Perfect Imperfection: NERD’s Lewis Andrews is Redefining Commercial Direction
From navigating last-minute shoots in Morocco to transforming outdoor cupboards into cinematic sets, Lewis Andrews exemplifies the modern commercial director's need to balance technical precision with authentic storytelling.
His approach – embracing both high-end production values and raw, unfiltered creativity – positions him at the intersection of traditional filmmaking and contemporary digital culture. Andrews isn't just adapting to the changing landscape of commercial directing; he's helping to shape its future.
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Lewis> While working on Amazon's TV show 'Blade Runner 2099' in the Czech Republic, I've been simultaneously directing two music videos too. One captures the essence of Prague's heart, while the other, shot in Barcelona, draws inspiration from the 'Dune' franchise. I'm particularly excited to reveal the Barcelona project soon, which pays homage to Dune's cinematic universe.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Lewis> The most exciting development is the industry's metamorphosis toward natural, raw, accessible visuals rather than glossy overplayed perfection. We're in an era where a single tweet or Instagram post can outperform a multi-million-pound campaign. Look at British retailer Currys, who now uses employees for social media content, or Kanye West's Super Bowl LVIII ad – just a selfie video in a car announcing he didn't spend money on traditional advertising.
Of course, not every filmmaker can achieve Kanye's results with a selfie video. But what these big players have demonstrated is that traditional filmmaking isn't always necessary. The impact of a brand's advertisement depends on the message, creativity, and authentic resonance with the audience.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Lewis> I'm drawn to unique concepts, extremely high stakes, time travel, apocalyptic moments, disaster, quick-witted dialogue, comedic timing, and culturally relevant themes. I love when scripts incorporate topical news stories and social issues that challenge viewers' values and beliefs. There is no perfect film script, because art is supposed to spark debate and divide people's opinions.
LBB> How do you approach creating a treatment for a spot?
Lewis> My process often starts in complete darkness. The creative process isn't always linear – I'll work through multiple ideas until something clicks. It's not methodical or structured; I let ideas flow and see how they align with each brand's needs.
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?
Lewis> A brand will approach me based on my creative skill and capabilities as a filmmaker rather than my detailed knowledge of their brand history. When it comes to creative direction, you can develop an affinity with anything, even without knowing the full facts. I welcome each project as an opportunity to be unbiased in my creative assessment, basing the direction on my creative instincts first.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Lewis> A great director has a strong working relationship with all creative professionals involved – director of photography, camera operator, art director, producer, and costume designer. The team can make or break a project, which is why I maintain a black book of industry-level talent.
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?
Lewis> I am quite drawn to horror, and all things which seem a little bit off. I love reimagining. I love reimagining characters, emulating real-life encounters, and incorporating my dreams into my film work.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Lewis> I once had less than 24 hours to coordinate a shoot in Morocco. We managed by connecting with a local film student who had filming permissions, enabling us to shoot in Marrakesh, the Agafay Desert, and the city centre.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Lewis> Clear communication and thorough pre-production breakdown are essential. This preparation helps prevent later confusion. I keep in mind that creative briefs are just ideas, and ideas for someone else's project can never truly be yours, because that wouldn't be a collaboration.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Lewis> AI is a genie out of the bottle for quickly projecting ideas in pre-production stages. Mid Journey is a super tool that can produce fluid imagery from text. In the past, I would solely use photoshop to enhance treatment imagery but now I can create rough concept art quickly with Mid Journey then I process it to finalise.
LBB> Which pieces of your work do you feel show what you do best – and why?
Lewis> I would love to share the new works here but they are not quite ready yet! To give a flavour …
'DRINK' was a project where I could control every creative aspect. From the set design (creating a cobwebbed dark bedroom out of my outdoor cupboard space), selecting and designing the costumes, sourcing an E-Type Jaguar, creating and executing the whole film storyboard, embedding cool visual effects. DRINK was a project I was fully immersed in.
'Clown' was a short film which represents the imperfection I was talking about earlier in the article. It’s a small project I created with my friends in the town where I grew up. We shot it in the early hours of the morning so that I could transform the town into an eerie film set. I wanted the piece to feel as morbid and haunting as possible whilst retaining the audience until the end.
