and design practices deeply inform one another. Sophie now works as a commercial and film director, while living a double life as a production designer on a wide range of projects. Later, she studied at Simon Fraser University and her short film The Worst Day Ever had its premiere at TIFF in 2012. Sophie Jarvis’ first job was reading fan mail for The L Word.