With this long-standing series on Up-and-Coming Directors along with its New Directors Showcase every May at the DGA Theatre in New York, SHOOT sometimes finds the feature story coverage and the event intersecting. This time around that cross pollination is evident as we update one helmer who was recognized at this year’s Showcase and delve into another who just missed the cut.
Also in the mix are: a music video director who shows promise as a commercialmaker; an actress/writer who has successfully diversified into filmmaking; a spot director Down Under who has moved stateside; a production company principal who initially served as a DP to his shop’s roster of directors only to later gain momentum as a director himself; a comedian, radio show host and former producer of the TV series Monk who recently gained his first commercial production house representation; and an artisan from Spain who’s extending her creative reach into the American advertising market. So here is our fall 2013 collection of emerging talent.
Lake Bell Earlier this year, actor/writer Lake Bell’s feature directorial debut, In A World, was nominated for a Grand Jury Prize at the Sundance Film Festival. It also won writer Bell Sundance’s Waldo Salt Screenwriting Award. A comedy about Los Angeles’ competitive voiceover business that Bell not only wrote and directed but also started in, In A World opened in British cinemas last month.
Bell’s other directorial credits include the comedy short Worst Enemy, which premiered at Sundance in 2011, and multiple episodes of the Adult Swim series Children’s Hospital. Director Roman Coppola also selected her script El Tonto to be produced as part of Intel and the W Hotel’s Four Stories short film competition. The film now screens as part of experiential installations and events at W Hotels worldwide, in addition to being accessible online via YouTube.
Recently Bell signed with bicoastal and London-based production company Epoch Films for her first career spot making representation.
“Lake has a compelling voice. She’s a force,” assessed Mindy Goldberg, founding partner of Epoch Films. “Sadly, there is a dearth of women comedy directors in advertising. We’ve been on the hunt for many years. We are very proud and excited to introduce Lake Bell into the commercial marketplace.”
Bell also brings an actor’s perspective and sensibilities to the director’s chair. She made her first industry mark as a performer. Bell has appeared in several feature films, including No Strings Attached, It’s Complicated, What Happens in Vegas, Black Rock (directed by Kate Aselton and also shown at this year’s Sundance Festival), Pride and Glory, A Good Old Fashioned Orgy, and the forthcoming Disney feature Million Dollar Arm (directed by noted commercial director Craig Gillespie of MJZ and with a cast headlined by Jon Hamm and Alan Arkin). Bell’s television acting credits include Surface, Boston Legal, Children’s Hospital (she portrays Dr. Cat Black), HBO’s How to Make It in America and the telefilm War Stories.
Bell completed four years of drama conservatory training in London at The Rose Bruford College of Speech and Drama. Her conservatory theatre credits include The Seagull, Six Degrees of Separation, The Children’s Hour and The Pentecost.
Tom Scharpling Tom Scharpling is perhaps best known as a writer and executive producer for the TV series Monk, and for hosting the weekly radio call-in comedy program The Best Show On WFMU. He then gained momentum as a director in the music video discipline. Since 2010 he has helmed music clips for The New Pornographers, Titus Andronicus, Wild Flag, Real Estate, The Ettes and Aimee Mann.
For the latter performer, Scharpling wrote and directed “Labrador” which was designated by Time magazine as the number two top video of 2012 (after “Gangham Style”).
This year Scharpling wrote as well as directed the Auditions web film for The Post Service band’s 10-year anniversary reissue of its release album “Give Up.” The comedic music clip includes appearances from the likes of Marc Maron, Duff McKagan, Moby, Jon Wurster, Blink-182’s Tom De Longe, DC Pierson and “Weird Al” Yankovic.
Scharpling’s trailer for John Hodman’s book “That is All” features celebrity cameos spanning Justin Long, Dick Cavett, Ted Leo, Brooke Shields, Nas, Samantha Bee, Jack McBrayer, Paul Rudd, Fred Armisen, Jason Jones, Scott Adsit, Paul Feig, John Lutz, Vernon Reid and Kristen Schall, among others.
Since 1999, Scharpling has released five albums with comedy partner Jon Wurster under the Scharpling & Wurster moniker. Scharpling has written for shows like Adult Swim’s Eagleheart and Tom Goes To The Mayor, and Comedy Central’s Nathan For You. He has also authored pieces for magazines such as GQ, Slam, Vulture and HARP. He is a founding member of the sports writing collective The Classical and hosts the long-form musical interview podcast Low Times.
Now Scharpling is looking to make his initial foray into commercialmaking, signing with Arts & Sciences for his first representation as a spot/branded content director. At press time he was in the midst of production on an undisclosed project out of ad agency Mullen.
Gevorg Karensky Gevorg Karensky was one of the short list candidates for SHOOT’s 2013 New Directors Showcase. He didn’t make the final cut but that didn’t mean he failed to make a positive impression with a pair of student entries he helmed while at the Art Center College of Design in Pasadena, Calif.–one an adidas commercial, the other am ambitious promo trailer, his thesis project, for Grand Theft Auto: RISE which exhibited a deft storytelling touch and keen visual sensibilities.
The Grand Theft Auto piece became a viral sensation, generating more than 13 million YouTube views and helping him later earn a slot in Saatchi & Saatchi’s New Directors Showcase.
Born in Russia, Karensky emigrated to the U.S. in 2002 at the age of 14. Though he had dreamed of being involved in the arts and moviemaking as a youngster, his “practical” side kicked in, resulting in the pursuit of a career in medicine as a surgeon. Yet in Los Angeles, Karensky realized he could be what he wanted all along so he pursued his passion, delving into photography and other arts/filmmaking studies in high school. This led to his being accepted into Art Center which he said served as “a green light” for him to immerse himself in filmmaking, surrounded by inspiring work and people. He directed the student commercial for adidas, then a pair of BMW projects at Art Center, including a spot which showed the raw power and acceleration of the car–the spot lasting only for the time it took the vehicle to go from zero to 60 mph. Next came a CG spot for Audi that was built, rendered and assembled entirely in a computer.
His love of gaming then led to the Grand Theft Auto piece, which gained massive exposure online and sparked interest from the production community at large, resulting in his earlier this year joining Station Film in the U.S. and Outsider in the U.K. for spot and branded content representation. Karensky also connected with unit 9 for all digital production.
Karensky has a strong sense of storytelling and has developed a contemporary filmmaking style that seems to align itself with the cool factor that resonates with the so-called Y generation. Gamification and interactive narratives are part of his filmic signature that at times blurs the lines between the real and the virtual.
At press time, Karensky was in London, working on postproduction for his first real-world commercial, an Outsider-produced Jaguar job which entailed shooting in Italy for the brand’s in-house agency Spark 44, London.
James Mann Unaffiliated with a production house at the time he was selected for SHOOT’s 2013 New Directors Showcase, James Mann has since found a roost, recently joining BRW USA for commercial representation. He is best known for his feature Desert Son which follows three orphans struggling to survive in the midst of several desperate crimes. Mann directed, wrote and shot Desert Son. His credits also include branded docu-style content for brands such as Etsy, Echo Park Guitars and LASCO.
Mann kicked off his industry career with several years as a set lighting technician, camera operator and second unit DP. After earning an MFA from the Art Center College of Design, Mann spent time as a DP on various independent films, documentaries, music videos and commercials. He leveraged his international travels from these years as inspiration for Desert Son, which enjoyed a run on the festival circuit.
Upon being selected for SHOOT’s New Directors Showcase, Mann shared that he views commercials and branded content as “working in that sweet spot between narrative storytelling, documentary filmmaking, and advertising. My style and approach might be described as heightened realism: a more beautiful, concise, compelling and yet authentic version of everyday life. I am always looking for the soul of a project: that unique spirit that will help the message resonate. It is important for me that the work makes people feel something and that it gets them thinking–that is my goal regardless of the genre, format or medium.”
Mireia Pujol Having just secured via Los Angeles-based Boxer Films her first U.S. commercial representation, director Mireia Pujol is poised to make a splash in the American ad market.
Hailing from Barcelona, Spain, the young director has to her credit affecting and visually ambitious campaigns for Dewar’s White Label, H&M and Chanel, among other brands.
Pujol attended University Ramon Llull in Barcelona before heading off to the New York Film Academy in Manhattan. She then returned to Spain to work in feature film development and as an assistant director for leading filmmakers in the country. Pujol also directed several short films, some of which won awards at such festivals as El Ojo de Iberomaerica, Ciclope Awards and CdeC. Her understanding of character and how to convey it with artful imagery has made her a valuable creative partner for both European and American brands.
Pujol continues to be repped in Spain and Argentina by production house Agosto, and in Germany by Czar.
“I always try to present interesting characters and places in a poetic, visual way,” said Pujol. “Sometimes all it takes is a look, a brief exchange or a carefully composed shot to know a lot about a person or location.”
Stuart McDonald Director Stuart McDonald gained major industry recognition for his work in series television in Australia. In 2012, he (along with directors Chris Lilley and Jeffrey Walker) won the Australian Directors Guild Award for Best Director in a TV Comedy Series on the basis of Angry Boys. Several years earlier, he worked on Summer Heights High which earned Australian Film Institute distinction as Best TV Comedy Series. Both Summer Heights High and Angry Boys are mockumentary-style shows that feature characters created by Lilley. The two series reflect McDonald’s expertise in drawing strong performances from professional and non-professional actors alike.
Now being unveiled is another show in which McDonald and Lilley are collaborators: Ja’mie: Private School Girl. The series–like Summer Heights High and Angry Boys–is a co-production of the Australian Broadcasting Corp., the BBC and HBO. Reviews thus far peg the new Aussie series as a hit.
Two years ago, McDonald joined The Sweet Shop–with offices Down Under (Auckland, Melbourne, Sydney)–directing his first commercial, which was for TSB Bank. He has also helmed notable work for the New Zealand Lottery and New Zealand beer company TUI. For the latter, his “Halftime” spot won New Zealand’s Colmar Brunton Ad Impact Award. The commercial depicts a man who makes a half-time mercy run to a nearby liquor store to replenish the alcohol stock for his buddies. Nothing can distract him from his pursuit or his sport–not even a slew of gorgeous women who just happen to be lining the route to the liquor store.
McDonald recently moved to Los Angeles, signaling his commitment to working in the American market. He is represented globally by The Sweet Shop (which also maintains shops in West Hollywood, Calif., and London). McDonald’s stateside spot credits include a AAAA campaign for San Francisco agency Eleven and a package of Quiznos commercials for Barkley, Kansas City.
McDonald graduated from Melbourne’s Swinburne (VCA) Film School. He went on to establish himself by working on both narrative and documentary content. His breakout film was Stranded, which centers on a 16-year-old girl who starts a new life for herself after her mother’s death. The short reflects McDonald’s affinity for dealing with sensitive topics in unique and humorous ways. Stranded went on in 2006 to win a Film Critics Circle of Australia Award as Best Aussie Short Film.
Damien Drake Though he has a broad-based industry background–that includes extensive work as a cinematographer and a producer as well as chops as a production house entrepreneur, being a co-founder of his ongoing roost East Pleasant Pictures in New York–it wasn’t until the past year or two that Damien Drake gained a foothold as a director.
Drake started his career as an intern at BBDO New York, working on the Pepsi account. His passion for music led him to VH1 where he associate produced and eventually became a go-to producer to shoot and interview musicians. Drake soon moved on to VH1 Classics where he continued to direct and conduct assorted interviews with artists ranging from Elton John to T.I., to AC/DC to Alicia Keys.
But Drake’s eye led him to become a cinematographer, initially in videos and then diversifying into TV shows and documentaries. In the midst of his varied, ambitious lensing assignments, Drake teamed with fellow DP Stash Silonski and director/producer Dave Weinstein to launch East Pleasant Pictures in 2005. Soon thereafter East Pleasant landed work for Sprint’s digital account, producing entertainment content on Sprint’s multi-platforms, collaborating with artists/performers such as Akon, Rihanna and Amy Winehouse.
Drake’s work as a DP spans TV shows and documentaries that have aired on BBC, CBS, HBO, MTV, Travel Channel and PBS, among other outlets. In 2007 he shot Nuttin but Stringz at the White House, which earned a New York Emmy for Bet Program. He has also received awards for Poetry Slam 2008 and NYC Soundtracks 2009.
Drake was recruited by Oscar-winning producer Fisher Stevens to shoot a documentary on Africa’s largest body of water, Lake Tanganyika, and the communities it spans. Drake spent some 75 days lensing in the Congo, Burundi, Tanzania and Kenya, chronicling Dr. Amy Lehman on her mission to spread awareness of–and drum up funding for–a floating hospital to serve the pressing healthcare needs of the surrounding population.
Drake and Stevens teamed up again on two more documentaries, Mission Blue and My Decisions. The former, directed by Bob Nixon, follows oceanographer and 2009 TED Prize recipient Sylvia Earle around the Atlantic and Pacific Oceans. The Stevens-directed My Decisions has taken Drake to Egypt, Israel, France, Ethiopia and China thus far, exploring how people make and weigh decisions in their daily lives.
Getting back to East Pleasant Pictures, most of Drake’s endeavors there had been serving as cinematographer for the production company’s directorial talent.
However an assignment from Procter & Gamble via Grey New York brought Drake’s directorial acumen to the fore. He helmed an “Everyday Effect” package of short films in which various P&G products were dropped off at people’s homes. It was an experiment of sorts as Drake captured the ways the products impacted these people’s lives and their households.
This led to similar jobs for P&G in partnership with Yahoo! (shot in Italy, England, Germany and Mexico), then more such assignments for Grey followed by what proved to be the highest profile of the work thus far–shorts out of Publicis Kaplan Thaler and Yahoo! featuring sr. citizen couple Lee and Morty Kaufman who have the Swiffer cleaning system (adjustable dusters, waterless mops) dropped off in a box on their front porch. As a result, cleaning around the house has gotten easier for the Kaufmans. The three-minute shorts have been cut down to TV spots which have made real people stars of the 90-year-old husband and wife.
Now more directorial opportunities are starting to blossom for Drake, from different clients and ad shops. While he continues to selectively lens projects for other notable directors with whom he has long-standing collaborative relationships, Drake said that now his prime career focus is clearly on directing.
Drake is also an accomplished musician who plays under the “Too Tall” moniker. He has toured Europe several times and is currently working on a movie based on the adventures of “Too Tall’s” life.
Gil Green Well established as a music video director via his Miami-based 305 Films, Gil Green has secured his first formal U.S. production company representation for commercials and branded content, signing with The Cavalry.
Much of Green’s early spot work was grass-roots, self-initiated fare, dating back to when he did a spec piece for AND1 basketball shoes and made enough of a favorable impression with the work to get awarded an actual spot for the sports apparel company featuring NBA player Stephon Marbury. Green has since built on those types of gigs, last year gaining representation in Canada via production house Sons & Daughters, which has landed him several assignments, including spots for Bud Light.
Green is hopeful of making as big a splash in advertising as he has in music videos. He has more than 100 clips to his credit, including Lil Wayne’s “Lollipop” which won an MTV Award for Best Hip-Hop Video. Among other artists Green has directed for are Snoop Dog, Drake, Nicki Minaj, Akon, Frankie J and Lupe Fiasco. For the latter, Green helmed “Bitch Bad,” which depicts contemporary rap odes to bling, booze, drugs, promiscuity and violence, paralleling them to yesteryear’s racist blackface depictions in minstrel shows. “It was a clip with a bit of a message, a poignant narrative calling for positive role models for youth,” related Green. “It’s all about storytelling for me whether it be videos or commercials.”
At the same time, much of Green’s work reflects youth appeal imagery and the glitzy, sexy slices of life that are part of the Miami Beach scene. He has turned out some compelling lifestyle youth branding ad fare for Timberland, Bud Light and Pepsi. The Pepsi spot featured international footballers Didier Drogba and Fernando Torres.
At press time, Green was about to embark on the upcoming NBA season’s opening introduction video for the defending world champion Miami Heat, capturing the likes of LeBron James, Dwayne Wade and Chris Bosh. Green has been directing those team videos for the past five years, generating enthusiasm among Heat fans on their home court.
The Heat gig came from Green as a local in Miami knowing a few of the players and in turn some of the team’s players knowing Green from his music videos. “Udonis Haslem’s father (the younger Haslem being a Heat player) played backetball with my father,” related Green. “I was cool with Dwayne Wade and Gabriel Union. A lot of times I would use some of Wade’s luxury cars in music videos. The Miami Heat approached me to start giving their intros a super glossy cinematic feel. They wanted their openings to be something special for the fans, and they are the only organization in the NBA that goes all out creatively and financially to present that vision. They liked the fact that I already had a good relationship with the players so it made sense to collaborate on the projects. Every year we’ve just been topping ourelves so it’s a great project to be a part of.”
Green’s formal industry education came at NYU Film School. He directed a music video for his thesis project, headlined by his own hip-hop group Backlive. Selling his automobile and taking out $5,000 in student loans to cover production costs, Green created a video which gained airtime on MTV and sparked his professional directorial career in the music video arena.
Music videos have proven invaluable to Green’s directorial development. “I feel I really get to develop my craft of filmmaking on the platform of music videos,” he observed. “It is a very ‘on-the-pulse’ process. The director is involved with conceptualizing the creative so there is a lot of freedom in pushing the envelope and being experimental. I feel like I can take that ‘now pulse’ and apply it to the commercial world. The ‘pulse’ helps define what is cutting edge to a project, especially since many commercial creatives are spawned months in advance. The digital world is moving at a much faster pace. By the time the green light is given on a commercial, you need to have a feel of what the pulse of the people is at that given moment.”
