Director James Lawes Joins Splendors for Commercial Representation in the US

Director James Lawes has joined Splendors for commercial representation in the United States.

In his short time working with Splendors in the US, he has worked with some of the biggest agencies in the market, with one of his first spots for Dupixent airing on Super Bowl LVII. His unique combination of visual effects, seamless camera movements, and refined cinematic approach has garnered him more than 30 industry awards from the likes of Cannes, EvCom, and NYFF.

Jason Lewis, managing partner and executive producer, said: “We feel very lucky to be welcoming James to the roster. He’s an incredible talent, an absolute joy to work with, and really puts everyone at ease from the first call. Entering the US market as quickly and as smoothly as he has, hasn’t been a matter of luck… it’s the result of the tireless effort he puts into each project, and the mastery of his craft he’s honed over the past decades of working in this industry. We’re excited to see what’s next.”

Q> How did you get your start as a director?

James> A while back I was invited to shoot a behind the scenes documentary alongside a crew who went to rural Malawi. They were making a series of charity films focused on HIV. While searching for our stories for the main films, I was introduced to an extraordinary single mother with HIV who was raising her daughter alone, and lived with this constant fear and concern as she had no idea whether her daughter also had HIV, as the testing clinic was too far for them to travel to. 

I offered to drive them to the clinic and asked if I could document their journey, to which they agreed. Thankfully the daughter was negative. On returning to the UK, I cut what I had shot into a short film and shared it with the client. They were so impressed that they temporarily shelved the films they had commissioned and used my short as their charity film that year. Due to the success of the film I made, they subsequently asked me to come back and shoot a further five films for them all around Africa. Suddenly, I was directing! 

Q> What most excites you about your new venture into the US market?

James> The US creates some of the most memorable and engaging commercials out there. They really push the boat creatively and are not afraid to be daring and distinct with their storytelling and visual techniques. I love to find interesting and innovative ways to tell a story, so I’m really looking forward to embracing this ethos and creating some memorable work.

Q> What kind of scripts are you hoping to see more of this year?

James> A lot of my work involves clever camera transitions and technically demanding shots. I really enjoy the craft of this. I like finding ways to push the narrative and make something really original. That being said, I also have a strong passion for emotive storytelling, so I hope to get involved in campaigns that are impactful and provoke an emotional response. I always strive for cinematic quality in my work and absolutely love working with actors too. I always take the time to draw out subtle, nuanced performances that truly resonate. 

Q> Tell us which of your spots you’re most proud of, and why.

James> One of my earlier jobs for Meningitis Now will always stick with me as a great project. On paper it was simply a series of scenes, but I saw the potential to give the audience a more visceral experience. On speaking to individuals who had suffered from Meningitis, I kept hearing this expression that it felt like a terrible roller-coaster ride that they couldn’t get off. 

The title of the ad was The Fastest Hour as meningitis symptoms escalate quickly with devastating effects. I wanted to make an ad that took the viewer on this nightmare journey, in a discombobulating, almost sickening way, allowing them to not only see, but also feel the experience. I devised this gut churning Motion Control camera move that replicated itself time and time again, as the scenarios got progressively more extreme. 

I was very happy with the results, not only due to the commercial’s success, but also because the technique I applied has led to further projects that required innovative camera work too. The ad was a real turning point for my reel and also acted as the springboard to what I do now and where I am today. I’ll always be incredibly grateful for the trust and freedom the Creatives and Client gave me with their script.   

James Lawes continues: “I’m absolutely thrilled to be joining Splendors. While I’ve been working steadily in both the UK and Europe, I’m relatively new to the US market, so finding a production company that felt like the right fit for me was extremely important and not something I rushed into. Splendors have been amazing and thankfully share the same work ethic and passion for creating beautifully crafted work that I do. With a couple of very successful jobs already under our belts together, I can’t wait to see what the future holds for us as a team.”