Want to Work with Stars? Here’s What You Need to Know First

One of the perks of being a part of the advertising is, arguably, the opportunity to work with some of the world’s most famous actors, models, and musicians. Stephen Mead, director at SHORTFILMS (a production company with a beauty specialism), has done just that in his time, saying, “This challenge is something that I relish and have been tasked with working with the divas and the divine. “

As you might imagine, dealing with “the divas and the divine” isn’t all fun and games. There are egos to soothe, agents to placate, and there’s an ad that needs to get done - ideally on time and on budget. Can all that be achieved? We asked Stephen to reveal the secrets he’s learned along the way and share tried and tested tips so that the dream of meeting your heroes doesn’t turn into a production’s worst nightmare.

This is not a time to be starstruck. Remember that you’re there to do a job. “Get over the fact that they are celebrities. You have to carry the authority and strength that gives them confidence. You will find yourself having to work on two levels; one is to treat them like regular folk and the other is to be very aware of the vulnerability they carry around. Part of your job is to protect their image. Only photograph them looking good. If they are not comfortable when not professionally made up, crop out their heads when taking wardrobe shots. It’s about building trust and you don’t have much time to do this. The last thing they want is grim shots of them lurking on someone’s phone.”

Stephen points out that it’s not just the star you’ll have to manage on set. “You will have to fight through a plethora of advisers. Not all of the personal hairdressers, makeup artists, wardrobe stylists or even agents have your interests at heart. Unlike a ‘normal’ shoot these highly paid (more than you) professionals are not really under your control despite what they say. Luckily over the years we have been able to form a bond with many of the glam squad and built the trust enough for them to sell your concept in the hallowed sanctuary of the celebrity trailer.”

Advertising knows that time is money and that’s doubly true when a celebrity is involved. The clock will start ticking pretty much as soon as the star enters the building. Stephen exclaims: “Be ready! You will have them on set for brief moments and if you haven’t got your act together the confidence rapidly crumbles. You may have to wait hours for them to grace you with their presence and you must be charming, work fast and - heaven forbid - you allow them the excuse to go back to their trailer because who knows what happens in there. But it doesn’t help your schedule. That’s another whole issue, gaining access to the dressing room to cajole them onto the set.”

What could possibly be holding them up? “As soon as the dressing room door closes they get on a Zoom interview or send out for a takeaway. One very prominent and charming actress was absent from the set for two hours. Eventually I found out what the issue was. She had sent her PA into town to buy different colour tights because my next shot included her legs which, I exasperatedly explained again, was going to be shot in silhouette.”

It’s easy to fall into the trap of thinking that the fleeting connection made on set is a sign of something deeper. But stars, and actors in particular, are professionals in making that kind of connection for a short time - it’s literally their job. “Don’t cross the line, you are only the director and don’t have rights. Just because you share a joke, it doesn't mean they are your friend. I was once casually taking shots of an actress when she said, quite rightly, “What are these for?” I replied that I like to document my work. “No,” was her response and I realised she was right. I had crossed a line and learnt my lesson,” recalls Stephen. 

“This might sound like you are working against your paymasters but you’re there to deliver a version of them that the public recognises -  not just an extension of the brand. Keep their credibility by keeping the performance their own, and fresh. Don’t try to mould them, edit them. It has been known for a client to want the actress to wear the colours of the pack, hold the product and deliver a line completely alien to them on camera. They are the goose that lays the golden eggs, spare the sage and onion stuffing.”

“You need patience when working with stars,” says Stephen. “I once paced the set waiting for Beyonce to arrive only to find out that she was trying to be totally professional in her hotel bathroom with her mum dying her roots, even while we had the best hair technicians in the business waiting on set.” The lesson? Don’t jump to conclusions. 

“Defuse and ignore drama. Professionals don’t want to be taken advantage of and don’t let them take advantage of you,” he concludes.