Chris Nelson
Los Angeles County Fair “Classroom” and “Cashmere Cow”
Agency: Ideology, Los Angeles
Production: Little Minx@RSA
DP: Michael Bernard
Editorial: Cut + Run, bicoastal/international
Editor: Frank Effron
Affiliation: Little Minx @ RSA
How did you get into directing? I basically exhausted all sides of the creative process. I was an actor as a kid; and left home when I was fifteen to live and work in Los Angeles. I guest starred on television shows; did a movie of the week; and had a regular role on a daytime soap opera. But I found the business of acting humiliating. The auditioning process as an actor makes director’s conference calls feel like paid vacations. I left acting and went to Brown University, where I majored in film and creative writing. When I graduated, I had it in my mind that I wanted to be a screenwriter. Well, my adventures in screenwriting read like a cliché Hollywood fable; involving a script in “turnaround” for over three years; and a high powered literary agent with an addiction to crack. The good news is that I found the commercial business during all of this. I started writing treatments for directors and wound up producing. Although I always approached producing with a creative mind, it wasn’t enough for me. Directing is perfect because I feel like I can draw on the various talents I have used in my past: developing character like an actor; uncovering story and irony like a writer; and executing ideas efficiently and creatively like a producer.
Why do you want to direct commercials? I really enjoy the commercial business, and feel like I understand it quite well. I also think that a commercial director’s job is really challenging. The majority of the world is against us, really. Most people dislike or resent ads. So it excites me to create advertising that actually wins people over; entertains them or makes them laugh. If I can make an ad that is funnier, more memorable, or more entertaining than the TV program that people are watching, then I have achieved something quite extraordinary, I think. And that concept excites me.
What’s your most recent spot project? I just did a couple of projects back to back. I shot a job out of the U.K. market for Budweiser out of Young & Rubicam, London. And I just completed a three spot package for Reebok out of McGarry Bowen, New York. The Reebok campaign follows a super fan type character named Larry who ingratiates himself into the lives of his professional athlete neighbors. Both projects were great experiences all around.
Do you have plans to work in other areas–e.g. shorts films or features or TV? Have you ever done any of that in the past? I definitely want to direct a feature. I like to think that I have at least one great story to tell in a two-hour window. I’ve never been too inspired by TV, but shows like the BBC’s The Office and HBO’s Curb Your Enthusiasm are changing that. And South Park. I would love to work on an animated project; you get to direct performance and setting on entirely different levels than live action.
What do you think is the best part about being a director?
The best part for me is that it justifies my incessant people watching. I figure that I’m being paid to observe people’s behavior. I definitely love the casting process and working with actors. That’s when I start to feel the spot working.
What’s the worst part? I think the worst part is seeing work that you wish you’d had the opportunity to do. I think most directors regularly have that experience. Of course, the established directors think they should have the opportunity to do absolutely everything.
Who is (are) your mentor(s)? I must say that I’ve been fortunate to work with some truly talented people; from Herb Ritts to Joe Pytka to Rupert Sanders; and, in very different ways, I’ve learned a tremendous amount from each of them. I think Alexander Payne is absolutely fantastic. His films truly inspire me. I also love Pedro Almodovar and (early) Mike Nichols. As far as commercial directors go, Daniel Kleinman is brilliant in my eyes. And I look up to Baker Smith, Noam Murro, and Craig Gillespie as well. I think they are incredibly versatile directors; yet still maintain distinctive points of views. Their work is memorable, often award winning, stylish, yet never pretentious. In my opinion, true talent makes memorable work appear natural and effortless.
Not counting your own work, what’s your favorite recent ad? Why? Honestly? There’s been some good work recently; but my favorite goes back a couple of years. Spike Jonze’s “Lamp” for Ikea is still the one to beat. He created an unforgettable story and characters out of a couple of desk lamps.
