From Silly to Soulful: GoshDamn’s Take on Modern Directing
GoshDamn is the award-winning director duo of Josh and Dan. Contrary to popular belief, you still pay the same amount as a single director. Their partnership is a blend of both their individual strengths as directors. Josh brings an artistic and abstract approach to the visual process whilst Dan uses his natural talent for narrative and storytelling. Together they weave human nuance and performance with striking camera techniques and unforgettable visuals.
The end result is as much about wild imagery as it is the journey they take you on. They foster a collaborative and fun environment that inspires anyone involved. This spirited approach shines through in every project they take on, making their work not just about satisfying visuals but a heartfelt experience that resonates with audiences. The pair enjoy long phone calls, bright colours, shiny things, awkward silences and trains with dining carriages. Swipe right.
Name: Josh & Dan, aka GoshDamn
Location: UK
Repped by/in: Late Shift, USA - Someplacenice, Canada - Visionaries, UK & EU
Awards: Vimeo Staff picks, Webby (technically Josh has an Oscar and Bafta from working on Inception a long while ago)
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
GoshDamn> Earlier this year we shot our first passion project in a long while. It was based on a treatment we wrote that we loved, so we adapted it and made it into a very short film. It was such a rewarding experience. The last passion projects we made were on basically zero budget and were very low key, so after a few years building relationships with cast and crew, it was so great to bring these people together to make something a little more impressive. We’re not sure where this is going to be screened just yet and how it will make its way out into the world but it’s ready to go…
So to answer your question, I think we’re keen to write another one as soon as possible and do it again!
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
GoshDamn> We feel like we’re always on the cusp of the next big job. We see every opportunity as exactly that; a chance to make something awesome and exciting. The great thing about the commercial filmmaking world, for us, is that you get the chance to do this multiple times a year. You build up a bit of momentum and then each job that follows it feels like you just keep on building and making better and more exciting work. It’s a roller coaster of an industry, sure, but it’s never dull!
We’re always trying to make sure our work has a bit of ‘us’ in it. Something personal and unique. Whilst we’re keen to keep our work contemporary, we’re also keen to not just follow the immediate visual trend. Sure, we love transitions and big wide lenses, but if there's a way to approach using that style that feels more ‘human’ and personal to us, then that’s what we’re keen to do. That way, you never rely on a style or a passing visual fad.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
GoshDamn> We do seem to often land briefs and scripts that come from brands who open with ‘now this isn’t the kind of thing we usually do, but…’ and we love those. Firstly, it’s always an honour to be trusted with a brand taking a leap in a new direction and secondly it’s fun to establish new rules for a brand and how they want themselves to be seen.
There’s also something instantly appealing about a script or brief that has a quirky or silly side to it. Something that you can immediately pair with film techniques like a character breaking the fourth wall or using mounted cameras in weird places to get across a feeling.
That said, and at the risk of sounding cheesy, we usually find something to get us excited in any script. There’s always something even in the driest idea that you can add a little fun to.
LBB> How do you approach creating a treatment for a spot?
GoshDamn> Theres two of us so we firstly spend the best part of a day just chatting about it. Throwing ideas around, shooting down the rubbish ones and seeing if we can make the ridiculous ones work. We’re very honest with each other – it’s an efficient way to get to a good concept quickly.
Then we start to lay down some images and references and write up the concept. At this stage the dream is to get the creatives together to run them through it. If you’re going off-piste with a concept or you’re just proposing something a bit wild then it’s great to get them involved. They know the job and the client best.
We almost always shoot or test our ideas, even in these early stages of a pitch. We did a job for Remmington and neither of us are clean shaven, so Josh went to his barbers and quizzed him on shaving angles, techniques and things you would and wouldn’t do.
Then it’s probably hours and hours of us both batting things around and seeing what can stick. There’s no formal process we follow. I think it’s nice to just be reactive and take inspiration from what’s current with us.
LBB> 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?
GoshDamn> We always dip our toe into the brand's world, do our due diligence on their tone of voice and what work has come before. We sometimes find, though, that it can be better to have an outside view on the script first. If you’re too embedded in the current world of the brand and their audience, you may find yourself creating things that don’t stand out.
THEN once you’ve taken a view on it as an outsider, it’s good to see what's out there and make sure our creative isn’t offending anyone, already been done, or too far off the mark.
Maybe it’s a bit of a backward way to work, but we like to think brands will choose us because of our view or approach to situations. If they wanted someone who’d done it before, then they’d go to them first.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
GoshDamn> Damn that’s hard. One person? We think there’s probably three key people for us. Producer, DOP and production designer. Even then, we think that list could be longer. It’s essential to have a good working environment throughout the whole process so having every one of your HODs on board with the vision – as well as creating good working environments – is essential for us!
Producer, first and foremost, as you need to be able to trust that they will be fighting for budgets as well as creative.
DOP; we work with a few people very closely. The best DOPs, in our opinion, question everything and analyse the rationale for composition, movement and lighting. Sure, it’s all wacky silly shots on the surface, but there’s usually a lot of thought and prep that’s gone into those moments. A good DOP isn’t just there to get something they want for their reel, it’s what’s best for the project. If you can do all that AND make something look gorgeous, you’re onto a winner.
Art Dept are a magical, hard working bunch of people that have an endless list of skills under their belt. You want someone to design, build, AND dress a living room that has to feel both ‘lived in’ as well as ‘stylish’ and oh, don’t forget we also need a trap door in a wall that needs to open in a very particular way and we also want confetti and smoke to bellow out of it. Who else can say they know how to do all that on a budget in a tight timeframe? Again, we have a few people we work with regularly and once you have that shorthand and understanding with one another, we know we don’t need to worry about what they’re going to do.
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?
GoshDamn> Our visual style has changed and evolved over the years, but for us, an ad is all about empathy. As a consumer, you buy into the thing you’re watching because of a connection. It could be that it makes you laugh, makes you think it was cool, or makes you cry. At the centre of that are stories about people. No matter how you dress it up, the human element is the spark. That’s what we always try to think about when treating on ideas.
Also we like humour. It’s fun being funny innit.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
GoshDamn> Five or six years ago people didn’t really understand what a directing duo was. They’d assume one of us was the director and the other DoP. Thankfully that’s changed with more duos on the market, the downside of which is we’ve lost the novelty factor.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
GoshDamn> Nope. They sound like they wouldn’t be on our side!
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
GoshDamn> Well we’d love to know if other directors feel differently, maybe we’re doing something wrong, but it feels like every production is littered with crazy problems you need to solve in creative ways. From the birth of the idea all the way to the edit. It’s all problem solving and it’s often with sticky tape.
Our favourite problem was working on the Greenpeace Big Plastic Count launch. Because we were working with Greenpeace and Enviral (a great, sustainable marketing agency), we wanted to make sure every single aspect of the production was ‘green.’ So all the wardrobe was second hand, they shopped in charity shops and borrowed from people. All the props were second hand or hired specifically and everything was re-housed afterwards. ALL the recycling and rubbish in the film, the art squad literally raided the recycling bins down their streets for the weeks leading up to the shoot days. All the food was vegan or veggie with compostable packaging. Where possible, all crew and cast were local to avoid unnecessary travel. There were loads of other things too, but it was a very rewarding experience to make something of that level in such a thoughtful way.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
GoshDamn> Well as a duo we are very well-practised at being collaborative. Whilst we mostly agree with one another, there are plenty of times that we don’t so we are constantly practising this skill. Being honest and direct seems to work with us as well. Letting the agency and clients know that we are here to make the best film we believe possible and if we feel that there is a better way or different way of doing it, we will let you know. If you disagree then that is absolutely fine. Ultimately it is the brand's film and we are here to advise and offer our skills to make the best work we can.
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?
GoshDamn> Seems like a pretty obvious answer to us. Yes, of course. This is a creative industry full of artists. Why on earth would people want to limit the options available to them based on skin colour, gender, ethnicity etc etc? Wouldn’t our world be such a boring place if we just saw the art that white cis males made, for instance?
We have been mentors before and are always keen to take on this role for any up-and-coming talent. We are very keen to share our thoughts, experience, and time if it’s of use to people making their way through the industry.
The idea of mentorships is often laid at the feet of crew, who are very willing to help. However, we don’t control the budgets. We firmly believe that trainees shouldn’t work for free, and in order for that to happen, Prod Cos need to be leaning on the agencies who in turn educate their clients. It’s a small financial change for long term benefits for all of us.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working?
GoshDamn> Jack of all aspect ratios, master of none! Even if they deny it, all agencies know that there is one format that takes precedence. Once we know what the hero format is, you can start to work everything else around that. 80% of jobs have us shooting 3:2 open gate to allow for reframing in post, which seems to work fine. It is a rare treat when all that’s needed is 16:9 though!
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
GoshDamn> We both started out as editors. Well, we were very multi -disciplinary filmmakers, but we both did a lot of editing. At that time, there were so many editors that were refusing to use Final Cut Pro or Premiere. It was all about Avid. If you didn’t know Avid then you couldn’t edit professionally. Frankly, we just didn’t listen and plodded on doing things our own way with the same, if not better results. It’s very easy to get stuck in your ways and too comfortable with certain processes. Technology is just a tool to enable us to do certain things in our job. We want to have access and use whatever tools we need to get the job done. We don’t want creative to be dictated by technology, we want ideas to be made possible with it.
LBB> Which pieces of your work do you feel show what you do best – and why?
GoshDamn>
We were really happy with how this came together. It’s a really fun ad that we managed to get some silliness, zooms and fun performances in.
This one is a little older, but we still love it. Not only do we have very fond memories of making it, but it was one of those jobs where almost everything came together and everyone put so much love and effort into it. We really tried to establish a lot of techniques in here that still flow through our work now. Replicating technical moves and angles that would require money, time and grip in any other instance.
