How ASDA took gnome for an answer this Christmas

What were your first thoughts when you saw the script?

Gnomes, without question, are underdog characters, and I’ve always been about the underdog. One conversation with the agency about their slightly demented idea of gnomes saving Christmas at ASDA convinced me we could create something really special. 

Nailing the arc of the story was the most important part.

Did you immediately know how you wanted to approach the idea?

There was a lot of thought that went into it. Nailing the arc of the story was the most important part. And falling in love with the slightly flawed characters (humans and gnomes) was an absolutely critical component.

Above: ASDA's offering for the 2024 festive season, The Gnome of Christmas.

This is your first UK Christmas spot; did you steep yourself in the UK's Christmas advertising culture beforehand?

How could I not?  The work has been constantly compared to the US Super Bowl work. Like the Super Bowl, the expectations are through the roof.    

The individual gnomes are brilliantly realised; how much were their design and personalities set pre-shooting?

Well, if there was one thing we did on this film, it was to plan everything. And then plan some more. The pillar of that plan was the script and treatment, and dialling in the characters and story. 

If there was one thing we did on this film, it was to plan everything. And then plan some more.

We knew we would fail if, in the end, it was just a bunch of vignettes with generic gnomes doing silly things. It needed to be a true Christmas tale with memorable characters with specific traits, something the audience could hold onto and identify with.

Above: The making of ASDA's The Gnome of Christmas.

How different is it working with a VFX-heavy spot than with actors, and how does that alter your approach?

Generally, when I cast live-action, I put no expectations on what type of actor will get the role - casting is a time to experiment. When doing a spot such as this, it’s almost the opposite approach. The story and the characters are very specific for driving the narrative forward. The script becomes the blueprint, and models of the characters are developed off the blueprint. 

Extra pressure is plentiful this time of year, though I’ve found I like the pressure.

When we got to the actual shoot we brought a troop of improv actors in to work off of each other in each scene, so we could figure out timings and comedic beats. Then finally, once we finished the edit, we locked in the actors' voices that were best suited for each character. 

The two human actors are both very good; what were you looking for when casting them?

Our two workers needed to be real. Lauren Ava Thomas (who I think will break out with this role) and Angus Barnett (known for the Pirates of the Caribbean movies) were the type of people you might see working at ASDA, not idealised versions of store employees we’ve seen filling our TV screens every Christmas. We loved the idea of them coming from the north to add to their charm. 

The Christmas ad season is filled with big-hitting spots; do you feel extra pressure knowing the importance of the finished ad and how it will be received?

Ah yes, extra pressure is plentiful this time of year, though I’ve found I like the pressure. It forces decisions to be more from the gut and less from the head. Resulting in 'I can’t believe they somehow got that on the air' type of work.