On May 17 at the DGA Theater in New York City, SHOOT debuted its 10th annual New Directors Showcase reel, which is now available at http://nds.shootonline.com.
The latest edition of the Showcase and reel reflects the work, creative sensibilities and inventive talent of 34 helmers–31 individual directors and a three-member team covering 32 Showcase slots.
The field of talent is wide ranging from freelance directors, many of whom are seeking production company affiliations, to a noted agency creative who’s transitioned to full-time director and just landed his first production house roost, to a filmmaker who saw her short subject documentary earn an Academy Award nomination this year.
The alluded to ad agency artisan is Tim Roper who’s spent the last 15 years at Crispin Porter+Bogusky, Miami, L.A., and Boulder, Colo., as writer and executive creative director. He left the agency life in February to direct commercials and entertainment content. In making the transition which he describes as being “from agency guy to writer/director guy,” Roper has secured his first production company home, coming aboard Partizan.
Roper got his initial directing break at CP+B when Hulu agreed to let him helm three commercials featuring actor/comedian Will Arnett. Roper wrote the spots for this year’s Super Bowl and Oscar telecasts.
Other former agency artisans are also in this year’s New Directors Showcase mix. Manny Bernardez is with international production house Savage and has a pedigree that spans the agency and client sides of the business. Bernardez earlier served as VP/group creative director at Digitas. Prior to that he was creative manager at Nike Global Brand Connections. Work contributing to his selection to the New Directors Showcase included Nike’s “Larry Fitzgerald” online spot.
This year’s Showcase includes ten directors with no production house affiliations, two of whom have advertising agency backgrounds. Lawrence Chen made the SHOOT Showcase on the strength of such work as the online spot “Little Things” for The Economics of Ecosystems and Biodiversity (TEEB). Chen is currently a producer at BBDO New York and moonlights as a director.
And Aron Paul Orton, who is also sans a production company roost, earned New Directors Showcase inclusion on the basis of Taller San Jose’s “Home of Second Chance–Woman” PSA for agency DGWB, Santa Ana, Calif. Orton broke into the ad business via DGWB, starting in the mail room and working his way into the creative department, later building the shop’s in-house edit bay. He established himself as an editor there, cutting for such clients as Wienerschnitzel, Toshiba Copiers, Ryka, Hilton Garden Inn and the Los Angeles Dodgers.
Beyond an agency pedigree, there are assorted backgrounds and a wide range of experience in varied fields represented in our 10th New Directors Showcase roster. You can get a taste of that diversity in the mini-profiles that grace this section.
Helping to fashion the 2012 New Directors Showcase were entries from SHOOT’s 2012 New Directors Search, choice submissions to SHOOT’s “The Best Work You May Never See” gallery, our Up-and-Coming Directors features, and feedback from advertising agency creatives and producers.
Below are thumbnail sketches of the Showcase directors with their responses to varied select questions. Additional Q&As with each director will appear on http://nds.shootonline.com on May 18 and on SHOOTonline/The SHOOT >e.dition on May 21.
Here’s an overview of this year’s field of talent:
How did you get into directing?I was 20, in college, and working at a Chinese restaurant. I worked in takeout and made friends with one of the food runners. All shift, every shift, he and I talked about movies. One day he comes in and tells me he’s applying to film school. Says he wants to direct. As much as I talked about films, I had never considered that as a career until that moment. What is your most recent project?I’m currently directing and shooting a feature documentary, Dreams Don’t Die, which is about a 28-year-old Air Force Captain and his ongoing pursuit to achieve his childhood goal of playing in the NBA. I’m also continuing to build up my commercial reel and developing a narrative feature film. What is the best part of being a director?People are different versions of themselves depending on the present company or situation, but when you’re on set directing, all that goes away. The responsibility, the story, the stress, the money–it all weighs so much, you don’t have time for self-consciousness or self-interpretation. When you direct, you are who you are, and who you are is in the film. |
How did you get into directing?I think it all started around age 11, when my father granted me access to the family camcorder. I immediately began directing my two younger sisters (who were willing actresses) in a slew of silly stories and video experiments. What is your most recent project?I’m about a month away from finishing a new 10-minute stop-motion short that I’ve working on for the past two years. Aside from that, my most recent projects would be “To give a present,” a segment for the Nick Jr. show Yo Gabba Gabba, and Bottle, a six-minute short animated film from 2010. What is the best part of being a director?For me, the best part is probably being actively involved in all parts of the filmmaking process. Although some directors do this more than others, my career thus far as a director of independent animation has required me to completely take on every role, from writing, boarding, and animating to editing, post-production, and sound design. It feels great to fully understand and participate in every part of the process to achieve a very specific vision. What is the worst part of being a director?In the same way being involved in all parts of production is a blessing, it can also be a curse. It can be beyond stressful when an entire film is riding solely on the shoulders of the director. |
How did you get into directing?I started as a commercial editor and photographer, but grew up wanting to become an inventor. I would deconstruct my mother’s electronics, but soon realized robot building wasn’t quite the simple task I envisioned and my time was mostly spent rebuilding the family VCR. This taught me problem solving very early on. Making films is very similar–you are constantly reshaping ideas and breaking them down until they best communicate the message and are captured. When I started making my own films, I would find myself inventing new gadgets or methods to achieve a unique shot. Finding a solution has always been important to me. What is your most recent project? I recently finished shooting a viral Superbowl campaign for Samsung featuring Miranda Kerr, Paul Rodriguez, Justin Hawkings and a human cannonball. It was truly rewarding to work with such great talent and an innovative team of creatives on this project. What is the best part of being a director?As a director, I’m able to make my voice heard and creatively influence every element of my productions. It also allows me to finally make those robots I always dreamed about without having to ruin the family VCR. Tell us about your background. Growing up with a deaf mother, it was difficult to talk with her. If I wanted anything, I would have to communicate imaginatively and visually express my voice through pantomime, photography, and illustration. I found this frustrating as a kid, but looking back I realize that my creative upbringing has shaped my visual style today. |
How did you get into directing?Got lucky at age 19 with production funding for my first short film script. Looking back, I’d kill to have a budget like that again. I probably blew a lot of it on unnecessary things due to being a naive filmmaker. The experience, however, was priceless. What is your most recent project?I just shot a short film called The iMOM which is set a few years from now. The iMOM is a robotic mother substitute that raises your kids so you don’t have to give up your social life when the first child arrives. Shot in Los Angeles and Sydney, the film depicts a day in the life of a family who have recently purchased an iMOM, and who discover how technology is threatening to far exceed humanity. What is the best part of being a director?Crew speaks nicely to you. After years as a production runner, you really notice the difference. Working with incredibly gifted and enthusiastic people who are all committed to achieving a common goal is also pretty sweet. What is your current career focus?I love the autonomy of movies (in my case, short films). However I have relished the experience of collaborating with agencies on commercials and been enlightened by the discovery that I’m not always right. Working with experienced creatives has been an awesome learning curve. I love finding the offbeat comedy in serious situations–that’s my favorite. |
How did you get into directing?I made my first Pepsi vs. Coke commercial when I was eight years old. In high school it was ninja videos. And in college, I finally started to find my voice as a filmmaker. I got my degree in film and television and after that moved to New York where I got my first job in the industry. What is your most recent project? This May I just finished directing a short film entitled Patti and Me, Minus Patti. It’s a tragic comedy about a 30-something recluse named Edmond who lives alone with his cat. He comes home from work one day to find his beloved cat dead, belly-up on his bed. As he attempts to deal with this horrific loss, Edmond must take a terrifying, awkward and hilarious journey within himself to find what he is really looking for. I’m really excited about this film because of its humor, edginess, and dynamic character arc. What is the best part of being a director?I’m passionate about stories. I love being able to look at the full scope of a story and meticulously break it down into its most simple and efficient parts. While in pre-production, I enjoy designing the visual landscape and tone of the film, always making choices to support the story. In production, I love working with talent and finding ways to create natural and seamless performances. In post, editing is where you rediscover the story and make the hard decisions that truly make the film better. It’s all great, really. What is the worst part of being a director?Sometimes there’s really bad coffee on set. |
How did you get into directing?I’m still trying to figure that out myself. It was never really something that I intentionally set out to do. My friends and I grew up making videos on rainy days–being from Portland that was more often than not–but I never really considered it as a possible career and went on to get an English degree. After college, a good friend of mine got Final Cut and I played around with it until I got pretty good. Soon thereafter, I began getting hired as an editor. Eventually, I got sick of sitting at my computer all day so I grabbed a camera and began shooting and editing my own videos. One day, one of my clients called me a director while introducing me and it sort of stuck. My ego has been spiraling out of control ever since. What is your most recent project?I’m actually in Qatar right now shooting some brand spots for a company out here. If you ever have the chance to visit, I’d highly recommend it. What is the best part of being a director?I love the collaboration and the teamwork. I’ve had the good fortune to work with some truly amazing people and it’s always inspiring to see the combined talents of a crew come together and create something that’s far beyond the capabilities of an individual–especially when that individual is somebody as limited as myself. What is the worst part of being a director?Tough question. This might be a cop-out answer, but I’d say that the travel schedule and being away from my wife and kids can be a bit rough at times. Although, my two-year-old son peed on me right before I left for this current job, so some trips are easier than others. What is your current career?Commercials and branded content, but I’d love to shoot some more music videos and narrative work if the opportunities present themselves. I’ve worked on that type of stuff a lot in the past, but not as much recently. With regards to genre, I don’t plan on specializing in anything in particular. I like to mix it up. It helps keep things fresh for me. |
How did you get into directing?When I was young, I would do re-enactments of scenes from Star Wars with my action figures. I would make the Death Star out of cardboard and fashion elaborate elevators with string and Styrofoam cups. I’d take over the entire living room. What is your most recent project?I just finished shooting a music video for Nick 13 of Tiger Army (Epitaph Records). He just released his first solo project and I’m a real fan of Nick. I fell in love with the song, “Carry My Body Down.” The song evoked such a strong visual for me, so I pitched the idea and he loved it! What is the best part of being a director?The best part of being a director is actually seeing your vision on the screen at the end of the day. What is the worst part of being a director?Drawing storyboards, Thank god for software like Frame Forge. I lost my ability to properly draw in the fourth grade and I don’t think it’s coming back just because I’m directing. What is your current career focus: commercials & branded content, TV, movies?I want to do them all. I’m a storyteller. |
How did you get into directing?As a kid I was always very interested in film and television. So much so that I started going on castings in my home town of Miami, Florida. One of the first things I got cast in was an episode of Miami Vice in the 1980’s. While on the set I immediately found myself far more interested in what was going on behind the camera than my role in front of it. That was the day the bug bit me. I kept sneaking away from the actors holding area and over to where the production trucks were to see the crew prepping for the upcoming scenes. That led to taking TV production in high school, studying film in college, working in film and TV afterwards, and now being honored to be a part of the 2012 New Director Showcase! What is your most recent project?I recently directed a spot with Henry Rollins to help him promote his new TV show on National Geographic Channel. It was a treat meeting him as he’s music royalty in my book. With the limited budget we had, I shot the spot on DSLRs and using some crafty in-camera techniques and post augmentation, we ended up with a very slick and expensive looking spot. What is the best part of being a director?My one word answer: Collaborating. A director can’t direct without the support and participation of a cast and crew. And that inherently means collaboration. Everyone involved in each project brings a unique sensibility and personality to the project making each and every project different from the last. It is a very organic thing I get to do. My job often times is wrangling everyone’s various creative energies and focusing them towards one vision. And that’s what makes it so magical. It is a job unlike any other. What is the worst part of being a director?I would be remiss if I didn’t say as a director I don’t like having to compromise my initial vision, work within a limited budget and not having enough time to complete the project. But those things seem to happen on every job and finding creative solutions often leads to amazing results. Finding ways over those obstacles and coming up with work-a-rounds are often what adds that special ingredient to the work. So the “worst parts” of being a director are actually also the best parts. |
How did you get into directing?I was born and raised in Norway and have early memories of watching my grandfather’s 16 mm film on a projector in his study. He was one of the last pioneers of the north, exploring new territories in the Arctic region and documenting vast portions of these journeys. The images on those reels were so exotic that I think the legend of traveling to remote destinations and capturing a slice of the world on film will stay with me forever. I found an unlikely outlet for this filmmaking passion in extreme sports during my teens, spending countless hours on my skateboard with a handycam and fisheye lens. I later graduated from Northwestern University’s film program with a commercial spec reel, which opened the doors to a few ad agencies in Chicago. Those initial projects quickly snowballed into larger productions and created the foundation for the clients I have today. What is your most recent project?We are currently wrapping up postproduction on my first feature-length documentary titled, Our Longest Drive. Three retired 60-somethings drive an RV from Chicago to the northernmost golf course on the American continent with the ashes of their dead friend. Their goal is to reach the course in Inuvik, NWT, Canada, by the summer solstice for one final game with their deceased buddy, who used to complete their golfing foursome for over twenty years. The trip itself took almost a month to complete and we drove close to 10,000 miles there and back. The project represents the kind of work that I find most engaging: a compelling story, epic in size, complemented with stunning visuals. We hope the festival circuit feels the same way. What is the best part of being a director?It’s all about the people you meet. As a director you become the focal point of this incredibly complex process within which hundreds of people interact to bring a single production to life. This cross-disciplinary aspect, and consequently the wide array of people and personalities you have to deal with, is the most enriching because it immediately reveals your ability to understand different walks of life and communicate effectively based on those observations. From celebrity athletes in Chicago to taxidermists in northern Canada, everyone has their story to tell and capturing that story seems to be what my work is all about. |
How did you get into directing?Actually, writing and directing has always been the path for me. Advertising was the 20-year detour. I earned my Film degree from The University of Texas at Austin in the ’80s. But, after a few short films and an ill-fated development deal, I took a salary job in the agency world. What is your most recent project?My most recent project is the transition from agency guy to writer/director guy. While this writing/directing model that I love is a fairly rare thing in the ad world, I’ve actually stirred up a couple of good projects that way so far. I’m just not allowed to talk about them yet. What is the best part of being a director?I love storytelling–in any form. The really fulfilling part about directing for me is being the very nucleus of a project, not on the periphery. Enjoying the interaction and collaboration with actors and cinematographers and others to pursue a story. |
How did you get into directing? I’ve always loved film but truth be told, not growing up around it, I didn’t know what a director was until high school. Once I learned the role of a director, I began to look for avenues that would get me there the quickest. I was good at computers and a total film geek so I drove cross-country to Los Angeles after my freshman year of college to find an internship and a job to get my foot in the door. I ended up at Digital Domain and one of my first tasks was to organize their –” tape library of director reels. I took advantage and by the end of the summer I knew basically every director and their work by heart. That was really an awakening and the start of my progression to learn and try to move up. What is your most recent project? A commercial for Nike’s new Flyknit technology called “Biomorph.” It was client direct and one of the best experiences so far. Nike gave me their initial concept, what they want to showcase and then really let you have your vision. They are amazing to work with because they don’t micromanage the little details as long as the spot is great and communicates their message. What is the best part of being a director? Taking a reative idea from concept through completion is definitely the most rewarding. I love taking an idea from paper (or someone’s head) and figuring out a way to fill in the blanks. There is just so much possibility–seeing a project evolve and come together from inception to delivery is incredibly rewarding. |
How did you get into directing? After my first internship at a production company, I realized a cinema commercial for a local newspaper. Together with a good friend, I developed the idea and also directed the piece. I was 21 years old and it was an incredible experience. Then I knew that I want to tell stories myself. What is your most recent project? Right now I’m preparing my third spot at the Filmacademy Baden-Wuerttemberg. It will be a very visual driven idea, shot completely underwater. What is the best part of being a director? Sometimes you can play god. What is the worst part of being a director?You’re the one who get’s killed if something didn’t work out. What is your current career focus? It would be nice if I could expand my commercial reel in the coming years and try out different genres, and also go abroad to gain some international experience. I’ll continue to develop scripts with colleagues…I’d like to start a “creative collective” where we can realize our own stories. |
How did you get into directing?I’m pretty sure I was born this way. I gathered kids around me to put on a show in kindergarten and my mom was told I would be in the entertainment business. Then there was the time at a restaurant when I stared at the TV screen showing a music video until my sandwich got cold; I was eight. I directed student projects in high school, went to school for filmmaking and I have been imagining ever since. I think the answer is that I don’t recall not being a director. What is your most recent project?Aside from coming up with a music video treatment to every song that touches me, my last project was a short film about bullying, Bombs. It was finished and submitted on the deadline day of this competition. I would like to take this chance to thank Scott Crowningshield for writing the screenplay to the story, and for bringing his talent in cinematography into the mix. What is the best part of being a director?It is knowing that I have the wand in an orchestra, making things look and sound the way I envisioned. Being a director, a good one anyways, is having the talent to imagine, and possessing the techniques to bring it all to the screen. Being able to watch my idea on screen is a lot like drawing with my mind. Just ask a painter how he feels once he finishes his piece of art. |
How did you get into directing? I’ve always been fascinated by capturing reality, originally in photographs, later with a film camera. Now when I work from a script or storyboard, I am searching to reproduce this glimpse of authenticity every time I train the camera on anything, I am going for this moment that is most real and intense to support the story. If the final film does not feel authentic, it’s garbage. What is your most recent project? I am working with the Australian indie rock band Satellite Sky on creating online content and music videos. Our most recent project, a video for the Song “I’ve got this Feeling,” is currently in postproduction, while filming a series of spots for Inter Art, a non profit dedicated to preserving the dying art of print making. What is the best part of being a director? Designing the pieces, putting them all together and then, witnessing how it all gets a life of its own. A film is a very complex puzzle, and every single piece presents its own challenge. Sometimes it is very hard, but then there are times when everybody pulls at the same time, and everybody involved becomes a part of this thing that is bigger than oneself. Those moments are truly magical. What is your favorite movie or spot? An all time favorite is Wrangler’s “Ride,” and more recently The Guardian’s “Three Little Pigs.” ‘Regret’ by New Order is a classic music video….Shorts: Nuit Blanche by Arev Manoukian is just wonderful. |
How did you get into directing?Rather circuitously. I’ve always known I wanted to work in film and I think, perhaps secretly, I’ve always harbored an ambition to direct. It just took about eight years in the theater, a dalliance in truly terrible video art and finally a six-year progression through the ranks of film production at SNL to get there. Every step has been about learning and I couldn’t have landed in a better place to educate myself than SNL–the unique conditions of producing work on a three day turnaround week after week is continually challenging and teaches you a lot about decision making. The show goes on no matter what–once you’ve said you can do something, you’d better know you can do it. It’s always an adventure. What is your most recent project?A fake HBO First Look behind the scenes of Game of Thrones focusing on the contribution of it’s 13-year-old creative consultant, Adam Friedberg (played by Andy Samberg), who’s job it is to make sure that there’s enough boobs in the show. “He can look at a scene and immediately know what it’s missing.” What is the best part of being a director?I feel like everyone says this and I tried my very best to find an alternative response but the truth is: collaboration. No one makes a film on their own. It’s a team effort and I consider it my duty to create an environment in which everyone around me can flourish and deliver their best work. There’s no greater sense of satisfaction than when everyone steps up their game and succeeds. Have you a mentor and if so, who is that person (or persons) and what has been the lesson learned from that mentoring which resonates most with you?It’s going to sound cliché but SNL has been my mentor. I’ve been lucky enough to work with some of the most incredibly talented people in my time here. My boot camp was under Jim Signorelli–there’s not much I know about the process of film making that I didn’t learn from him. Our cast continually teach me that there’s so much more a talented performer can bring to a piece than you can ever anticipate. The writers and Lorne are always showing us that you can never run out of good ideas. |
How did you get into directing?My first films were class assignments in high school. In lieu of writing a paper, I’d get a group together and we would film spoofs of books we studied. They were big hits with classmates as we were basically making fun of “Lord of the Flies,” “Julius Caesar” or what have you. I directed short films as a film major at Middlebury College in Vermont, and I’d say that’s when I was hooked. I worked as an editor right out of school and also dabbled in photography and cinematography. Everything lead me back to directing and writing, and so in the last couple years I have given in to my calling and dedicated myself to directing. What is your most recent project? I just wrapped shooting of a comedy web series and we are in post on that, I’m writing a TV pilot (also a comedy), I have my next short film lined up and ready to shoot (a drama), I’m looking for another music video project, and I am in post on a feature documentary about New York City and the singer/songwriter The Reverend John DeLore. What is the best part of being a director?Three distinct parts of the process come to mind. First, I adore the birthing of an idea. At this stage there are no limits, it’s exhilarating. But I also get a thrill from the challenge of fitting my creativity into the confines of story, or resources, or client wishes. At the risk of sounding like a teen admitting he loves the math team: coming up with creative solutions gives me a rush. Second, the moment when the hard work is done and what you envisioned takes flight on the screen. And third is watching the audience as they laugh, smile or cry at what you’ve orchestrated. That’s the best part, when it all comes together and someone enjoys it. What is the worst part of being a director?Tracking and organizing and creating and assembling the millions of tiny tasks that take you from inception to presentation. And while the process is necessary and usually enjoyable, it is inevitably also at times boring, frustrating, aggravating, hair-loss-inducing, weight-gaining, blood-pressure-raising… |
John Ryan Johnson
Kirsten Lepore
Stephan Malik
Ariel Martin
Brian McAllister
Matt Miadich
Aron Paul Orton
Steve Petersen
Martin Rodahl
Tim Roper
David Rosenbaum
Andreas Roth
Habib Semaan
Michael Stahlberg
Rhys Thomas
M. Keegan UhlClick here to go to part 1
