The Directors: Blake Claridge
Cutting his teeth in the notoriously miserly world of music videos, Blake Claridge learned the invaluable art of creative resourcefulness. Next, he refined those skills working agency side to garner a string of nominations (and victories!) From such esteemed bodies as Cannes Lions, the Webby’s, the UKMVAs and MTV.
Fully embodying the mantra and giving it some Gusto! He makes real life look like a movie, starring real people and throwing in the intricacies and idiosyncrasies of British culture with cinematic style and true charm.
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Blake> I’ve just wrapped up a charity ad for Scope. This project went live last week, and it was all about reimagining their brand’s look - bringing something fresh and impactful to what they stand for. It was incredibly rewarding but also came with a real sense of responsibility. The charity wanted to portray the disabled community in a new light, so I felt it was crucial to push beyond the norm and deliver something that truly stood out.
Looking ahead, at Gusto, we’ve been collaborating with Fender Speciality Brands, working on campaigns for Jackson and Charvel guitars, with many more projects in the pipeline. What’s really exciting about this is the trust we’ve built with them. We’ve been pushing bold, creative ideas that have resonated so well they’re now planning out content for the whole of the next year with us. We’re raising the bar, not just creatively, but in terms of how we approach production. For example, we’ve been working closely with them on budget allocation - finding ways to be efficient on smaller projects so we can give the larger ones the attention and resources they deserve. That’s what genuinely excites me: making smart creative production choices that allow the work to truly shine. Anyone who knows me will tell you, it’s all about getting the most out of the budget without compromising on quality.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Blake> What excites me most right now is being part of a company that’s agile, unpretentious, and driven by a real sense of responsibility. We’re constantly adapting to new opportunities and challenges with a readiness to take bold steps. Like many directors, I’ve spent years freelancing, bouncing between rosters and agencies, chasing the next opportunity. But joining Gusto just over a year ago has given me a platform to grow something special, taking a small team with big ambitions and turning it into something capable of achieving incredible things.
In terms of trends, it’s clear that client budgets will always play a key role in shaping what’s possible. However, what I’m seeing now is a growing shift towards building stronger, more collaborative relationships, especially within tighter budget constraints. These limitations are actually sparking more creative, strategic thinking, leading to partnerships that are not just transactional, but transformative. There’s a real opportunity in that space, where tight-knit teams are delivering more impactful work because they’ve fostered deeper trust and understanding.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Blake> I love it when a script comes to me with a sense that it’s only halfway there - where there’s room for interpretation and a clear opportunity to push it further. It’s exciting to know I can take creative risks without stepping on anyone’s toes (or egos, for that matter!). Most scripts offer that in some way, as there’s always a fresh perspective or a different approach to explore.
But really, what gets me most fired up is when there’s a challenge or a problem that needs solving. That’s when the magic happens - when you’re not just executing but elevating the idea. I thrive in that space. In fact, I like to think I’d have a pretty good shot at winning Taskmaster with how much I love tackling challenges head-on!
LBB> How do you approach creating a treatment for a spot?
Blake> For me, a treatment isn’t just about winning over the client - it’s about inspiring the entire crew. It’s the blueprint that needs to excite everyone involved, from the client to the camera operator, so they feel just as invested in bringing the vision to life.
I’m a very visual thinker. When I read a script, images immediately start forming in my head, so my process often begins with immersing myself in imagery. I’ll spend hours searching for that one perfect image that really captures the essence of what I’m trying to convey. I’ve always had a good memory for references, so it’s usually just a matter of finding that one visual that clicks. The right reference image doesn’t just tell a story - it’s something that sparks the imagination, pulls people in, and helps everyone understand what we’re trying to achieve.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Blake> Honestly, my partner Jenny has been my most important relationship throughout my entire career. She’s been by my side from the start, listening to all my thoughts and ideas throughout every stage of the process. She’s my sounding board, the one who hears all the nonsense before it gets refined into something more coherent.
When it comes to the team on set, I find it hard to name just one key relationship. Filmmaking is truly a collaborative effort, and I don’t see any one person as more important than the other. Every production is different, and every role is crucial in its own way.
That said, if I had to pick one, it would probably be the editor. That’s where the magic really happens - where everything comes together, or where a great idea can be elevated to the next level. I’ve been lucky enough to work with some incredible editors, especially early on in music videos. Working with people like Thomas Carter and Vid Price brought a whole new life to the visuals, and their work even earned us UKMVA nominations. That’s the power of a great editor - they can transform good footage into something truly exceptional.
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?
Blake> I’m most passionate about work that genuinely makes an impact. Whether it’s something small, like a heartfelt comment on YouTube, or something bigger, like influencing policymakers - those are the projects that really matter to me. It’s incredibly rewarding to see your work create a positive change, no matter the scale.
That said, there’s definitely a fun side to the job too. Blowing things up in a studio for a day or flying out to shoot in an amazing location with a big crew - that’s part of the thrill. But at the end of the day, it’s about more than just the spectacle. You have to step back and think: What is my work actually doing?
What’s the broader impact? That’s the kind of thinking that drives me.
LBB> misconception about you or your work do you most often encounter and why is it wrong?
Blake> I think it really depends on which piece of my work someone watches first. The common misconception is that I come across as quite serious - and I get why people might think that - but it’s definitely not the case! I like to keep things light-hearted and fun, both on set and in life. The serious tone in some of my work may give that impression, but behind the scenes, I’m much more laid-back and enjoy bringing a sense of humour to the process.
LBB> How would you describe the way you work?
Blake> People often describe my approach to work as industrious, and looking back, I can see how this comes from my upbringing. I've always been the kind of person who rolls up my sleeves and just gets on with things. I thrive on the challenge when someone says something can’t be done - that really fuels me. So naturally, my work ethic is all about diving in and getting the job done, no matter what.
When a producer tells me, "We can’t do that," I’ll often try to find a different angle or, if needed, just figure out how to make it happen. I carry that same attitude into life outside of work as well - though I think my partner Jenny has had to put up with a lot of that! Just the other week, someone said we couldn’t do something, and Jenny, with a bit of a laugh, shook her head and said, “Well, it’s happening now, isn’t it?” I’m sure I can come across as a bit relentless at times, but it’s always said in good humour and with the best of intentions. It’s all about pushing boundaries and doing the best you can with what you’ve got. I’ve done a few charity jobs this year, driven by that same ambition to make the most out of every opportunity.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Blake> I haven’t worked with a cost consultant, but in my daily life, I might as well be one! Anyone who knows me knows that I’m very mindful of where the money goes, and it doesn’t take long for people to realise that I won’t let a budget be wasted.
I remember shooting a music video for Leona Lewis, which also featured Ne-Yo (the rapper with the hat - lovely guy). I got wind of a pretty crazy rider request involving some ridiculously expensive, electrolyte- infused bottles of water. Let’s just say that particular request didn’t make it through!
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Blake> That’s a difficult one as I think you just absorb all of the crazy things that happen in this job at the time and then quickly forget. One that still sticks with me was on a Mastercard job at McCann, where we worked with composer David Arnold (Bond, Independence Day). He recorded a beautiful orchestral piece for a social experiment that aimed to bring estranged people back together, and it worked – the client was moved to tears during the first review.
Then the chaos began. The client’s boss didn’t like the music, and we had to start from scratch. Adam Smyth, the agency’s lead audio engineer at the time, was tasked with creating a new track under immense pressure, even though we all loved David's original. After many stressful sessions, we delivered something the client loved, but it wasn’t the same for us.
To this day, I wish David had seen my director’s cut. So, David, if you're reading this – I’m sorry!
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Blake> I pride myself on maintaining an ego-free approach and collaborating with others who share that mindset. While it can be challenging when egos are involved, it's essential to remember the bigger picture of what we're creating together.
When an idea is presented, it's important to recognise that, ultimately, the client is purchasing that vision. I often liken it to designing a kitchen. The client comes in with their design, and I take that concept and flesh it out in a treatment. They might love the initial idea but want to make a few adjustments. Along the way, I can suggest enhancements - like soft-close drawers or a hidden larder - that they may not have considered. However, when we move to the production phase and they decide to change the colour, I need to respect that decision. It's crucial to communicate effectively, explaining why certain choices might not work (like lime green), but also trusting their judgement.
The key is to create a collaborative environment where both sides feel involved in the decision-making process, which helps avoid surprises. At the end of the day, it's all about teamwork and good communication - ensuring that when we wrap up, they know why pastel pink is the ideal choice!
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?
Blake> The traditional route in our industry often involved working for free, taking on more than your fare share, being the first to arrive and the last to leave, and essentially doing whatever was needed just to get a foot in the door. This outdated cycle is one we must break to create more opportunities for diverse talent. A more inclusive industry not only enriches the creative process but ultimately results in better, more varied work. We also need to recognise that everyone’s journey is different. While some find their way in through connections, I built my network from the ground up and understand the challenges involved.
To truly open-up this industry, we must educate young people about the diverse roles available in production and what paths they can take. I am definitely open to mentoring and providing apprenticeships on set. If anyone wants guidance or believes they can learn from my experiences, I’d be more than happy to help. It’s all about fostering a new generation of talent and ensuring that everyone has the chance to thrive in this industry.
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)?
Blake> While I hope for a day when people might finally turn their phones sideways to embrace wider formats, the reality is that we have to adapt to various screen sizes and orientations. It’s essential to be informed about where the content will be shown in advance.
As a director, I’m flexible and willing to plan for different formats, which can often be straightforward if we allocate the time to prepare. The most challenging moments arise on set. For instance, while shooting anamorphic, there’s nothing quite as jarring as someone suddenly asking about the 9:16 format for the first time. Effective communication and foresight can make all the difference in making sure that our work resonates across all platforms.
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)?
Blake> While budgets and confidence often pose challenges in adopting new technologies, I remain open to incorporating them into my work when feasible. Although I’m not completely immersed in cutting-edge tech, I do keep myself informed and leverage it when I can invest in doing it right.
For example, in a recent project for Morrisons, produced by Gusto, we creatively utilised small-scale virtual production. Instead of building kitchen sets for various locations, we bought a large OLED screen, which was more cost-effective than renting a virtual studio at this scale. By photographing the sets from the main TV ad and using AI to recreate them, we could film against this virtual backdrop.
This resourcefulness not only enhanced our creative process but also led to the successful production of a spec ad in the same virtual studio set-up during a quieter period. Moving forward, I see great potential in this technology and plan to incorporate it into future projects.
LBB> Which pieces of your work do you feel show what you do best – and why?
Blake> These pieces of work show what I love to do, arguably there may be better and more emotive work on my reel, but these all really mean something to me.
Scope - Don’t Hold Back
Scope approached us with a script and The Chemical Brothers - “Galvanise”, I was just stunned by the lyrics having new meaning in their hands and just knew I wanted to do this. The budget was tight so we had to be realistic of what could be achieved but knowing that the people were at the forefront of this concept, it was all about the casting and capturing their natural personalities.
Whizz Kidz - The Real Difference
This was a great project, we teamed up with Manifest agency to pitch on the project with the charity and it was a true collaboration. They worked mostly on the communication aspect, whilst I focused on telling a true story. We did loads of research but one story really stuck with me, from an early meeting with the client, where someone said that just giving a child the independence to go to school on their own can make a real difference.
Aldi - Teatime Takedown
I’ve always loved this piece, it was something that caused quite a stir. It was teasing a much bigger campaign where parents were actually going to be able to hire an elite team of gamers to infiltrate their child’s gaming session to wipe them out so they could spend that time around the dinner table with their actual family. However, when you release said video and receive a monumental amount of backlash and a government minister getting involved, and then find your entire campaign getting taken down, but the video was fun to make!
Cancer Research - 100 Skips
This project I just did off my own back. I noticed Clayton in the local area skipping and was mesmerised by him. I chatted to his Mum and found out he was doing it to raise money for Cancer Research. He was doing 100 skips a day in a different location and uploading it to Instagram, so I thought, wouldn’t it be cool if on the last day I filmed him and got him to do it somewhere cool. So I got a tiny crew together and filmed him rocking it out on the i360. We then managed to licence the Fatboy Slim track and cut it into an ad for the charity.
