“Commercials in Japan Often Centre Around the Creation of a Feeling, a Sensibility”

Based in Japan, Connor Gilhooly studied film theory in London before going on to work as a director.

After seven years in London, he moved to Tokyo creating work for brands such as Diesel, Nike, Uber, YouTube and Suntory. His work has won him a string of accolades from a Grand Effie and ADFEST Bronze to a Web People’s Choice Award.

In this interview with LBB’s Sunna Coleman, Connor speaks on the international film inspirations from his childhood, not being boxed in stylistically, and his biggest influences.

LBB> What first sparked your curiosity for film?

Connor> Since I was a kid, I’ve always loved watching films, but when I was a teenager I think I really started to develop a deeper interest in cinema. At that time, films from different countries started to be released in the UK on DVD, and all of a sudden we were able to watch films from Europe, South America, Japan, Korea and more. That’s when I really started to see the different ways films could be made.

LBB> You studied film in London and worked there for seven years. What were some of the biggest lessons you learned in this time?

Connor> I studied film theory at university, and when I left, I had no practical skills whatsoever, so I had to learn everything from scratch. I think the importance of trying to push yourself just beyond your capabilities with each project was something I learnt. Also, the importance of being able to communicate your vision clearly to those you are working with. I wasn’t always successful in doing that, but that’s how you learn.

LBB> You now work in Tokyo. How would you describe the advertising and film scene here compared to London? What are some of the unique creative differences?

Connor> I think one of the major differences is the length of advertisements here. The predominant format is 15 seconds, the brevity of which offers a very different filmmaking challenge.

Also, I feel that there is a different sensibility in the way things are communicated in Japan. In the UK we seem to have a classic, more logical storytelling approach, whereas sometimes commercials here can centre around the creation of a feeling, a sensibility, a play on words or simply a funny song and dance.

LBB> You don’t like to be pinned to a particular style but is there a current favourite medium or style you are enjoying exploring at the moment?

Connor> Recently I’ve done quite a few 15-second comedic projects, so I’m looking forward to returning to some longer form, more impressionistic style projects like some of the work I’ve done in the past.

LBB> What have been some of your most memorable career highlights so far?

Connor> I think getting to work with three well-known Japanese music artists and Yurian Retriever, for Youtube and Nike projects respectively, were big highlights. Also, having a hand in the creation of a Japanese pop song was pretty fun.

LBB> Who have been some of the most interesting people you have worked with or shot?

Connor> I don’t know if this seems like I’m dodging the question to get out of naming anyone specific, but I often say to friends outside of the industry one of the things I enjoy most about this work is the variety of people I get to work with. I’ve gotten to meet so many interesting people from all walks of life, be they crew, talent or subjects, and shooting is often quite an informal and open environment with a fair bit of down time, so there is often opportunity to have good conversations with people.

LBB> Who are some of your personal favourite Japanese film talents and why?

Connor> In advertising, I really like the work of DP Ryoken Okamura. His projects are often quite technically complex, which I find interesting. Also, the work of director Hideto Hotta, who I think manages to maintain a nice balance between advertising and artistry in his work.

In film, Ryusuke Hamaguchi is a standout director. I think his films are a kind of an evolution of Hirokazu Kore-eda's work, who has been the leading figure of Japanese cinema globally for the last couple of decades.

LBB> What do you see as the biggest challenges and opportunities for directors in Japan today?

Connor> I think the fact that there is more content than ever being created offers a lot of opportunities to directors, but with this comes ever-shortening timelines and shrinking budgets, both of which mean that often, creative scope can be limited.

LBB> What is currently inspiring you and why?

Connor> I don’t know if inspiring is the right word to use, but I have recently moved to the countryside and am surrounded by nature. I find that being in nature offers a very different perspective on things – the passing of time, daily habits, compared to the busy life of a city – and this I find pretty inspiring. I’d like to find a way to incorporate nature into my work more.

LBB> Outside of your career, how do you like to express your creativity?

Connor> I have a young child now and my time outside of work is pretty limited. At the moment I’d say it’s more a case of creative input via books and reading. I think it’s as important to focus on finding new ideas and ways of storytelling outside of filmmaking as it is to have creative output. So that’s my excuse for my lack of creative expression!