Brian Petchers Selects Dear Friend as His Home for Canadian Commercial Representation
Name: Brian Petchers
Location: Brooklyn, NY
Repped by/in: Dear Friend in Canada
Awards: Cannes YDA shortlist, UKMVA, NY Emmy
Q> What are some upcoming projects that you're excited about? Tell us a bit about Them?
Brian> I recently wrapped a narrative short I wrote and directed called “It Was English” starring Charlotte Hope, from Game of Thrones. It’s gearing up for a festival run so I’m looking forward to beginning that journey. Aside from the film, at the moment I’m in various stages on two commercial projects I am excited to be bringing to life.
Q> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Brian> I’ve seen an evolving opportunity through the various platforms to showcase commercial work. Whether broadcast, web or social there’s always a unique way to lean into the visual language and sensibilities of a particular audience, and that gives the director a lot of creative freedom and inspiration to push boundaries and tell a less predictable, more compelling story.
Q> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Brian> Scripts that have a strong visual or narrative element are the ones that I’m constantly on the lookout for. It’s great when a script already has a clear arc and is a complete thought. If there is room to interpret or further develop my ideas, then that’s always a plus. Beyond that, it’s ideal if I connect with or already admire the brand and its values, and in those cases I always feel a step ahead.
Q> How do you approach creating a treatment for a spot?
Brian> Treatments come together in a very organic way. I typically like to get all my initial instincts down on paper and then begin to outline some of the core elements that I’m drawn to. After the briefing, I’ll begin my image research/ revisit image libraries I’ve already curated to pull what feels most resonant. Then it’s a bit of back and forth of writing and image research. At times they inform one another and often spark new ideas throughout the process.
Q> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?
Brian> Research is hugely important. Looking at the brands placement – not only commercials but print, experiential, and press will all help paint the picture of where the brand is coming from and where they are hoping to go. In some cases when a brand has a deep heritage, I will study understand their history. Sometimes the client wants to lean into their legacy, sometimes they want something fresh, so understanding their evolution is an important indicator.
Q> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Brian> Working hand in hand with my EP and the agency team are crucial. I think it’s important to value and nurture those dynamics, but personally the most fun I have during a project is crafting my vision and collaborating with my DP. It’s in conversations with the DP that I’m most inspired to explore creative problem solving and technical approach.
Q> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Brian> The world of automotive has been my focus recently. It’s an incredible visual genre that has so much potential to infuse visceral emotion and excitement. I’ve been fortunate to be able to bring the style and perspective from my background in music videos to the car commercial space.
Q> What misconception about you or your work do you most often encounter and why is it wrong?
Brian> I think a common misconception about my work and directors in general is that if they excel in a particular area or style they may not be as suited for another genre they have less examples of work within. I’ve had the privilege of shooting a range of subjects and styles from hip hop videos early in my career with Soulja Boy and Wiz Khalifa to entirely green screen, comedy focused work for Steve Martin and Bill Hader and more recently highly visual, poetic commercials for automotive brands like BMW and Polestar. Being a storyteller at heart and understanding the message of a brand/artist is at the core of delivering on a client’s needs, while style is informed by that.
Q> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Brian> The biggest problem I’ve experienced in production was during a music video shoot earlier in my career when the featured artist, whom is very well known, didn’t show up to set despite my treatment which had him essential to many of the narrative scenes. It forced me to quickly think on the fly and reorganise what this video was going to be, while staying true to the initial themes. My background as an editor helped me quickly make choices on what I absolutely needed and what I could leave behind. I was able to pull out something that I think was more compelling than the initial concept as a result of the pressure in the moment.
Q> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Brian> It’s all about communication, especially early in the process to avoid any surprises later. During pre-production is the time to explore more ambitious ideas when you are not bound by the time constraints of a shoot day. But overall, understanding the role of the director in commercials is to help bring to life an already existing concept that is owned by the agency/brand helps to guide decision making. Ideally everything is in service of the story you’re telling, and it can be risky to drift too far into personal preferences that do not necessarily align with the brand. At the same time, it’s important to be bold and have conviction in your creative choices, so walking that line is constantly the challenge.
Q> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Brian> I think it’s essential that filmmakers from all diverse backgrounds have the opportunity to share their voice and perspectives. It makes for a more equitable industry and richer, more rewarding and truthful stories. I often will have a mentee with me on set and encourage young filmmakers to reach out.
Q> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?
Brian> Often in developing pitches and sometimes after I’ve won the job, I’ll visually articulate ideas using AI-generated images, ironically often in tandem with pictures I’ve hand drawn. I’ll explore this route to communicate a concept if I’m unable to source a direct photography/film reference, it can be an efficient starting point. Effectively shooting on LED walls is an important skill set and I think we are going to continue to see that be a desired solution to more and more production challenges. With each project I try to challenge myself with pushing for a more innovative approach.
Q> Which pieces of your work do you feel show what you do best – and why?
Brian>
BMW Keke Palmer
Working with both BMW and Keke was a thrill because it blended fashion, music, and cars. With a background in music videos this project showcased a high level of style and feeling that are not always present in car commercials. Keke was also a true professional and welcomed the idea of live butterflies landing on her head and shoulders.
Alfa Romeo – Dream Drive
Shooting the iconic Italian car brand near where I grew up in New England was a fulfilling project. I was able to pair the stunning craftsmanship of Alfa vehicles with the natural beauty of the coast in Autumn while sprinkling in a bit of romantic narrative.
