How To... Train Creatives as Directors

To direct or not to direct? This is the question some creatives are asking themselves. 

Those that want to direct argue that as creators, they are the ones who are most passionate about the idea and therefore the best placed to bring it alive when directing.

They also believe that by having a direct relationship with their client they can build trust allowing them to improve an idea as they see fit, as they film. And because of this close relationship with their clients they are motivated to act as protectors of the original creative vision; ensuring it’s not watered down during the filming.  

This is not to say that giving an idea to a classic director is not a good thing. It often is. There are many brilliant directors out there and with their experience they are often able to make ideas from the creative team better in the execution and spot things during the filming process that make them come alive. Also, many creatives simply don’t want to direct and would rather work collaboratively and successfully with a director they admire. 

To be a director, Martin Scorsese [above] said you don’t need to go to film school, you need passion and inspiration. I agree. You must be the type of person who has a hunger and desire to learn about directing.

You also have to be somewhat of a visionary; have a sensibility for and understanding of music, colour, detail and composition. You must also have the knowledge and experience to spot that moment of magic or improvisation that brings the idea alive (it could be as simple as a facial expression). And, of course, you must be someone who’s brave and confident in your ability on set where everyone looks to you. 

Also, if you want to direct to the best of your ability and deliver standout work you need to push yourself, not fear failure or critics, and learn quickly from your mistakes. Trial and error was largely how I learnt as a budding director when I was starting out. 

As an avid film buff, I still learn by staying up late watching the work of great directors, such as David Fincher [above] and Alfred Hitchcock. I like to ask myself why did they do this or that with certain scenes, as well as what can I learn from what they have done. After all, it’s not easy to grab someone’s attention in a 10-, 20- or 30-second ad, so even now, after many years’ directing, I’m still looking for ways to improve. In fact, even when the ad is being broadcast I still ask myself is it the best it can be? What else could I have done to improve it? 

There are no courses that teach both advertising and directing in an industry that focuses on siloing those that work in it into specific disciplines. So, taking Martin Scorsese’s comments on board, we look for creatives who have a passion to learn about directing; who are happy to pick up a camera and play with it; and who have a strong interest in films and filming in general, including the wider production process. It’s why we send our creatives on film courses and offer support and encouragement to become much more involved in directing.

It’s not easy to be both a creative and a director, but for creatives happy to work hard and learn a new skill, it can be a rewarding one that benefits both them and the client. After all, what can be more fun than creating an idea, playing with it and bringing it alive in your own vision?