Directing Football Superstars and The Rise of AI with Dan Henshaw

Dan Henshaw is known for artful, daring, and authentic storytelling for lifestyle brands including adidas, Aries x Umbro, and New Balance. He’s also lent his perspective and talent to music videos and music-driven short films.

Dan grew up making skate videos in his youth and cites street style, cinema, and British humour as key imprints on his career.

Early on, he directed a few projects with major football talent – and this led to a body of work that includes films that blend performance and mischievous fun.

Whether directing celebrities like David Beckham or directing band performances for Amazon's live music show ‘CURVED’, Dan’s approachability, visual sensibility and passion for creative challenges, has won the trust of brands and artists alike.

Name: Dan Henshaw

Location: UK/US

Repped by/in: The Board of Directors

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Dan> Well having recently signed with The Board of Directors for US representation I’m looking forward to new opportunities that will bring. I’m UK based but love shooting in the States so hoping to do a lot more of that with the TBoD team.

I am also enjoying an ongoing relationship with Amazon Music, directing live music content for them in London. It’s a return to my roots; I started out directing music videos but stepped away from that for a few years to concentrate on ads. It's nice to be working with labels and artists again.

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Dan> Not sure if excites is the right word but like everyone else I’m equally terrified and fascinated by the rise of AI. So far I’ve embraced it in terms of research and creating treatments but not in the actual process of film making. I guess there’s no getting away from it, no point in being King Cnut, but it still creeps me out.

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Dan> A clear idea that also has lots of scope for creative interpretation, preferably that can be achieved practically with minimal need for sfx. And a healthy dose of levity. An idea that doesn’t take itself too seriously is always going to appeal.

LBB> How do you approach creating a treatment for a spot?

Dan> Always image references and a moodboard first. I figure out what world the spot exists in and then immerse myself in that. Picture research will take you on a journey and I often end up in a counterintuitively different creative place than the one I started in. That, Amen Dunes on the stereo and a decent bottle of pinot noir if I'm working into the night.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why.

Dan> Filmmaking is collaborative and all working relationships are important, especially with the agency creatives and your DOP. But first and foremost it’s always the producer. When shit hits the fan you need to know they’ve got your back, and that they are on the same page creatively, not just focussed on the bottom line. Being a director can be lonely, the best producers feel like your partner in crime.

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Dan> It sounds contradictory but I love both gritty authenticity and moments of surreal nonsense. Magical realism. I love films that flip real life on its head.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Dan> I have made a bunch of football ads but I’d hate to be pigeonholed as a sports director. It’s a niche I’m happy to inhabit as the scripts tend to be fun and creative, but I ended up in that space more by accident than design. I’d love to shoot more fashion and lifestyle spots - and work with more acting talent as opposed to celebrities and sports stars.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Dan> With sports ads it's always the lack of time available with the talent. Learning how to get the most out of David Beckham or Raheem Sterling when they’re only on set for an hour is a challenge lots of directors will be familiar with. Learning how to work with body doubles for every shot that doesn’t require the talent’s face in frame is key. As is minimalising dialogue.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Dan> It's all about the relationship with the creatives. If there’s mutual trust and a shared vision then that balance is easier. You need constant dialogue, and to be able to communicate clearly why you’re making creative decisions. And it's important to choose your battles wisely, know which ones you can win and which aren’t worth the energy.

LBB> 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?

Dan> Of course. In London there have been huge strides forward in recent years which is great. The whole reactionary controversy/backlash over DEI in the US currently doesn’t seem to have reached our shores yet thank god. Mentoring is important, although I’m not sure I'm in any position to be imparting career wisdom.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Dan> I used to ignore it and just keep the 16:9 or whatever ratio in my head but it's getting harder to do that. The uncomfortable truth is that most people who view your work will be doing so on a phone so that has to be taken into account. Shooting for 1:1 or 9:16 used to nauseate me but if it's done with care and context in mind it doesn’t have to be so offensive. It’s just another thing to juggle when setting up shots.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Dan> As I said earlier I hate AI, but I'm a pragmatist and realise that it’s here to stay. Embrace it or get left behind. I do wish more noise was being made about the insane, planet-burning levels of energy consumption involved though.

LBB> Which pieces of your work do you feel show what you do best – and why?

Dan> Roll Deep - When I’m Ere: This is where it all started for me. Years before I got a sniff of directing any ads I co-directed this music video with Julian Fletcher who is now an amazing editor. I’ve had several stop/starts in my career which is why this piece is so old, but I get asked about it more than any other film I've made. It became a cultural touchstone within the UK Grime and urban music scene and is often referenced by music commentators and cultural documentarians.

Aries x Umbro - Pagans: I wrote and directed this online ad for cult fashion label Aries’ recent collaboration with sportswear giant Umbro. It was a labour of love born out of conversations I’d been having with Aries founder/creative director Sofia Prantera over several months. Despite being super low budget, I feel that of all my work it is the most authentic representation of myself as a writer/director.

adidas - To Play in Predator: A cinematic montage of soccer players reciting an ode to football boots to mark the 25th anniversary of adidas’ iconic Predator model. It was great to work with huge stars like Beckham and Zidane, alongside a selection of talented younger players on the cusp of greatness.

adidas - 25 Years of Predator: A fun companion piece to the previous ad featuring two footballing legends. It’s a simple set-up, but the challenge was to coax authentic warmth and humour out of non-acting celeb talent. As neither player had read the script before arriving on set, and we had barely 45 minutes with them on camera, I was pleased with the end result.