Why Bonnie MacRae Chases “Slightly Insane” Productions

Bonnie MacRae tells honest stories through rhythmic, colourful and darkly comic visuals. She is making a name for herself highlighting important subject matters through a light-hearted and stylistic lens, and has been awarded at YDA and was named 2024 Best Director at BFI Future Film Festival.

Name: Bonnie MacRae

Location: London, UK

Repped by/in: Spindle (UK/Amsterdam), Bacon (Scandinavia), Spy (Canada)

Awards: Silver Screen YDA, Best Director BFI Future Film Festival

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

Bonnie> I’ve been working with a close friend/fellow writer on a personal project that has me more excited than anything I’ve done before.

It’s ambitious in its subject matter and objective and is a bit mad but what’s the point in making something that isn’t slightly insane. That’s my motto so far anyway. Working on personal projects, I tend to start from personal experience and build it up from there – this film is no different, although potentially the most exposing so far…

It also surrounds a massive ensemble cast of women which is the most exciting prospect for me in terms of casting. Maybe I should finish writing it first before getting ahead of myself thinking about who’s the dream actress to play the lead.

I’m also just about to shoot my first commercial in Canada which is a big milestone for me. I’ve had my head down and been working hard over the last few years to even try and put myself in the mix to get these kinds of opportunities so it feels really exciting seeing the wheels start to turn.

The job itself will really push me creatively to do something I’ve never done before so that also feels pretty big. We’re in pre-production now and I can’t wait to see things come together.

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

Bonnie> To be frank, I’m excited to be working. I’m very fresh into advertising and am still figuring things out for the first time so to be pitching and shooting in London the way I have been doing the last few months is what excites me.

I’ve really been enjoying figuring out my style, how I like to work, who I like to work with. I’m slowly learning the lay of the land and everything that this job entails, and that's exciting.

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

Bonnie> I’m drawn to anything that is so far removed from what I’ve done previously. I really want to challenge myself and do something that wee bit more ambitious every time.

When reading scripts I’m always looking for the dynamism – and if that doesn't exist, figuring out ways to inject that energy and pace into the narrative. I’m also drawn to stories that of course, I connect with.

While I’ll always try to find relatability and parallels regardless of the script but naturally you want to be making work that you care about, and that will always be a priority to me as I keep progressing.

I also really want to keep telling stories that walk that darkly comic tightrope. It’s a balancing act and finding those comedic beats amongst stories that address bigger, scarier topics is what I want to continue prioritising.

How great is it to watch something that makes you laugh and then feel completely emotionally depleted within the same scene – ha. That’s the kind of script that I’m chasing.

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

Bonnie> I love the whole treatment process, it’s that first opportunity to see the potential of a script and I’ll always do my own visual research to start. It’s really important to feel connected to the story right from the start for me, before bringing anyone else on board.

I also recently assisted Spindle founder/director, Greg Hackett, on a couple of recent jobs and did lots of visual research for him which has been really beneficial in figuring out my own style too.

I love using real photographic and documentary-like visuals in my commercial treatments, I really want all of my treatments to feel as authentic as possible and I always try and make sure I’m putting as much of myself into them as possible.

I struggle with writing to briefs that I don’t have any personal connection to, so will always do my best to try and bring it back to someone or something in my own life – that’s a struggle when it’s for something very niche and hard to shoehorn myself into but I love the challenge, and have yet to not find a way to write about myself… Take from that what you will.

I’ve also worked with such amazing designers up until now, most of whom are amazing filmmakers in their own right and just always understand what I’m trying to do.

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?

Bonnie> I always want to care about the films I’m making, I have to be invested in it otherwise it’s just not going to be as good as it should be. It’s funny what you find affinity with, as I just said, so far I’ve always found at least a loose link to everything I’ve pitched on so far.

I really love the research phase and do so much prep before actually starting on writing the treatment. In terms of markets that I’m unfamiliar with, the team at Spindle have been so supportive in introducing me to the right people and connecting me to companies that follow the same ethos.

I’m still at a very early point in my career and just soaking everything up and actually properly understanding how things work across different territories has been super interesting too.

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

Bonnie> Over the last year, I’ve learned how special that producer/executive producer-director combo is.

I’ve been so lucky to have the opportunity to work with Spindle EP, Adam Javes, on every project so far and that’s been a total privilege. He joined Spindle at a similar time to me and has been so pivotal in both my personal and creative development. He has literally guided me through my first couple of commercial jobs and while I’m sure he might disagree, I wouldn’t have been able to do all of that work without him.

On my first commercial set, he knew the right moments to tap me on the shoulder from behind the monitor and just double check I was definitely all good, or was aware of those moments when I needed a minute, and would walk around the block with me and talk through tiny decisions that I was going back and forth over.

I think it’s so crucial to find that person who just gets you – even when you don’t always fully understand yourself…

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?

Bonnie> As discussed earlier, my main drive is to make work that sits somewhere between dark and comical. I love taking something typically more serious and finding those little moments of levity – to me that’s where we find the authenticity that ultimately connects us to an audience.

Also, it sounds obvious, but I want to create work that I would choose to watch myself.

I’m obsessed by work made by women that is so distinctive in its style and tone and intention – the likes of Sharon Horgan, Lucy Forbes, Charlotte Regan. I am drawn to ‘real’ stories that aren’t sugarcoated but are stylised in a way that feels so specific to the writer/director at the helm.

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

Bonnie> This isn’t the craziest of problems but it is the first thing that immediately came to mind.

When I was shooting Heinz, we were working with the loveliest baby ever who had to physically ride into shot on one of those little trikes. I was nervous before about directing this set full stop, let alone having to direct a nine month-old to the performance of his life.

There had also been so many conversations about the trike across pre-production, so I put a bit of pressure on myself going into the day knowing we really had to get this shot. It got to the point where we were running out of time and our baby was getting a little bit bored of being asked to do the same thing over and over – he also had zero interest in said trike and our 2nd AD ended up on her hands and knees scrambling to get him back into frame at every opportunity.

In the end, we switched up the shot entirely, reblocking it. While it wasn’t the shot that I’d anticipated, it worked out in the end – and we even got a little sassy fingerwag out of our baby which made it into the final film.

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

Bonnie> I actually love the negotiation that’s involved and that’s something I never thought I would say. Of course, you’re working to make a brand/agency’s vision come to life and naturally that comes with having to compromise which at times can be tricky when you’re so set out on creating something specific and distinctive.

That being said, I love to chat – and talking people round to my ideas and my process has become something I really embrace. Sometimes, that leads me to see that maybe I’m wrong and I need to switch things up on my side.

The rest of the time, it’s satisfying to negotiate and end up landing in a direction that stays true to that original spark that got me hooked on the script in the first place.

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?

Bonnie> I’m a product of mentorship and shadowing and wouldn’t be doing what I am today without it. I don’t come from this world at all, had absolutely zero connections or really any money to move to London and give this a proper go.

Greg at Spindle had me shadow him which was completely invaluable and beneficial to my own process. I’d never been on another set other than my own prior to that so to immerse myself in that environment was the best possible thing I could’ve been offered at the time.

I am still at the very beginning of my career so I am still looking to gain as much experience as I can myself from others more experienced than me but will ensure as I grow to always offer that leg up to the next person. I wouldn’t be here without it.

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)?

Bonnie> I’ve worked on a few smaller social projects now that are designed to do well across our feeds and our phone screens so it’s been very interesting to make those considerations when working with production designers and stylists.

For example, with Heinz, I wanted this to really pop colour-wise, that vibrancy was so important to me in both bringing this world to life and stopping people from swiping onto the next thing too quickly.

Sonically, I also find of course now with social media, so many consume this content with the sound off, which as someone who is obsessive over music and sound design, makes me kind of sad. It’s been interesting to have to adapt concepts at times to fit this new style of consumption.

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

Bonnie> The piece I’m most proud of is definitely my work for Endometriosis UK ‘All Up There’. It’s the film that got me signed and really was something that I made that mattered to me, and I think that’s why it then had the traction it was lucky enough to garner.

I’m so proud to have made something that has had such an impact. My only ambition when I first started working on it was to create something that would describe my experience in a way I couldn’t do with words.

For the film to then end up in parliament and be connected to Endometriosis UK is really incredible and allowed me to see the power making honest, truthful work can really have.