Films Are “The Passion and the Dream” for Director Tiffany Johnson

Tiffany Johnson is a NAACP Image Award-winning director on the rise. She recently won an NAACP Image Award for Outstanding Directing in a Comedy Series for the Hulu show ‘HOW TO DIE ALONE’.

Tiffany is being sought after to helm some of the most critically acclaimed and audience-loved projects in film and TV.

She has directed award-winning short films, music videos, an award-winning campaign for DOVE, and multiple episodes of television, including Netflix’s ‘Dear White People’, Showtime’s ‘Black Monday’, Amazon’s ‘Hunters’, Peacock's ‘Poker Face’, Apple TV+‘s ‘The Big Cigar’, and the HBO Max documentary ‘The Beauty of Blackness’.

She is currently developing her own projects and looking to direct her feature debut this year.

Name: Tiffany J. Johnson

Location: Los Angeles, CA

Repped by/in: CAA / Anonymous Content / Good Company

Awards: Tribeca X Award, NAACP Image Award

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

Tiffany> I'm really excited about directing my first feature, ‘The Applause’.

It's based on a short film I made about two years ago and was written by my dear friend, Kimberly Nicole Walker. This story is truly a piece of our souls. It follows a hell-bent woman's bloodlust for success, which leads her to develop a peculiar, nightmarish addiction.

It's a wild, visually striking ride—intense, stylish, and a lot of fun.

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

Tiffany> I’m excited to see brands taking bold creative risks, embracing cinematic storytelling, and pushing boundaries.

The shift toward visually daring concepts and authentic representation opens up exciting opportunities to craft ads that feel more like short films—challenging directors to elevate the medium.

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

Tiffany> Tone is the biggest element that sets scripts apart—two scripts can tell the same story but feel entirely different in how they say it.

What excites me most are scripts that welcome an imaginative point of view, ones that create space for bold visual storytelling and a heightened aesthetic.

I’m drawn to worlds that aren’t just seen but felt, where the style and substance work hand in hand to create something truly immersive.

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

Tiffany> I love creating treatments—it’s where I get to dream big and fully shape my vision.

I always start with music. Building a playlist helps me lock into the mood and tone, which then guides how I visualise the piece.

From there, I focus on storytelling, aesthetics, and the emotional impact, making sure every element aligns to create something compelling and unforgettable.

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?

Tiffany> If I feel a genuine connection or curiosity for the brand, then doing the research is incredibly important. Understanding the strategic and contextual side helps me bring authenticity to the project.

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

Tiffany> For me, the most important relationship is with the writer. Understanding their intention behind the story is key to executing it effectively on screen.

A strong collaboration ensures that the vision remains clear and the messaging stays authentic, allowing me to bring the script to life in a way that feels both visually compelling and true to its core.

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?

Tiffany> Films, films, films—that’s always been the passion and the dream. As a movie goer, I love everything from art-house to blockbusters to animation. But as a filmmaker, my goal is to create stylised, elevated, genre-driven Black narratives.

I’m drawn to bold storytelling, striking visuals, and worlds that challenge expectations while centering Black characters in ways we don’t often see.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Tiffany> A common misconception is that I’m just an episodic director because most of my credits are in television.

That’s not true.

Directing TV was never the goal—it became an incredible opportunity to hone my craft and support myself.

But first and foremost, I’m a filmmaker. My passion has always been film, and everything I’ve done has been in service of that vision.

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

Tiffany> One of the craziest challenges I’ve faced was while shooting my episodes of ‘The Big Cigar’ in Colombia.

We had a location that required us to take a boat every day, and one day, we got caught in a rainstorm mid-ride. It delayed my arrival to set and pushed the whole schedule back. I had to think fast and figure out how to make up for lost time while still getting everything I needed for the scenes.

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

Tiffany> For me, that balance comes from mutual understanding and respect for what we’re all creating. It’s about listening just as much as being heard.

Collaboration works best when there’s open dialogue, where I can articulate why certain creative choices are essential while also considering the agency and brand’s needs.

Protecting the idea isn’t about being rigid—it’s about making sure the core vision stays intact while finding solutions that work for everyone.

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?

Tiffany> I’m all for it—that’s exactly what the production world should be doing. Opening doors for a more diverse pool of talent isn’t just necessary, it makes the industry stronger and the work better.

I’ve benefited from mentorship myself, so I know how impactful it can be. I’m absolutely open to mentorships and apprenticeships on set because passing on knowledge, creating opportunities, and fostering new voices is how we push the industry forward.

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)?

Tiffany> I’m mindful that my work will be seen across different formats, but my focus is always on telling the best story. Each platform has its strengths, and while I consider them, I don’t let them dictate the creative choices.

My goal is to craft visually strong, immersive storytelling that resonates no matter how it’s viewed.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

Tiffany> I wouldn’t say I have a deep relationship with new technology, but I do believe in understanding and embracing change.

While my focus is always on storytelling, I stay open to how emerging tech—like virtual production or AI—can enhance the creative process. If it serves the story in a meaningful way, I’m willing to explore it, but I never want technology to overshadow the heart of the work.

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

Tiffany> Aside from my short films, one of the best episodes I’ve directed that showcases my aesthetic is ‘SOLOS’ on Amazon. Because it’s an anthology series, I had the freedom to establish the visual language and really build the look and feel of the episode.

SOLOS – Amazon Prime

This episode allowed me to craft a distinct visual language and lean into a heightened, cinematic style, which is something I love to do as a director.

The Big Cigar – Apple TV+

Shooting in Colombia, this project challenged me to adapt and execute bold, dynamic storytelling while capturing a period piece with a stylish edge.

Poker Face – Peacock

Working on this show gave me the chance to play with tension and suspense, blending a throwback noir feel with modern storytelling.