Hi François, can you tell us more about your background?
My name is François Alain Pieneman and I grew up in Hoofddorp. As a child, I always had a passion for creative activities such as writing, drawing and photography. I applied for various creative studies such as industrial design and display, and even considered going to the Film Academy and a graphics school. Unfortunately, I was rejected everywhere because they noticed that I wasn't sure what I wanted to do yet. Eventually, I moved to Amsterdam to study Commercial Economics. After graduation, I worked at a recruitment agency, traveled for a year, volunteered, and then worked in finance as a business controller.
Can you tell me about when you decided to switch from finance to film?
Before you're thirty, you may think you'll either shine like a pop star or fall into an existential crisis by then. Once I turned thirty, I realized that my current job wasn't something I wanted to do forever. I remembered a corporate movie I had once made, a project I had really enjoyed - and decided to return to the world of film. I set up my own company and quickly started working as a freelancer making online commercials. Although I was satisfied with my work, I still felt I wanted to create something where I could put more of myself.
What did you miss at that time?
You can't put much of yourself into commissioned work. I attach great importance to finding meaning in my work and being able to contribute to the world around me. At one point, I wondered how I could combine both aspects, and that's when it dawned on me: documentaries. In this form of film, all the elements come together, and I've always enjoyed watching it.
What documentaries or stories inspired you in your work?
It all started with fairy tales; they're so much more than just fun stories. They contain deeper morals, are about how we interact with each other and are timeless. When I think of documentaries, “4 Elements”, which was shown at IDFA, comes to mind. The documentary covers the four elements of life: fire, water, earth and air. The characters barely speak and powerful images can be seen. It taught me how to tell a story without a lot of words spoken.
How did that idea influence the way you produce?
I started experimenting more with symbolism and the power of images, while becoming less and less dependent on words.
“In your 30s, you're either at the height of your fame as a pop star or you're in an existential crisis.”
Flash forward: You're 30, you've just made a big career change, and a few years later, your short film about coming out 'Turn it Around' has been nominated for more than 100 film festivals worldwide. How does that feel?
Crazy and special, because you've worked so long to get somewhere. When my movie career started, I didn't know where to get information from, I experimented, I failed. But I've always been someone with a hands-on mentality, which is the only way to learn what your strengths and weaknesses are. I'd rather do something and then find out later that it's not for me. As they say: in your 30s, you die as a pop star, or you fall into an existential crisis.
In all the time you've been producing movies and documentaries, what has been your favorite production?
I really enjoyed 'Turn it Around'. The atmosphere during the recording was fantastic, the writing process was really fun and its worldwide success certainly contributed to that. It was shown worldwide, in schools, in theaters, even in Amsterdam during the Pink Film Days. The best part was a message I received from a gay man in China who dared to come out because of the movie.
If there was one other social issue that you could tackle with a documentary, what would it be?
Right now, I'm working on a children's TV series about domestic violence. Sometimes it seems like this problem doesn't even exist because it takes place behind closed doors, because children don't talk about it and because it's taboo.
In addition, I would like to make a film about a group of friends who go out together, a bit like Rabat, but with a focus on a social topic. Depression and suicide are both topics that I find very important. I want to present these difficult to approach, complex topics in a light-hearted way, without sacrificing their strength. That is something I want to do more often; address difficult social themes in a light-hearted way. I believe this can change people's perceptions; it doesn't always have to be heavy and dramatic.
Did you also struggle with problems when you were younger, where you felt like you couldn't find support or connect to what was being broadcast on TV because those issues were treated in a dark or dramatic way? Is that why you prefer to approach it in a more light-hearted way?
Certainly, 'Turn It Around' is a good example of that. Coming out can be very difficult, but it can also be a powerful thing. When boys or girls who struggle with their sexuality see the movie, it encourages them to talk about it more freely, because it's not presented in a difficult way. It removes the pressure and taboo.
Let's talk about something else you're working on. You recently set up a podcast called “Master Storytellers.” How did you come to this moment?
It feels like everything I've been working on over the past few years is coming together in my podcast, and the idea was triggered by COVID. The pandemic made me think about the struggling arts and culture sector. Why isn't this sector getting the support it deserves? Art and culture bring us so much; they bring us stories and stories connect people. With my podcast “Master Storytellers”, I shine a light on important stories.
Marketers have a lot in common with journalists, filmmakers, and politicians — we're all storytellers and there's so much we can learn from each other; it can inspire us and bring more joy to our work. That's why I invite guests who work in different fields to talk about the importance of storytelling in their work.
Authenticity is important in storytelling. In your second episode, you discussed authenticity with one of your guests. That got me thinking: what is your own authentic strength in telling a story?
My strength lies in empowering people to tell their story in the best possible way. Their story is central and I try to ask people the right questions to illuminate the subject in the best possible way.
When did your story in A Lab start?
I've been in A Lab for three years now. A movie director who knows Lucas encouraged me to stop by, and I've been here ever since.
You like to experiment in your work, have you already experimented with other A Labbers?
I've already worked on several projects with Uptale's Yvette Dorrepaal and Ulysses Agency's Joyce van Rijn, who are both active in the film industry. Joyce has an agency for directors, so it was obvious that we would work together at some point. One of the benefits of A Lab is the diverse group of people who work in a variety of creative areas, which can be enormously inspiring for my podcast. In fact, Lucas has already given me a list of people I should interview.
What do you love most about A Lab?
There is a relaxed atmosphere here, even though it is a large building, you still know everyone. People greet each other, everyone knows the team. There is just a general atmosphere of warmth, it's nice to be able to work in A Lab.
If you had the opportunity to set up another company within A Lab in addition to your own company, what would that be?
I believe that the way we receive and teach is going to change, so I would like to do something with education and, of course, integrate storytelling into it.