Signed or stuck: How emerging directors are navigating a shifting commercial landscape
In today’s evolving economy, the traditional path for new directors is no longer a clear route. Here, Veronica Diaferia, Founder of production company Tinygiant, explores why young talent is opting to stay independent, as the model of signing with a production company isn’t delivering as it used to.
)
In recent years, the traditional model of how production companies cultivate new directing talent has started to show its age.
While larger shops often bring on established names with built-in audiences, ECDs turned directors or creatives with agency pedigrees, the space for unproven voices has narrowed. At the same time, a wave of emerging filmmakers has been pushing for alternatives: mentorship, hands-on support, and real opportunities rather than just roster placement.
In 2015 when I founded Tinygiant, we were directly responding to that shift. Instead of focusing solely on established talent, the goal was to invest in promising new directors - providing structure and guidance without the weight of legacy expectations.
The pipeline for new commercial directors has all but dried up. Now, it’s left to a few passionate individuals - and to chance, or YouTube.
The idea wasn’t rooted in idealism alone, but in necessity: there was a visible surge of creative potential that deserved support. And during that period, the environment seemed to welcome it. Budgets were shrinking, technology was evolving fast, and traditional hierarchies were loosening. The industry welcomed experimentation, had more tolerance for risk, and was hungry for new ideas.
Ten years later, the landscape is dramatically different. If I were starting now, I’m not sure I’d feel the same confidence. The industry has become deeply risk-averse, more interested in survival than evolution. The pipeline for new commercial directors has all but dried up. Now, it’s left to a few passionate individuals - and to chance, or YouTube.
Agencies and clients default to hiring top-tier names that have been around for 20+ years.
Yes, self-publishing tools have empowered independent filmmakers and broadened opportunities in areas like streaming and short-form content. But for commercial directing, the doors have largely closed. Agencies and clients default to hiring top-tier names that have been around for 20+ years - many of whom are saying yes to projects they would have ignored a few years ago.
Above: Self-publishing platforms are increasingly enabling new directors to share their work.
This shift is, in part, driven by economic pressures and shrinking budgets but top shelf talent is still in demand.”In fact, some traditional entry points, like underfunded or charity ads, are no longer put out to tender for new directors at all. As a result, emerging talent finds it even harder to break in. The once-distinctive US exclusivity model is eroding.
Young directors sign with big production companies, lured by brand prestige, only to be sidelined in bloated rosters where only top names get steady work. These companies, facing their own economic pressures, adopt a “see what sticks” approach, leaving many new directors feeling discarded and disillusioned. Why build a relationship with a company that won’t invest in you?
Agencies are also pulling routine production in-house, using AI and existing assets to churn out digital-first content.
Meanwhile, production companies in advertising and film are being reshaped by consolidation and efficiency drives that sideline creative discovery. Mergers such as Omnicom Group and Publicis combining Leo Burnett with Publicis Worldwide, signal a focus on tech and analytics over nurturing new talent.
Agencies are also pulling routine production in-house, using AI and existing assets to churn out digital-first content, leaving only high-value projects for external directors. Emerging directors increasingly opting to stay independent and connect directly with brands and platforms.
So how do we break this cycle where no one is entirely at fault, but everyone shares some responsibility?
Invest in talent, more than ever
New directors need mentorship and guidance, especially in tough times. Producers must believe in the people they represent, not just when it’s easy but especially when it’s hard.
Loyalty grows when directors know their production company is fighting for them. That’s what makes being signed matter.
Embrace flexible working relationships.
Success comes from building trust with directors well before any formal contract is signed. Instead of locking talent into restrictive deals, production companies can offer genuine support, mentorship, creative freedom, and access to resources that show integrity and respect. When companies prioritise long-term relationships over short-term control, even skeptical directors begin to see the value of having a supportive home that champions their vision without binding them.
Don’t abandon what works.
This is still a people business, and the value of long-term relationships shouldn’t be underestimated. When a director is signed with a production company that truly understands their strengths, weaknesses, and reel goals, that relationship becomes a powerful form of advocacy. It means directors aren’t mispitched, and the company knows how to support their growth while protecting the client’s interests.
That kind of alignment minimises risk, something the freelance model can’t always guarantee. Freelancers may take jobs for reasons beyond creative fit, but they often lack the strategic support that helps build a sustainable career. Loyalty grows when directors know their production company is fighting for them. That’s what makes being signed matter.
Above: Film production will benefit from nurturing the seeds of new talent.
The industry often acts like it’s a zero-sum game, where there’s only so much work to go around. But I’ve never believed that. Talented newcomers always find a way to tell stories. Our job is to make space for them.
I’ll keep questioning why bidding pools for entry-level jobs look like top-tier competitions. And I’ll keep asking: how are minority voices supposed to rise in this climate?
Without planting new seeds, your forest is going to die.
In uncertain times, it’s natural to cling to what’s safe. But that strategy only protects the established names. It doesn’t build a future. Without planting new seeds, your forest is going to die.
Fortunately, there are bright spots. Independent agencies like Mischief, Small and PDA, and even some direct-to-client models are producing bold, exciting work. These shops see supporting young talent as essential - not a risk. It’s how they’ll stay relevant; stay invited to the table.
That table might not always look glamorous. It might wobble. But it’s real. And when I look around it, I still see partners and directors who are equally invested - not just in their own success, but in the long-term future of our industry.
We need to build sustainable paths for new and minority voices - people who love storytelling, whether or not there’s a logo at the end of it. Otherwise, we risk sitting around a very boring table, telling each other the same old stories, and wondering where everyone else went.
