Stop Searching for “Shit-Hot” Directing Talent, Because You’ve Already Found It

Photo credit: Tova Byrne

This industry loves hype. In many ways, it’s built on it. It’s exciting to get carried away with the prestige of working with established names, and there’s a human instinct to want to be part of a fashionable director’s next piece of work. 

But there’s a flip-side to that coin. If we apply the logic that ‘the biggest names are always best’ too often, we can lose sight of what’s real - and what’s important. As an example, it’s common to hear the name of one director suddenly become the big new thing, the person that every client wants to work with. Whilst that hype can be well-earned, it so often leads to mismatches - jobs that could and perhaps should have gone to less celebrated names. The resulting lopsided creative then takes the wind out of that director’s sails, and the hype cycle begins anew. 

It’s a frequently-repeated story, but it’s never heard in connection to Imposter - the boutique production company with offices in LA and New York, with a worldwide roster of talent. And that’s no accident. As EP Avtar Kay explains to LBB, the company actively looks to nurture talent rather than court only the most in-demand directors.

“Don’t get me wrong, it’s important to have your finger on the pulse”, she warns as she breaks down Imposter’s approach. “But we’re not actively trying to poach directors. There’s sometimes a tendency to look at the bidding competition and think ‘oh we should sign them’, but I’m not thinking that way.”

Instead, Imposter has made a habit of finding the right director from its existing roster and network. Whilst there’s an extraordinary depth of filmmaking talent under the company’s umbrella, what unites these diverse directors is that Imposter helped them to break out in the US market. 

A big part of the production company’s formula is hooked around the idea of helping directors through challenges that arise during jobs. “Part of the reason we keep our roster small and curated is so that we can confidently provide a full package of support to each director when they take on a pitch”, explains Avtar. “Whether it be figuring out multiple locations, brainstorming on the best approach, or supporting them as they build their treatment. We want to be their partner and help get the best outcomes - for the sake of the work, as well as for them”. 

So when it comes to finding the right directors, Imposter tends to look for people who have a spark, prioritising talent and potential. “Look, we’re not taking people from zero - plus, great directors don’t tend to be people who sit around waiting for work to come to them. So there’ll always be a reel of some kind that we can look at when it comes to finding new talent”, Avtar tells LBB. “But the important thing is that we can see the potential in their work, that they are excited to keep growing as a director, and want to put in the work to get there. We feel that’s much more important than getting a flashy name”. 

Zooming out, it’s obvious that this more nuanced approach to talent is something that comes naturally to Avtar and Imposter. “I’ve always believed that we’re all in this thing together”, she adds. “We’re all here to make a piece of work that we’re proud of. There are challenges that invite you to start thinking that it’s ‘us versus them’, but we’re super cognisant of avoiding that trap. You have to tune out of it - nobody is really anyone’s enemy, we’re all fighting for the same team”. 

On the most practical level, identifying ways for fresh directors to build their names is part of Imposter’s DNA. As Avtar explains, “we try to find moments where there’s an opportunity for new talent to step up - like when we need to produce social clips for a bigger campaign, for example”. 

And whilst Imposter sets out to help nurture its directing talent, the word ‘mentor’ doesn’t sit quite so comfortably with Avtar. “As an EP I see myself more as a resource for directors, rather than a mentor”, she says. “Directors should be mentored by other directors. That’s not my place - but I will do everything I can to guide them and to make the work more rewarding”. 

Ultimately, that’s the company’s recipe for working with shit-hot directors. It’s less about signing established names, and more about creating an environment in which new talent can thrive and find its voice.