Pro Hello: David Lawless
David Lawless is an award-winning director specialising in commercials and brand films. Born in Paris and raised in Dublin, he has lived in London and San Francisco and now calls the Pacific Northwest home.
With a distinctly global perspective, David has directed projects in 35 countries and counting. His career spans commercials, music videos, broadcast, investigative journalism, documentary, art and narrative filmmaking, as well as creative direction. He thrives on the energy of creative collaboration and is always exploring new ways to blend striking visuals with storytelling that is both meaningful and emotionally resonant.
Today, David tells us about his journey so far.
LBB> What do you do, and where are you based?
David> I’m a freelance film director and creative director, working globally across commercials, brand films and documentaries. Right now, I’m based in Portland, Oregon, but I tend to follow the work wherever it takes me. I also consider London and Dublin home and jump at any opportunity to work in those markets.
LBB> What recent campaigns might we know you from, and what was your input on these campaigns?
David> I’ve been lucky enough to work on a wide range of projects, but I’m probably best known for my work with tech and lifestyle brands. Recently, I directed campaigns for Microsoft and Intel, as well as a series of spots with The Program for Denon to launch their first True Wireless earbuds. One of my most recognised projects is the Lotus F1 and EMC truck jump stunt, where I took on multiple roles -- creative director, producer and director -- to make it happen.
LBB> How did you first get into the industry, and how did you realise what you wanted to do?
David> I’ve always been fascinated by the moving image. Growing up watching BBC and Channel 4, I had a steady diet of arthouse European and American cinema that really shaped my interest in the visual language of film. In the late 90’s and early 2000’s I was also lucky to experience what I consider some of the best television commercial advertising of all time, especially the surreal yet beautiful worlds of Glazer, Chris Cunningham, Michel Gondry, and Benton & Arnell.
At 16, I started out as a runner on commercial sets for brands like Guinness, Vodafone and adidas, absorbing everything I could about filmmaking. I played in several bands and was immersed in the Dublin music scene. I began making music videos, first shooting on Super8 and and then 16mm. My first paid directing gig aired on MTV. That led to more and more commissions for British and Irish record labels. I enrolled in film school in Ireland, and after graduating, I worked as an editor in London on commercials and broadcast documentaries. Editing at that level was where I truly learned how to direct.
LBB> Tell us about your journey so far.
David> It’s had a lot of twists and turns, that’s for sure! But with each experience, I’ve tried to learn, adapt and refine my voice, using the people and places I’ve encountered to shape my perspective. After a few years editing in broadcast, I found myself directing more and more. I bounced between commercials, entertainment, documentaries, automotive and sports shows before landing a contract directing investigative documentaries for broadcast. That experience completely changed how I see the world -- working with real people in high-stakes, sometimes life-or-death situations taught me to bring as much realism and grounding to my work as possible.
When that contract ended, I went client-side for a couple of years as a creative director on global campaigns and moved to California. But ultimately, I missed the topsy-turvy, creative bouncy-house that is freelancing, so I returned to it about five years ago.
Having moved around so much and worked across so many genres, I consider myself a perennial outsider -- but I see that as a superpower. As a director, my job is to be curious, to take risks and to dig deeper into motives, characters and what truly moves people. I kind of think of myself as the first audience; if something feels right to me, chances are it’ll resonate with a wider audience too. In commercials, you have to communicate in visual shorthand without losing emotional impact, and I think my outsider’s perspective pushes me to see things differently and tell stories in a way that sticks.
LBB> What projects / campaigns that you’ve been involved in have been the most personally satisfying to work on, and why?
David> The Lotus F1 truck stunt was hands down the most terrifying yet rewarding campaign I’ve ever worked on. From dreaming and pitching the concept on the spot in a meeting, to trying to produce and direct on a limited budget and insane schedule, the entire project was a heart-stopper. We had an incredible crew in the UK, and an amazing stunt team in Mike Ryan and Martin Ivanoff, but at the end of the day, the buck stopped with me and we had zero margin for error and would get just one take.
Everyone kept saying “we can’t believe you’re even attempting this,” including the Lotus F1 team. But thanks to meticulous prep and complete buy-in from the whole crew, the gamble paid off. When the dust cleared after the jump and I saw that everyone was safe, I literally cried and went weak at the knees. I’ll never forget that moment of relief and gratitude for a team that believed in the project and gave it everything.
I’m also really proud of a little abstract short film I made in a day with my great mate and cinematographer Patrick Jordan, called 'Stumptown'. It’s introspective, dreamy and texture-driven -- the kind of project I’m naturally drawn to.
LBB> What’s been your proudest achievement?
David> Honestly, my proudest achievement is simply still being here -- still doing the work, still feeling inspired and still chasing new experiences that turn ideas into something that connects with people, and makes them feel something. I feel really fortunate to be able to work with amazing people and play with images and characters. Getting to film all over the world in places like Ethiopia, Iceland and Brazil has given me a perspective on humanity that I’d never get as a tourist, and that’s something I’ll always be grateful for.
LBB> What do people (clients, agencies etc) come to you for specifically?
David> I think clients come to me for my ability to tell a compelling story in short form, along with how I incorporate movement and a sense of scale into my directing. I think I bring an ability to blend heightened visuals with emotional storytelling that make audiences feel immersed in something more intense, idealised or symbolic than everyday life.
LBB> What are your strongest opinions relating to your specific field?
David> I’m sure I’m not alone in that I definitely have some strong opinions on how AI is going to impact our industry. There’s no doubt it’s already an incredible tool with a place in both the production and the creative process, but I personally don’t think it’s ever going to fully replace filmmaking or creativity. Not because of what it is, but because of what it lacks: soul.
I think there’s been an unspoken and even subconscious contract between artist and audience since our ancestors were painting stories on cave walls. For me, art is always at the leading edge of culture, whereas Gen AI can only repurpose what already exists, and is a pale imitation of new thought. There’s an innate power in subconsciously knowing that other humans created the thing you are experiencing, and Gen AI can never achieve that. Even if Gen AI eventually escapes the uncanny valley, authentic, human-made work will always have a value that’s intangible yet undeniable. That’s my hope anyway!
LBB> What sort of projects really get you excited at the moment?
David> I’m very excited about the increase in longer-form brand films. I love the opportunity a two-minute film allows to dig deeper into story and character. For me, those moments on set or location that you can’t plan or storyboard for are sometimes the most magical. You can tell when the whole crew is also feeling it -- it’s a buzz. Having the freedom to chase those moments on a longer shoot schedule, and knowing there’s enough screen time for them to actually make the cut, is what makes me happiest.
LBB> Who are your creative heroes, and why?
David> I’m always inspired by anyone pushing boundaries, whether it’s designers like Eileen Gray or filmmakers like Sue Kim or Paul Thomas Anderson. I absolutely love what Per-Hampus Stalhandske does, and I was really moved by Megaforce’s 'Open Spaces' for Burberry. You can probably see a common thread here -- I’m really drawn to magic realism.
Probably my biggest creative influence is Jonathan Glazer. His work has inspired me literally for decades, from his iconic commercials for Wrangler, Stella Artois, Levi’s and Guinness, music videos for Radiohead and Massive Attack, to films like 'Sexy Beast' and 'The Zone of Interest', which is incredibly powerful and difficult, but essential. His ability to mix hyper-reality with a raw sense of being there is electric.
LBB> Outside of the day job, what fuels your creativity?
David> Getting out in the world in any way I can -- traveling, walking through cities, hiking, street photography. I want to soak up as many influences as I can so I can pour them back out in a way that feels raw and real, with a touch of that magic realism I love. I also watch a lot of films and shows because I think storytelling is always evolving. Audiences are becoming more sophisticated yet more distracted, and there’s always something to learn from what people are consuming.
