Today we catch up with the talent behind the jaw-droppingly audacious test spot Femme-o-matic, which took the top prize in the European Test Commercial category. Director Jelmar Hufen describes this cheeky spot as a definitive moment in his career, and the decision to take some creative risks has proven a good one – as well as winning a YDA, Hufen has found representation at Comrad and we’re all super keen to see what he does next.

So women popping out of vending machines… how did that idea come about?

My girlfriend Frederike Groen came up with the basic premise actually. We were on a fair playing on a machine where you have to grab prizes with a mechanic arm. She suggested how cool it would be if the machine would be life size and how funny it would be if you could grab people with it instead of stuffed animals. That was the starting point from which we developed the script to what it finally became.

What was the biggest challenge behind this job?

Getting everybody and everything in the same place for free at the same time. That’s always the hardest with a free job. And on this job we had an extra setback. Our shooting permit was denied at the very last minute for some bureaucratic reason. I was so angry, because this was really the only day we could get all the cast and crew together in the months to come. The next day I stepped in my car, drove for three hours to our shooting location and ‘bribed’ the mayor of the city with a cake I bought around the corner. The man then gave his personal approval and the shooting could start.

Although it’s a test spot, if you go into Google, everyone describes it as ‘banned’. Was it? Were you trying to stir up a bit of controversy?

Ssssht!

What inspires you?

I think life in general, contemporary art, photography. People who don’t follow conventions but their own heart and instinct.

Aside from your YDA-winning film, what piece of work are you proudest of and why?

I’m most proud of this film actually. It really feels like a fresh start for me. As a (young) director you’re always asked for the kind of work that is already on your showreel, and before you know it, you’re pushed in a corner you don’t want to be in. So I had this ‘Fuck ’em all’ moment, and decided to make something I just really wanted to show (and see myself), uncompromised. That’s the way advertising should be; idea and author-centric. Luckily I found some great co-spirits. Cameraman Lennert Hillege was somebody who really understood the spirit of what I was doing, as was editor Doug Hancock and sound designer Eelco Bakker. As a cherry on the cake I got Postoffice (www.postoffice.nl) on board, to do all the CG, VFX and color grading. They did an amazing job.

Since it’s release, the response has been quite overwhelming. I moved to Comrad (CZAR’s little sister), the coolest place to be as a young director in the Netherlands and have been welcomed like family. I got repped in Belgium and France, received a lot of attention, won the YDA ofcourse and most important received a lot of scripts (some of them quite nice). But although all essential for my career, it all just feels like a bonus to be honest. Cause I had already found what I was looking for and that was making something that I’m happy with myself. And nothing beats that.

What were your first thoughts when you found out your film had won?

OMG, now I have to go on stage. Haha.

What’s the best piece of advice anyone’s ever given you?

If you can’t get what you want, aim higher.

Having scooped a prize at the YDA, what are your plans for the coming year?

Making more disruptive films and who knows win a Lion…