Merman’s Ben Liam Jones Gets to the Heart of Train Travel for RDG’s 200th Anniversary

For the 200th anniversary of the UK’s railways, Rail Delivery Group (RDG) wanted more than a history lesson – they wanted a human story. One that captured the intimacy, serendipity, and emotional resonance of travelling by train.

Enter Ben Liam Jones and Merman, who brought the brief to life with a tender, in-camera spot full of quiet humour and authentic performance.

In conversation with Olivia Atkins, Ben reflects on the strength of the idea, the value of simplicity, the power of casting, and why sometimes the biggest challenge is just protecting what's already working.

LBB> What was the initial brief from the client, and what were the key messages or emotions they wanted to convey for the 200th anniversary?

Ben> The client’s brief was all about celebrating 200 years of train travel. Not just the history, but the human side of it. They wanted to shine a light on how trains bring people together in a way that other types of travel just don’t.

The main idea was to show that a moment like the one in our film – where two people really connect, without phones or distractions — wouldn’t really happen in a car or on a plane. Trains give you space to breathe, to talk, to think. You’re facing each other, the world’s going by, and there’s this rare chance to just be with someone.

LBB> How did you interpret the brief creatively, and what led you to the final direction you took with the film?

Ben> I just wanted to reflect the simplicity of the idea by doing everything in-camera. It definitely would’ve been easier to shoot in a studio, but that felt wrong for this. The natural textures, the way the light shifts – I wanted every choice to support the feeling of something real and organic. At the heart of it is a quiet, honest performance, and everything else had to stay out of the way of that. It was about creating space for the emotion to come through without overcomplicating it.

LBB> You worked closely with the agency on this project — can you talk us through what that collaboration looked like day-to-day, from development through to shoot and post?

Ben> When an idea is simple and strong, the main challenge is actually just protecting that simplicity. Honestly, my role day-to-day was often just reminding everyone – including myself – that that’s what makes the idea work. It’s easy in the process, especially with lots of smart, passionate people involved, for things to start getting a bit overcomplicated or overworked. So we’d have these little moments where we’d pause, reset, and go: “Hang on, what did we love about this in the first place?” That collaboration with the agency was great because we were all aligned on that – we were all fighting for the same clarity and heart in the work.

LBB> Casting is a real strength in your work – what were you looking for in your actors for this spot, and how did you approach drawing out those specific qualities in performance?

Ben> Casting is always a big part of the process for me. I look for people who can really own their performance. Those who feel comfortable enough to bring something of themselves to it and think on their feet. I’ll often quietly encourage them to ad-lib or shift a line if it feels right in the moment. That’s usually when the most surprising, honest reactions come out. It’s those little nuances – a glance, a pause, a laugh – that make editing the performance so rewarding. That’s where the real magic is.

LBB> The film was shot across the UK, and I heard there were quite a few logistical challenges around securing train and station approvals. How did you and the team navigate those hurdles while maintaining the creative vision?

Ben> That side of things was a bit of a minefield, to be honest – so I have to give full credit to my producer, Lucy Tate. She really shielded me from what I know was a long, frustrating and pretty tedious process. There were so many moving parts, so many restrictions and approvals to get through. All I can really say is: it wasn’t easy. But thanks to Lucy and the team, I was able to stay focused on the creative and keep the vision intact while they handled the heavy lifting behind the scenes. The script was originally set in Italy, but we managed to find some stunning locations in Wales - of all places. Watching the final film, you'd never guess we shot in Portmeirion, Wales instead of the Italian Lakes.”

Lucy Tate, Producer Extraordinaire.

LBB> You're known for emotionally resonant narratives and strong performances, but you’ve also leaned into comedy in recent years — this spot feels like a real blend of the two. How did you find the right tonal balance, especially given the nostalgic angle of the campaign?

Ben> Comedy is very kind of you to say! For me, it’s always about what feels honest – and often, if something rings true, it ends up being funny without trying too hard. With this campaign, we definitely didn’t want a dull, overly sentimental version of nostalgia. If the stats are anything to go by, people in their 70s probably had far more mischief in their lives than most gen z's! So it felt right that Gran had a bit of a spark – that cheeky glint in her eye. Giving her performance a bit of lightness and playfulness helped strike that balance between heart and humour.