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Who are three contemporaries that you admire?

Crikey, there are some damn fine practitioners out there making red-hot work—it’s hard to pick just three. Here goes:

Megaforce - It feels like an obvious answer, but these dudes just do things differently. Sure, they’re lucky enough to get the best scripts in the business, but how they add depth and voice to their work is incredible. I watched that Burberry flying commercial and shuddered with delight. It evoked such a feeling of summer freedom that really got to me. 

I even said out loud, “That flying effect will be in a movie soon.” A couple of years later, I saw a similar flying sequence in El Conde. Sure enough, the director referenced how MegaForce had influenced him. It’s wonderful to see commercials be so infectious to the broader creative landscape.

I watched that Burberry flying commercial and shuddered with delight. It evoked such a feeling of summer freedom that really got to me. 

Misko Iho - I love Misko. He’s not only a talented bloke but a lovely chap to boot. I’ve had the pleasure of sharing two rosters with him over the years. During COVID, we spent hours chatting on Zoom, and he gave me some sage advice. I admire the sense of atmosphere he can create in such a small amount of time. His classically influenced shooting style feels like you’re watching something timeless. His Lidl Christmas commercial is a superb short film that just happens to be a commercial.

Robert Eggers - He’s not a commercials director but the volume of work he has managed to create in just four movies is incredible. His world building skills are almost unmatched for someone of his age and I think the way he makes you feel the atmosphere of a movie is inspiring. 

Burberry – Open Spaces

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Please share 3-4 pieces of work that exemplify great direction. 

JUST FOUR??? Goddamn it thats hard.

This is the aforementioned MegaForce commercial (Open Spaces - above). The choice to do this for real is just a stunning idea that evokes such feelings of freedom. The authenticity this gives the film is breathtaking.

A classic from my favourite movie. This scene has it all: pace, suspense, great music, flawless editing, comical yet grounded performances and of course a fantastic idea. Orchestrating all of those elements to make something as iconic as this is an example of great direction. 

A classic from my favourite movie. This scene has it all: pace, suspense, great music, flawless editing, comical yet grounded performances and of course a fantastic idea. Orchestrating all of those elements to make something as iconic as this is an example of great direction. 

This stunning Spielberg oner is masterful. With a single, unbroken shot, he captures all the necessary shot sizes through a simple camera pan. The one-take approach pulls the audience into the scene, amplifying the tension. 

I knew I wanted to be a director when, at 13 years old, I went on the Back to the Future ride in Orlando. I just remember being so excited about “feeling the movies.”

The comedic moment when her opponent falls adds a perfect, lighthearted touch to end on. Later, the silhouette introduction of Indiana Jones creates an iconic, legendary visual. It’s brilliant work, and it’s the kind of filmmaking I strive to incorporate into my own projects.

It might be impossible to say which is my favourite Coen Brothers scene. The Big Lebowski is certainly up there as something which is masterfully written and directed. It’s like a perfect short film that ends with a delightful comedic twist. The choice to frame the gormless kid against the man in the iron lung is a stroke of oddball genius. The stillness of the photography allows you to squirm in the awkwardness of it all. 

What do you like most about the work that you do?

What I can’t help myself doing is searching for the humour in a script. I love exploring what amuses me and seeing how much of it I can insert into a project, no matter how small or fleeting it might be. 

 Being resilient in the face of harder times is crucial, as is the ability to craft material that flexes different creative muscles.

It’s a joy walking onto a set knowing you’re there to try and make people smile with what you’re creating. Collaborating with a cast and crew who are committed to making the best end result is a wonderful experience. Who doesn’t like to laugh all day!?

What was your journey to becoming a director?

Long and treacherous, like Frodo passing through Mordor….

I knew I wanted to be a director when, at 13 years old, I went on the Back to the Future ride in Orlando. I just remember being so excited about “feeling the movies.” Ever since then, it’s been my goal to give that feeling back to people. I went to film school, then came to London, working in entertainment TV before one of my short films grabbed the attention of a boutique commercial production company. After a while I went freelance and just kept at it making shorts and writing long format stuff in my spare time. 

Lidl – Lidl: The Cell

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What is one thing every director needs?

Resilience. It’s a strange way to live your life. One moment, you’re flying to exotic places and in demand; the next, you’re sitting in your pants. Being resilient in the face of harder times is crucial, as is the ability to craft material that flexes different creative muscles.

 I’m still confident that brands will want physical filmmaking for their commercials, but I think AI will become a tool rather than a replacement for human creativity.

I’ve just finished a short film that nearly gave me a heart attack! We shot an ambitious sci-fi/dark comedy in just one day in November. I’m really proud of it and I think it’s something that shows where I want to go artistically in the future. Stay tuned! 

Who was the greatest director of all time? Why?

Spielberg. To me, he’s like the granddaddy of cinema. His immersive visual storytelling is awe-inspiring. I love how he takes you on adventures and delivers you safely back at the end. It’s escapism at its finest. That image of E.T. and Elliot flying over the full moon will be an image shown until the end of time. Iconic does’t do him and his work justice. 


Did you have a mentor? Who was it?

I had a few over time. One was a lovely TV director called Dan Zeff who gave me so much of his time and great insight into the TV industry. We even went on to co-write a show that’s currently in development.

I also think we all need to keep sharpening our filmmaking skills outside of commercials. Making shorts or long-format content really helps hone a director’s craft.

The other is a rather massive Hollywood director who shall remain nameless. Oddly, I discovered he lived down the road from me. One day, I bumped into him and introduced myself. During my despair in COVID, I popped a letter through his door asking for advice. To my delight, he responded and gave me a couple of hours of his time. His advice helped me get my first feature script into development. I say hello every now and then. It’s really wonderful to see top-tier talent being so kind to up-and-comers. I shall do the same when I’m at that level. 

What’s changing in the industry that all directors need to keep up with?

I mean, everyone’s bricking it about AI and how it’ll change what we do. I’m still confident that brands will want physical filmmaking for their commercials, but I think AI will become a tool rather than a replacement for human creativity. Keeping up with those tools is a must.

It’s really wonderful to see top-tier talent being so kind to up-and-comers. I shall do the same when I’m at that level. 

I also think we all need to keep sharpening our filmmaking skills outside of commercials. Making shorts or long-format content really helps hone a director’s craft. However, that’s always easier said than done.

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