Inside the Directing Mind of Charley Stadler

When you’ve carved out a career for yourself that spans over 400 commercials, having directed some of the most recognisable global campaigns, it’s easy to become complacent. But for Charley Stadler, complacency has never been an option. 200 international directing awards later, and with a reputation for being one of the most versatile filmmakers in the business, Charley tells me he still gets excited every day he goes on set. “This profession is definitely my life’s destiny.” 

Charley is the kind of director who thrives in the environments that others might shy away from, especially when it comes to the pressure-cooker that is advertising. He’s been the force behind campaigns for brands like Microsoft, Heineken, Vodafone, and McDonald’s, as well as working with A-listers ranging from football stars like Thomas Muller and Marco Reuss; not to mention the Hollywood heavyweights like Gary Oldman and Sharon Stone.

Escaping Boxes

Charley’s career started not in film, but rather in photography; a discipline that still informs much of his visual style today. He had made a name for himself shooting musicians like Metallica’s James Hetfield, but soon realised that sticking to one style just wasn’t for him. “The industry likes to pigeonhole directors,” he says, reflecting on the early days, “but I promised myself I’d never get stuck in one specific style again.” The desire to break free from categorisation has shaped the diversity of his portfolio, which includes everything from slapstick comedy to gritty, dramatic narratives. 

It’s this refusal to conform that keeps Charley excited about his work. For him, the ability to switch between genres is what makes directing such a joy. He says it's a form of creative freedom that not all directors get to experience. “Talented directors are able to jump genres more easily than one might imagine,” he tells me. Genre cross-pollination is something that some can find confusing, but Charley believes it’s vital to staying relevant in an industry that often prioritises formulas over innovation. 

The Sky is the Limit

As a medium, commercials are known for their constraints – time, budget, and brand guidelines can all work to stifle creativity. Yet, Charley has made a career out of turning these limitations into strengths. “To create an outstanding storytelling commercial in 30 seconds is more difficult than to shoot an entire movie,” he says, quoting a recent conversation with a features producer. He believes ads are a sprint compared to the marathon on feature filmmaking, but the need for precision is what makes them so satisfying.

“There’s something unnatural about how fast my brain gets into a brand’s DNA,” Charley explains. He likens it to an almost metaphysical process: “I guess the universe talks to me, and I mainly say ‘thank you’ back.” Whatever the method, it seems to be working. His campaigns appear to not only capture the essence of the brand, but often define it, leaving an impact that endures far beyond the commercial duration. 

One of the most interesting developments in Charley’s recent work has been his journey into virtual production. He was among the first directors to shoot at Europe's advanced Hyperbowl studio – a virtual production space that allows filmmakers to create immersive worlds without the logistical headaches of location shoots. While initially sceptical, he quickly spotted the potential. “The sky really is the limit,” he says. “If your brain likes to create new worlds, this is the tool for sure.” It’s not without its challenges, though. “You just need to learn how to use it the right way,” he says. “Otherwise it can look awful… It’s a tool that, when used correctly, opens up endless creative possibilities.” But, even with all this cutting edge technology, he still admits he wouldn’t mind shooting on a white sandy beach for a change. 

The Child Creates

Charley has been saying for a long time that “The child creates”. The rest is almost technical in his view. But the key to avoiding stagnation is all about spontaneity and encouragement. It’s a philosophy he extends to his entire team, telling me, “It’s a people business. The more excited you can keep everyone, the better the outcome.” 

For someone with such a varied portfolio, choosing a favourite project is difficult – Charley points to a five-minute Christmas ad he directed for a Russian bank in 2018 as a standout. The film was shot over six days in Moscow and the Caucasian mountains, taking a unique approach to the typical holiday narrative. Instead of focussing on products or branding, the ad conveyed a simple, heartfelt message: love your children. “We imagined a very different Santa Claus,” he says. The result was a viral hit, sparking psychological congresses and even landing a cover story in The Sun.

Despite its success the ad caused controversy in Russia, leading the bank's owner to pull it off the air. But the impact had already been made – the bank rose from ninth to sixth in the country, and other brands followed with their own unconventional takes on Santa Claus. For Charley, this project exemplifies the very kind of disruptive work he strives to create. “Going against the grain creates more attention, and more revenue for the brand,” he tells me. 

Charley’s dream project is any one that allows him to stretch his full creative potential, but it’s often tempered by the realities of this kind of work. “There’s often a degree of control that holds back the ideas from shining as brightly as they could,” he admits. Still, he approaches every project with the same enthusiasm regardless. “Every project has its own magic. It’s a really fun job.” 

Let's Play

The most recent success came with the BRLO ‘Drink Naked’ campaign. Created in only ten days, the ad generated over 1 billion impressions and was a finalist at several international awards shows, also snagging a Cannes Lion. It’s a reminder of why he loves what he does. “It made everyone who saw it smile. That’s all I ever want,” Charley says. 

Whether it’s working on high-stakes commercials for global brands or experimenting with new tech, Charley’s process remains the same: push boundaries, engage the team, and never settle. Speaking to his recent signing with Great Guns he tells me “it’s been a while since I’ve had representation in the UK and the US. And I couldn’t be more excited.” For Charley, the playground of filmmaking really has no limits.