Peer Review: Kendall Goldberg

Who are three contemporaries that you admire?

The Coen Brothers – I’ve always loved the Coen Brothers so much. Their work is a masterclass in blending genres, building fully realised worlds, and crafting intricately detailed characters, all qualities I strive for in my own work. They can take the darkest themes and still find humour, or write dialogue that feels both heightened and completely natural at the same time. Every film they make is unmistakably theirs, and that kind of authorship is endlessly inspiring. 

What excites me most is that directing demands every part of me:  the planner, the leader, and the dreamer. 

Greta Gerwig – I admire how Greta is changing the industry in real time. Her films are personal, sharp, and universally resonant, and she’s proving that you can make something deeply specific and still connect on a massive scale. The way she’s paved space for female directors, while never losing her own point of view, is incredibly inspiring to me. 

Andreas Nilsson – Andreas’ commercial work always feels absurd and cinematic in equal measure. He takes big swings visually, and you can tell he has fun doing it. It’s a good reminder that ads can be wildly creative playgrounds. His work gets me really excited for the projects I know I’ll have my hands in in the future. 

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

Booksmart (Olivia Wilde) – It’s the rare comedy that feels visually elevated and deeply character-driven at the same time. The way it plays with style (that doll stop-motion sequence, of course!) while staying rooted in heart is a perfect example of great direction. The soundtrack also makes the film unforgettable. You can feel how closely Olivia and her music supervisor, Bryan Ling, worked to curate the perfect track for each moment. The music doesn’t just sit under the scenes; it actively amplifies the comedy. 

It’s the kind of direction that makes you realise every single choice is extremely intentional. 

I’ve always really admired Olivia as a filmmaker because she enters every project with such a strong, clear vision, while also setting a tone of collaboration right away. She makes her crew feel valued as creative partners, which only strengthens her ideas in the long run. Olivia leads with kindness, enthusiasm, and trust, which, in my opinion, are qualities essential for great directing. You can tell just by watching Booksmart that her cast trusted her completely, and that she fostered an environment where everyone had an absolute blast bringing the movie to life. 

Above: Doll scene from Olivia Wilde's Booksmart.

Parasite (Bong Joon-ho) – Parasite is a true masterclass in tonal control. It moves between comedy, suspense, and tragedy so seamlessly that you don’t even notice the shifts; you’re just completely absorbed. Bong Joon-ho builds tension visually, with blocking and perspective that make you feel the class divide long before it’s spoken. It’s the kind of direction that makes you realise every single choice is extremely intentional. 

You have to hold onto your ideas even when others don’t see it yet. 

Fleabag, Season 2 (Harry Bradbeer) – What I love so much about Fleabag is how the direction makes the camera itself feel like a character. Those direct looks to the lens create intimacy and complicity, but in Season 2, Bradbeer pushes that device further by weaponising it. He uses it against both the character and the audience. It’s such a smart example of direction being in true conversation with the writing. 

Above: 'Where did you just go?' scene from Harry Bradbeer's Fleabag.

Volvo Trucks Epic Split (Andreas Nilsson) – This commercial is the definition of simple but brilliant direction. Putting Jean-Claude Van Damme between two reversing trucks could have just been a stunt, but Nilsson shot it with such restraint and clarity that it became instantly iconic. It’s funny, it’s absurd, and it’s technically jaw-dropping. 

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

I love being in the middle of chaos and shaping it into something intentional. Directing feels like problem-solving with style, whether it’s nailing comedic timing, building a world out of nothing, or making a set feel like the most collaborative, electric space. What excites me most is that directing demands every part of me:  the planner, the leader, and the dreamer. 

 This industry tests you constantly, and if you don’t trust your own vision, no one will. 

What has your career journey been like so far? 

It’s been nonlinear, surprising, and deeply rewarding. I started in indie features fresh out of film school, where I wore every hat imaginable. This gave me a foundation of resilience and adaptability. Commercials opened up a new world for me. I could flex my comedic sensibilities while also learning how to execute at scale with precision and speed. That balance of scrappy storytelling roots and large-scale production experience has shaped the way I approach every project. I’ve also learned to surrender to the timing of the way things are meant to happen. All projects have their own rhythm, and they never happen when you try to force them. Accepting that has been as much a part of my growth as the work itself. 

Above: Director Kendall Goldberg. 

What is one thing every director needs? 

Unwavering faith in yourself. This industry tests you constantly, and if you don’t trust your own vision, no one will. You have to hold onto your ideas even when others don’t see it yet. 

I wouldn’t say I had one single mentor, but I’ve been lucky to collect wisdom in fragments. 

Did you have a mentor? Who was it? 

I wouldn’t say I had one single mentor, but I’ve been lucky to collect wisdom in fragments. From cinematographers like Johnny Jensen and Julio Macat, to producers I’ve worked closely with, to directors such as Olivia Wilde, Carlyn Hudson, Josephine Decker, Rachel Goldberg, Fred Savage, and Aaron Stoller – each has shaped me in some way. That patchwork of influence has been invaluable, and honestly feels like the truest version of how this career works. 

Above: Goldberg working on set. 

Who is the greatest director of all time? 

For me, it is and always will be Spielberg. His films were the ones that made me fall in love with movies in the first place, and I still can’t get over how he balances spectacle with intimacy. He can stage a set piece that changes cinema history, and in the very next beat, land a quiet emotional moment that feels deeply human. That range, and his ability to make you feel like you’re ten years old again every time you watch one of his films, is unmatched. He is the king of telling stories about ordinary people in extraordinary circumstances, which is a part of storytelling I am also drawn to. He’s proven that you don’t have to choose between being an artist and a crowd-pleaser. You can be both. 

 The best directors right now are the ones adapting without losing their point of view.