Understanding the Story of any Brand, Big or Small
Rollo has a natural flair for making watchable branded/online content which feels genuine and engaging. His work spans across platforms from TikTok to broadcast TV producing content for the likes of Ottolenghi, Berghaus, Stella Artois, Glenmorangie, Bvlgari amongst many others, mostly recently for Lofbergs.
Rollo carved his career in television working at Jamie Oliver and on shows like Friday Night Feast, Jamie’s Christmas and Jamie Cooks Italy as well as across all the major broadcast channels BBC, Channel 4 and ITV.
Name: Rollo Scott
Location: Brighton, UK
Repped by/in: BITE
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Rollo> In a weird way I think sometimes limitations or guidelines are what set some projects apart. How can we incorporate this and still make the best thing possible.
LBB> How do you approach creating a treatment for a spot?
Rollo> I would always aim to understand the client completely, finding a collective voice between myself and the brand. I think it’s important to understand the platform you are making it for too, engagement is a priority.
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?
Rollo> It is very important to understand the story of any brand, big or small. I think it makes the whole process much easier if you are both singing from the same sheet. Research is key as is chatting to an agency or client. I think being informed is a real asset to the overall project even if sometimes it is not relevant at all, potentially informing a decision on the day of shoot or a choice in the edit.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Rollo> Trust.
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?
Rollo> Food has always been very central to my portfolio. I used to work a lot on car shows when I was working predominantly in television but really my passion is lifestyle/travel/food/interiors. Any kind of long form recipe, travel show is a real winner.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Rollo> That I am cutting corners but really my head is in the edit already. I have built a sequence on a timeline in my head (usually with options) so I know what is needed and what isn’t.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Rollo> I made a branded series for Berghaus and we were supplied an on screen car but this was stolen the day of the shoot.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Rollo> My argument would always be that we are looking for maximum engagement, will it help what we are trying to achieve?
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?
Rollo> This is very necessary, when I started I felt like you could have a job in a bar and still do running during the day. I am not sure now if a part time job would mean you could live in London at all, the talent pool will soon be people that can afford to not work.
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)?
Rollo> I think my label is someone that makes more short form vertical content but my background is long form documentary, having done both for a while it is almost second nature. I feel that there are now certain tricks to shooting, plus the framing has changed completely for interviews, its so much wider and I actually really like negative space. I like when the posts shift because it means you have to adapt to stay relevant.
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)?
Rollo> I really like marketing analytics, which is particularly creative to say. I think it’s interesting to understand why something is doing well. Not to follow a path completely but it is helpful to define why choices might be made or help put across a creative point. I have found platforms that offer insights and a great way to build out a pitch document. Fundamentally it will help you with more work if it goes well, so understanding what is working is a great asset.
Before we had commissioners and now we have the algorithm - its numbers based now rather than a tastemaker.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Lofbergs - BITE
This is research into what makes a viral video - phone led but then people stay for the advert that follows behind. The hook is bts and looks to be a mistake - this was scripted.
All Things Butter TVC
Taking social media videos and making them for the 'big screen' or at least the television screen. Very bold concept of using recipe videos that had done well on Instagram (market research led) and applying the same shooting style but elevated.
Travel doc/branded content
A flex for all the aspects of my arsenal, car content/recipe/documentary/branded content
These we all made into short form assets too
Recipe content
