Interview with Pascal Thieret: PSD Bank Brand Film
To accompany the launch of PSD Bank’s first major branded film on shots.net, we sat down with director Pascal Thieret to uncover the story behind the campaign. In this candid interview he explains how the guiding motto “Zusammenwachsen. Zusammen wachsen.” shaped every creative choice—from a storyline that follows a young artist’s journey to the vibrant spring palette that runs through each frame. Pascal also talks about tailoring finance‑heavy themes to a relatable audience, navigating on‑set challenges (including Germany’s famous April weather), and why authentic storytelling still beats hard‑sell advertising.
What was the original vision behind the film, and how did it evolve throughout production?
PSD Bank approached us with the goal of creating their first major branded film. On one hand, the overarching message – „Zusammenwachsen. Zusammen wachsen.“ – needed to come through: We’re here for you, every step of the way. On the other hand, the client also wanted to highlight specific products, unique benefits, and services.
Early on, we explored the idea of making a story-driven short film that could focus primarily on the brand’s core message. I pitched the storyline of a young artist navigating life, love, and art throughout her twenties – while PSD Bank quietly supports her through the ups and downs. My goal was to integrate financial topics as seamlessly as possible into the narrative. Rather than forcing them in, we tied almost every product or service to an emotional moment that felt natural and resonant.
For example, when the protagonist’s best friend moves out of their shared apartment, she’s left feeling frustrated – abandoned, even. She doesn’t want to live with a stranger, but is there another way? Standing in the now-empty room, the idea takes shape: she calls the bank. This moment subtly showcases PSD Bank’s personal, always-on approach while also introducing the option of a personal loan – one that allows her to turn her former roommate’s space into her own art studio.
Overall, we wanted to convey a sense of ease in the relationship with the bank. No bureaucracy, no stress – just a partner that listens, understands, and genuinely cares about your individual needs.
How was the film tailored to the brand’s specific audience?
The client emphasized that their target audience is looking for a bank that supports personal growth and helps turn individual dreams into reality. With that in mind, it was crucial to create a main character whose aspirations and challenges feel tangible and relatable to the audience. I wanted to root her dream in a passion that would provide a soft, colorful contrast to the often impersonal world of finance. That’s why we made her an artist – someone who may have picked up painting during the pandemic, only to discover that it had become much more than just a hobby. This artistic journey not only gave us a visually rich and layered storytelling device but also allowed us to mark meaningful milestones throughout her life: from her first tentative paintings to transforming part of her home into a personal atelier, and eventually hosting a successful vernissage.
To keep the financial aspects feeling natural, we wove topics like saving and investment into everyday conversations – casual, unforced, the kind of dialogue you’d actually hear between friends over a plate of falafel.
Beyond the short film itself, we also created a series of targeted short-form ads, each highlighting specific products or services. The film served as a modular storytelling hub, allowing us to seamlessly extract and adapt focused campaign elements for different audience segments.
What were the key aesthetic or stylistic decisions that shaped the film, and how did they support the brand message?
In a time when things can feel a bit bleak, I wanted to infuse the film with warmth – something that stands for hopefulness. In contrast to the cold, grey world of banking, I deliberately splashed the world of numbers and credit with color. It’s about the sense of companionship that PSD Bank promises: “We’re in this together.” And when we look ahead, we see a brighter future – not just for us, but for everyone. When it came to color details, I knew I wanted to work with green tones to subtly echo PSD’s brand colors. We did this in the main paintings by mirroring the brand’s color palette on the canvas. Overall, I envisioned fresh, spring-like hues that would make every frame pop, while reflecting the vibrancy of the paintings back into the lives of our protagonists.
Noah Böhm (Director Of Photography) and I created a vision board for the spring/early summer vibe we were after. We drew inspiration from the actual paintings featured in the film, but also from certain films Noah and I watched as part of our prep. I specifically remember a scene from Roter Himmel, where the lead actress, Paula Beer, is sitting in a sun-drenched garden wearing a lavender sweater. That image stuck with us, and we discussed it with the incredible styling duo “Freck,” who did an amazing job fitting Sarah, our main protagonist, with outfits that perfectly captured that sunshine spirit, as well as her journey through different stages of life.
Are there particular elements of the film that you are especially proud of? Why?
From the very beginning, getting the painting aspect right was a priority for me. I wanted actual paintings, not reproductions. And I wanted there to be a lot of them, to showcase Sarah’s drive and passion as a young artist, as well as her growth over the years. I came across an image of Pauline Prasser on a fantastic platform for emerging artists called Studierenden Kunstmarkt. In the photo, Pauline was sitting in front of one of her paintings – a woman in a yellow suit, contemplating, surrounded by a vast, fresh green negative space above her. Pauline herself wore a green jumpsuit. I was immediately captivated by her world. She paints contemporary themes and inner emotional landscapes, figurative and abstract, vividly brought to life in her unique colorful way. I was thrilled when we got her on board for this project. She was genuinely excited about the whole filmmaking process and quickly became an integral part of the team. She even recreated some of her paintings on a larger scale and reworked pieces in-progress for us, allowing Sarah to „finish“ them during the scenes. I knew from the casting that our lead actress, Michaela ‘Oim’ Schwarzenauer, shares a passion for painting in her free time. The two connected beforehand, so Pauline could give Oim a workshop on her painting technique. It was a perfect collaboration that added so much depth to the project.
What were the biggest challenges (technical or logistical) you faced in pulling this project together?
I know it might sound like a cliché, but honestly, the weather was one of our biggest challenges. We shot in April in Germany – a month infamous for unpredictable rain. As expected, we got plenty of it, as well as heavy wind, which was the exact opposite of the early summer vibe we were aiming for. Fortunately, we built some flexibility into our shooting schedule. On one of the shooting days, when a patch of blue sky appeared and the rain stopped for a moment, we jumped into a van with a skeleton crew and rushed to the Isar to capture an outdoor moment. Right after we finished at the river, the sky turned dark again, and the heavy rain returned for the rest of the day. So, beyond flexibility, I’d say you also need a good dose of luck sometimes.
What have you learned during the process of making the film?
Nothing new, really, but still: Having pragmatic, hands-on people on set – crew members who focus on solutions rather than problems – makes quite the difference. At one point, Noah and I realized we wanted a different color for the curtains, but we neither had the time nor the budget to replace them. Luckily, Phillipp from Studio Bert (Production Design) overheard our conversation. His team quickly checked eBay Kleinanzeigen, found the perfect curtains just two blocks away, bought them for five bucks, and got them on set just in time. They had exactly the color and density we were looking for.
How important do you consider storytelling in brand films, and how can it effectively contribute to brand communication?
What still baffles me is how today there are so many ads out there that just repel people. I honestly don’t get it. I’ll be watching a documentary on YouTube, and every 10 minutes I’m bombarded by this fake, overly perfect family who wants to convince me, in the most annoying way, that a cruise ship is the best place to spend my holiday. It’s like clockwork – these ads pop up all the time, and I’ve developed a reflex to skip them as quickly as possible. I guess it’s good for training my motor abilities, at least! But in all seriousness, I think these kinds of ads actually do more harm to the brand than good. That’s why, especially in a time when we’re all so used to incredible storytelling from TV and streaming platforms, brands need to think about entertaining us rather than just shouting for attention. Most brands have something interesting to say – a history, values, a unique selling point. But that only resonates with me if I can connect with it on an emotional level. Storytelling can bring that connection to life.
Would you say you have a directing style? How did you arrive at it?
I like to be as prepared as possible. It’s not about being rigid – it’s because I really don’t enjoy unnecessary stress on set. I believe it’s crucial to maintain a calm, peaceful atmosphere. When the crew and cast feel at ease, they’re able to give their best. I know that if I understand the film inside and out, no matter what challenges arise, I’ll find a way to navigate them. Everyone stays focused and in a positive mindset. Atmosphere is key in my work, and I hope my sets reflect that. I want them to be places where people genuinely enjoy being. I take my time, especially with the cast. I’m open to suggestions and always make sure to push for a great wrap party. I guess a lot of who you are as a person shapes how you direct.
Where do you find the inspiration for your projects?
I wish I knew – then I’d never leave that place or state of mind. But honestly, it changes all the time. Sometimes, I find inspiration in paintings at a museum; other times, that feels like too much stimulation. Nature can be incredibly inspiring. I love swimming in lakes, and every now and then, an idea strikes mid-swim, so I rush back to shore to scribble it down in my notebook. But there are also weekends in the mountains when all I can think is: Life is just so beautiful. And that’s enough. I’ve learned that ideas can’t be forced. They’re like a dear friend who lives far away – you don’t see each other as often as you’d like, but when you do, it’s always special. So, instead of chasing inspiration, I try to stay patient, knowing it will show up sooner or later.
What do you like most about the work that you do?
Meeting open-minded, creative people who come together like little families for a few days. There’s something special about those connections – and an even greater joy when, after months or even years, you get to work together again. I’m still looking forward to another Negroni with Martijn Melis, a cameraman from the Netherlands. We shot a commercial in Montevideo years ago, and ever since I’ve been waiting for the day our paths cross again.
What’s next for you and are there any major themes or stories out there that you’re eager to explore?
A few themes that keep drawing me in: color and imagination, self-discovery against all odds, rebellion against convention. Human connection, love, art, the way we perceive time. And, of course – summer, sun, water. At the moment, I’m working on my first book – a collection of short stories – alongside a feature film script. I also recently finished two short film screenplays. One, Rauchbier mit Kirschen is a coming-of-age story about loneliness, friendship, and the power of imagination to transcend reality. The other follows the world’s most radical auteur, a French filmmaker who directs without limits. I’m hoping to bring both to life soon.
