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Peer Review: Corydon Wagner
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Ataboy director Corydon Wagner tells us how the move from in front of to behind the camera allowed him to evolve his skills (and gave him a steady paycheck), and how following other directors fills him with inspiration, awe and intimidation.
Who are three contemporaries that you admire, and why?
I follow so many inspiring directors that it’s become a strange cocktail of inspiration and awe with a touch of intimidation.
Top of the list would be Salomon Ligthelm. His work just feels otherworldly. I feel his presence in every aspect of his films, from the locations to casting right down to the sound design. He’s the example of a director boldly crafting work that will resonate with me for a long time to come.
Salomon Lihthelm's work just feels otherworldly.
Then there’s Vincent Urban, who seems to have a knack for picking stories of people living on the edge. I admire how he has married a life of adventure into his art.
I find that I often return to Gustav Johansson’s work as well. In just about every one of his spots, I find a proudly human moment. It might just be a small detail from a prop to a look or a transition, but it’s a good reminder to always find those subtle details that build out a world.
International Olympic Committee – Every Rise, Every Fall, Every Victory - We’re in it Together
BMW – Out There
SAS – We Are Travelers
Above: Work from Salomon Ligthelm, Vincent Urban and Gustav Johansson.
Please share 3-4 pieces of work that exemplify great brand integration, and explain why?
Virgin Galactic was a spot that challenged me on so many levels. I felt that we captured that sense of wonder that one gets when seeing the Earth from space. A shot of adrenaline-fueled existentialism is the promise of the brand, and when I see others watch our film, I feel like we delivered.
I follow so many inspiring directors that it’s become a strange cocktail of inspiration and awe with a touch of intimidation.
I’m also proud of the spot I directed for Samsung in India. The creative director wrote a beautiful story then he allowed me the freedom to develop the characters and the world. I felt that from the characters to the color to the fantastical world, we created a film that feels big picture and touchingly human.
Recently, I directed a spot in collaboration with World’s Greatest featuring two-time Olympian Natoya Goule and the artist Sen2. While not a direct product spot, the idea was to celebrate the inner drive of two amazing individuals who are, in every sense, the world’s greatest.
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Credits
powered by
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- Production Company Two of Us
- Director Corydon Wagner
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Credits
powered by
- Production Company Two of Us
- Director Corydon Wagner
- Executive Producer Gianni Cerretani
- Producer Collin Doherty
- Production Designer Gino Fortebuono
- DP Timur Civan
- Editor Mickey Todiwala
- Effects Perry Kroll
- Colourist Vladimir Kucherov
- Sound Designer Weston Fonger
- Music Mike Dragovic
- VO Alan Watts
Credits
powered by
- Production Company Two of Us
- Director Corydon Wagner
- Executive Producer Gianni Cerretani
- Producer Collin Doherty
- Production Designer Gino Fortebuono
- DP Timur Civan
- Editor Mickey Todiwala
- Effects Perry Kroll
- Colourist Vladimir Kucherov
- Sound Designer Weston Fonger
- Music Mike Dragovic
- VO Alan Watts
Above: Wagner's Virgin Galactic spot.
What do you like most about the work that you do?
I love the deep dive into various subjects, cultures and organizations. Working with people, and actors in particular, gets me fired up. I suppose that is why I enjoy casting, rehearsals and working with talent on set to find the scene.
I started in front of the camera and then quickly moved behind it when I realized it was a more secure paycheck.
Developing the creative is a close second. When you’re deep into director prep pulling references, writing and storyboarding, it is all possibilities. It’s an inspiring moment when you begin to cut away ideas and simplify it all down to a few shots and some notes you keep in your back pocket.
What led you to become a director?
Leaping without looking!
I started in front of the camera and then quickly moved behind it when I realized it was a more secure paycheck.
I became the one-man shooter/editor that evolved into a production company. I then did a spec that opened a few doors and allowed me to sign with Ataboy and Two of Us.
What, in your opinion, is one skill all directors need?
Empathy. As a director, you stand at the intersection where vastly different personalities, motivations and idiosyncrasies collide. Understanding others is the key to a great story and a great shoot. A strong empathy quotient is required if you want the whole ship to be oriented towards your vision.
On my first international job, I was shooting in Spain for an Indian agency with a Japanese client and a mix of Spanish, French, Italian and English crew. It was the Tower of Babel! Yet, it opened my eyes to how important it is to truly listen to people and communicate effectively. It helps not just tell a great story but keeps your team moving in the right direction.
Did you have a mentor? Who was it?
Vikkal Parikh, the founder of Ataboy, is a big mentor of mine. He taught me how to connect a number of important dots, from writing the treatment to collaborating with the creatives to translating all of it into a successful shoot. He’s one of the few big picture people who can zero in on the most important detail when it matters.
Understanding others is the key to a great story and a great shoot.
Gianni Cerretani, my London EP at Two of Us, has guided me through this industry from the start. He’s helped me understand when to push hard for my vision, when to give, when to rethink things and when to just post it and get it out there to the world because it’s great!
What’s changing in the industry that all directors need to keep up with?
Since I first began this journey as a director, I have witnessed how much our landscape has changed, from agencies to production companies to rosters and even the process of bidding for jobs. Many people advise us to work directly with clients, and while that has been fruitful, it only reminded me of how much I miss working with a smart creative team at an agency.
I am still navigating this turbulent landscape, but I believe the path forward is building partnerships with people who really have your back. It’s good to connect with brands, but I have learned that having a few agency creatives in the process will turn a job into an account.
