The Directors: A. Cody Osborne
A. Cody Osborne is a Brooklyn-based filmmaker and commercial director who specialises in comedy. Cody started his career as an agency creative at shops like Goodby, Silverstein & Partners, Wexley School for Girls, and 72andSunny, learning the alchemy of comedic advertising. Cody has directed dozens of commercials, including spots for National Geographic, Dropbox, Wholly Veggie, and Drizly. In 2018, Cody co-founded The Goondocks, where he works today as CEO and Director. The Goondocks are on a mission to infuse fun back into commercials. Not just the final product, but the entire process.
Name: A. Cody Osborne
Location: Brooklyn, NY
Repped by/in: The Goondocks
Awards: Wholly Veggie 'Haha You Just Ate Vegetables' -- two x Silver Clio Awards (Filmmaking & Copywriting), Shortlisted for One Show (Film & Video 31-60 seconds), Shortlisted for AICP (Humour).
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Cody> Whether it's a commercial, film, book, or any piece of art really, I love the feeling of experience. I thrive on the journey the filmmaker curates for their audience. I avoid watching a movie’s trailer before I see it, just to preserve the pure, unspoiled experience of watching it all unfold.
I take the same approach to my own work. For scripts, my litmus test is simple: Does it evoke emotions? Have we seen this before? If we have, does it offer a fresh perspective?
I always lean towards comedy. As a director, it’s my strong suit. However, I appreciate the opportunity to inject levity into serious themes. To me, regardless of genre, it's all about conveying the intended impact on the audience without being heavy-handed, or telling them how to feel. Even if it involves ridiculous scenarios, like two people riding a giant fake horse while enjoying a Cobb Salad.
LBB> How do you approach creating a treatment for a spot?
Cody> After reading a script for the first time, I like to let it marinate in my subconscious. I'll go about my day and forget all about it. After a while, my subliminal mind takes over.
The story starts to creep into every thought and specific images begin to emerge in my brain.
Before long, I find references that align with my vision of the script; camera angles, lighting techniques, and anything visually inspiring. I save a ton of random images before I totally know what they mean.
Next, I link with my team and we deep dive, grappling with the story and getting super detailed. I toss out bullet points, and my partner Nick E Finn, the wordsmith, turns them into eloquent prose. While Nick E works his magic, I begin shaping the treatment's visual identity, determining how I want the audience to experience the story through pictures independent of any dialogue.
Once I have a clear vision, I now use Midjourney (AI) to create additional images that support the emotional journey I want the audience to experience. I've learned to harness AI's ability to replace multiple images into a single powerful visual that represents a unique idea. I embrace AI as an essential process tool for the filmmakers of the future.
At this stage, we have a solid treatment, but we're not done yet. We fine-tune the language, add/remove images, and ensure the story elements are in harmony. It's crucial to include only what's necessary. I prefer concise treatments, but if needed, I'll dedicate a page to each script, diving into intricate details on achieving the desired look of each beat.
Lastly, we sprinkle a little bit of us into the treatment. At The Goondocks, I am the company’s director, but we really are a three-headed monsters, all with good ideas. So whether it’s a spec ad, a dumb photoshop job, or just a random idea that would be easy in addition to the spot, we’ll toss it in the treatment so they know who we are and what we bring to the table beyond the words and images in a treatment. Ya know - vibes.
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?
Cody> I started my career working as a creative at agencies such as Goodby, Silverstein & Partners, Wexley School for Girls, and 72andSunny. This experience has given me a deep understanding of both the strategic aspects behind creating a campaign and the dynamics of the agency-client relationship.
When working with a brand, I am able to successfully leverage this understanding to become an extension of the agency. Even if I'm already familiar with the brand, I believe that conducting research can uncover valuable insights and I use that to drive a strategic approach. My philosophy is rooted in authenticity - to the brand, to the creative process, and to myself. By staying true to these principles, I consistently deliver better work and find more love for the process.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Cody> Radical collaboration is the key to success. As a director, developing a rock-solid relationship with the creative team is paramount. Trust and open communication are essential, allowing us to align our vision, share ideas openly and work together towards the common goal of creating the best possible film or commercial.
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?
Cody> I fell in love with advertising when I saw those High Life man ads by Errol Morris. They were funny, simple, and undeniably true. Comedy is my passion, and I thrive on evoking genuine emotions.
Even the wackiest ads reveal a hidden truth, and as the old adage goes, truth is stranger than fiction. Filmmakers who try too hard to be funny, just end up flopping. When comedy is paired with purpose, it emerges organically.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Cody> Despite my young appearance and our company's relative youth, people often overlook the years I’ve worked in this business and the extensive work I've accomplished at a high level. While some projects have had smaller budgets, I've also had the opportunity to handle significant investments from brands. So, judge my baby face all you want but my experience and ability to produce outstanding results speak for themselves.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Cody> There’s always hurdles you have to leap over in the early stages of a project. And if the groundwork is not properly laid, the project will end up having even more challenges on the day of production. At The Goondocks, we believe in over-preparing ahead of time - knees bent, head on a swivel - so during the shoot, we stay sane, have fun, and end up getting everything we need/want.
Here’s an example: when we did the Wholly Veggie campaign, the timeline was tight, and so was money. We had to create three unique sets for the three spots - but only had money for one. Working with our set designer, we decided on a malleable set - using flyaway walls, branded colour matching, and creative lighting choices. Money for a single set became three distinct homes, cohesively existing in the same Wholly Veggie world.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Cody> Radical collaboration is everything. There is no idea without the brand and the agency, so it is my job to create a scenario where everyone has a say.
Not only is it fun to be collaborative, I think it makes the work better. You can see it and feel it on-screen. That extends to the client. It’s just my job to take their thoughts and shape them in a way that works for the entire vision.
I approach being a director more like a coach than a dictator. I know what play I want to call, but I have to have an open dialogue with the whole team, so when it’s their time to perform, they score the goal.
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?
Cody> Diversity is essential and mentorship of diverse talent is as well. Diverse perspectives can enhance every idea. Period. Surrounding myself with a more diverse pool of talent challenges me in unexpected ways, resulting in richer experiences and better ideas. The Goondocks is committed to mentoring and fostering opportunities for the next generation of diverse storytellers both in front of, and behind the camera.
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)?
Cody> After ten years of experience on the agency side, I’m very empathetic to the needs of the client. So, when the plan is to make multiple aspect ratios of a single spot, I like to set the expectations from the jump.
Some ideas will be hurt if they’re sliced into pieces. If we’re shooting 16x9 and they want 9x16 as well, and I believe that the idea just won’t work for both, I’ll propose alternate ways to get that job done. Maybe it’s doing a couple takes specific for 9x16 or giving them an entirely new idea that’s easy to make on the day and is shot specifically for that aspect ratio.
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)?
Cody> Simply put I’m here for all of it. I love learning it. I love using it. I just wish I had more time to figure out more skills within some of these programs.
I can avoid social media and all that BS but I will never give up on understanding technology and the ways it can improve everything from the process to the product.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Cody> Wholly Veggie - Mom & Dad
Drizly - Ding Dong
Habit Burger - Beach Horse
Habit Burger - In The ‘Straunt
