The Directors: Brett Karley
Brett Karley operates in all aspects of production from concept to completion. He has created award winning content for a range of clients including Bank of America, DirecTV, National Geographic and Microsoft. It’s been said that Brett’s work has the unique ability to capture the attention of the elusive zennial.
Brett’s unique view of the world comes from the analytical and problem solving skills he gained with his degree in Biomedical and Electrical Engineering. He’ll take your creative places you never expected, and you’ll be happy he did.
LBB> What are some recent and/or upcoming projects that you're excited about? Tell us a bit about them?
Brett> I’m excited about a bunch of things, some of which I can’t talk about. But one that I can talk about is a holiday spot I made for Life is Good, the lifestyle brand.
I love working on holiday-themed commercials because they allow you to transform ordinary sets and locations into something magical. This one was particularly special as it involved the creation of an alien creature, from concept to completion. It’s the first time I’ve professionally taken a character from initial sketches with our art director, who also fabricated the creature, all the way through to the finished performance. It was a blast!
On another front, I’m pumped about something outside of directing—a creative project I started called BIRD CLUB. The goal is to make birding more mainstream and accessible so that more people can do it. More people caring about the environment leads to measurable change. I’ve been making apparel, sourcing materials, and everything else required to get a small business off the ground.
It has been a huge learning experience, and as a lifelong birder, I’m excited to see the traction we’re getting. Right now, I’m working on something truly unique—a tactile varsity jacket designed for birders with visual impairments. It’s essentially a wearable field guide.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Brett> What excites me most about the ad industry is the constant evolution and the need for differentiation.
With so much content out there, brands are pushed to find fresh, innovative ways to stand out. I’m not a fan of sticking to convention—I’m drawn to trying new things and thinking about what hasn’t been done before. I like to step into different perspectives and ask, "What would grab my attention if I was this person? What would truly make an impact if I saw it?" That’s where some of the most exciting projects come from.
Whether it's participating in a bold stunt or delivering a message in an unexpected way, I love the challenge of helping brands take creative risks to get noticed. While some risks don’t always pay off and can result in epic cringe, I think it’s a positive shift overall. More people are realising that they can’t keep doing the same thing and expect to hold anyone’s attention.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Brett> What sets a script apart for me is when it introduces fresh, original ideas rather than simply being a derivative of something already successful or just a variation of what’s already making waves in the industry.
I love when brands try something new because, in today’s saturated market, it’s really tough to stand out. With so much visual noise out there, when I come across a script that sparks an immediate connection, I can often fast-forward in my mind to the finished piece and ask myself, "If I saw this, would I wish I had made it?" That’s a good gauge for me of something exciting.
There’s also an element of taste—it’s hard to define, but you can often sense when a script aligns with your own style. It’s like meeting someone and instantly knowing whether or not you’d get along. The same applies to creative boards and scripts; you can feel when there’s a connection with the vision of the creatives behind it.
LBB> How do you approach creating a treatment for a spot?
Brett> I believe the most important aspect of creating a treatment is understanding your audience. You need to think about who you're explaining your ideas, vision, and approach to. The obvious audience is the agency or client, since they’re the ones deciding whether or not to hire you. But I also find it incredibly valuable to consider the department heads on your production team.
When you land a job, you’ll be talking to the director of photography, gaffer, art director, and other key crew members, and the first thing they often say is, 'I read your treatment.' So, you want to craft your treatment not just for the agency or client, but also for the team you’ll be working with.
If you can keep both audiences in mind, you’ll be detailed enough to give your production departments a clear sense of your vision, while also communicating your style, approach, and personality to the client. This way, you create something that’s clear, honest, and true to what you’ll bring to the project.
It’s important to be decisive—show how *you* will execute this project, not how it could be done in a hundred different ways. The agency wants to know, 'If we hire Brett Karley, this is the kind of spot we’re going to get.' And just as crucially, they want to know who you are as a person, because in this business, it’s often more important to be great to work with than to simply be talented at what you do.
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?
Brett> I like to gather as much information as possible because even the smallest details can shape my approach. If I'm not familiar with the brand or market, the first thing I do is ask the person who brought the boards to me—whether that's my producer, agent, or whoever’s involved. They often have the best insight on what the agency is looking for. Agencies don’t want to choose between directors who seem unsure or underprepared; they want someone who will knock it out of the park.
When you talk to the person who brought you the script, they are usually able to explain why this project exists—what the agency is trying to achieve, the strategy behind it, and any past successes or failures. All of this information is crucial for informing your treatment and setting yourself up to deliver on the project.
From there, you can dig deeper into the market: check out what the brand has done before, explore their competition, and understand whether they're trying to maintain a certain tone or shift their approach.
There's no advantage to not having these details—it only increases the risk of making mistakes due to lack of insight. Maybe there are certain topics or imagery the brand wants to avoid, and it's helpful to know that upfront. At the end of the day, I want to do the best job possible, and having all the information ensures I can deliver.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Brett> The most important relationship is with my producer. From the moment they come on board, they are bombarded with a flood of information, questions, ideas, and logistics—a never-ending list of items that need attention. Many of these questions are for the director, so the producer becomes the crucial liaison between you and the agency or client. Their role is to keep you focused on the decisions that require your input, rather than being overwhelmed by every single query that comes up.
It’s essential to build a strong relationship with your producer so they understand your style and workflow. This allows them to convey that to others even before you’ve established a direct rapport.
Throughout pre-production, production, and post-production, unexpected problems are going to arise. Whether it's something small that needs a quick decision or a bigger issue that affects the whole project, the producer will be the one reaching out to you for answers. If you don’t have a good relationship with them, those calls and texts can become frustrating rather than productive.
A great producer is someone you trust to solve problems efficiently. You should feel comfortable picking up the phone for a quick 10-second chat or a longer conversation about larger issues. Ultimately, these projects are massive problem-solving exercises, and the producer keeps everything on track while liaising with the client and agency, making sure you're in sync with them.
On set, they’re invaluable. They’re your point person for real-time feedback, keeping you updated on how the client and agency feel about what’s happening.
For example, they might tell you, ‘The client is concerned about the wardrobe in this scene,’ and you’ll appreciate that heads-up instead of taking it as criticism. You can then walk over to video village, address the concern, and keep everything running smoothly.
While you’re focused on the creative aspects—your setups, your scenes—the producer is managing the overall flow, taking the temperature of the room, and making sure everyone is aligned—and also thinking about money, schedule, and the bigger picture of the entire project.
Having a producer you trust and feel comfortable working with is absolutely critical to the success of the project.
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?
Brett> I’m most passionate about the kind of work that allows me to try new things and grow as a director and creative person. I’m particularly drawn to the absurd and surreal—worlds that mirror our own but with twists, creating an alternate reality. I often find myself questioning social norms, asking, 'What if this were different? Why is this the way it is?' So many things we accept as standard and important feel arbitrary, and I love exploring those ideas.
In my work, I like playing with notions of 'cool' and 'popular.' They could so easily be something else. What if no one cared about young influencers and instead the coolest people were the grannies down the street? Everyone emulated them. I enjoy creating worlds like ours, but where things are just a little 'off.' And then within those worlds, I push behaviours and interactions to feel slightly strange, so it all feels familiar but with a twist.
As a kid, I was always drawn to things that were a little different, and I would get annoyed seeing the same things over and over again. That frustration still exists today, especially in a world where repetition is more common than ever—getting served the same streaming ads over and over.
That’s why I love to include details that only become noticeable after multiple viewings—details that are visually captivating and allow me to really play with art direction and blocking. I’m always looking for ways to build small sets or scenes that begin to have a life of their own as you discover more and more details.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Brett> I think the biggest misconception is that it’s easy. While I find it fun, rewarding, and exciting, I definitely wouldn’t call it easy. Getting a job involves a lot of work—you spend hours crafting a treatment, holding creative calls, budgeting, and figuring out how to execute everything, all while knowing you're competing with at least two other directors since most jobs are triple-bid. And despite all that effort, you often don’t get the job. In fact, a lot of times you put in the work and it leads to nothing.
Pre-production always takes more time than you expect. No matter how well you plan, there are always more problems, more logistics to sort out. Then there’s the shoot itself, which can be a grind. They’re typically 12-hour days, sometimes longer, and from the moment you arrive in the city where you’re filming, it’s pretty much nonstop. You wake up, work all day, go to bed, and repeat.
Even in the rare moments you’re not actively on set, you’re often handling other tasks—tweaking shot lists, dealing with last-minute location issues, or addressing changes on the fly.
It’s definitely a lot of work, but I happen to love it.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Brett> I haven’t worked with a cost consultant specifically, but from my experience, their role sounds quite similar to that of an executive producer. They're typically the experts on production costs—managing who we can hire, including the headcount and skill level of the crew.
They collaborate closely with me to ensure everything outlined in the treatment aligns with the budget. When I come up with new ideas, I always run them by the EP, as they have a clearer understanding of the budget constraints. I’m not always fully aware of the numbers, so they keep an eye on that aspect.
Occasionally, I’ll get flagged in a treatment with questions like, “You mentioned Steadicam here—can we do without it?” That prompts me to weigh what’s essential, like whether to sacrifice something else to keep the Steadicam or if we can manage without it.
Overall, I work very closely with EPs to ensure the treatment stays aligned with the budget and the realities of the project.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Brett> This is a tough question because there can be many moments during production where it feels like everything is falling apart. A problem will pop up, and you think, ‘This is it. This is going to ruin everything, and I’ll never work in this industry again.’ But then, in hindsight, those problems lose their significance, and make pretty crappy stories.
There is a whole scene with a cat (this really happened) that everyone has been laughing about in pre production. The cat is going to be hilarious. I can’t wait to cut to the cat and see this hilarious cat. It was a key part of the spot. Then, on set, the cat is bad at acting. This is the end of the world. We’re finished. The solution? We cut the cat out of the scene. Not a great story.
But one story that comes to mind that is not completely crappy, happened while I was working on some projects with Vice.
We found out the day before that Will Ferrell was available to shoot with us the next day. We had nothing prepared—no project lined up for him, no franchise we could slot him into, we didn’t even know what he agreed to do.
There was a moment where we seriously considered saying no. But it was me and one other person named Brandon Lisy, and we both had enough experience and confidence in our abilities to give it a shot. We loved comedy, and we liked working together, so we thought, ‘Why not? Let’s not overthink it. If it turns out terrible, we don’t have to release it.’
So, we came up with something on the fly. It wasn’t a groundbreaking idea, but we could probably get it approved by the EP and we had Will Ferrell. The best thing to do in these situations, is to use what you have access to.
There was a location that we knew about from another project, an old church that had a lot of character and looked like a library, so we said, let’s use the church. We decided to find a bunch of stuff about Will on the internet and ask him if the stuff was true or not. Will Ferrell fact checking the internet on Will Ferrell—again, not the most brilliant concept, but it was something and we made it fun. We just played around with him for an hour.
Afterward, I edited the footage and we were able to shape it into something more cohesive. What started as a last-minute scramble turned into a successful, well-received piece, a new franchise and a great memory. It taught me that sometimes, the best solution is to just roll with the punches and trust your instincts.
Here’s the Will Ferrell piece.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Brett> In my experience, the best way to strike the balance is through clear, honest communication. When you take the time to explain why certain decisions are made and how they impact the bigger picture, people tend to understand and align with the vision.
For instance, if we have a central idea we're working towards, and the feedback we’re getting from all the various stakeholders or creative decisions start to pull us away from that, it's important to acknowledge the shift and explain the potential consequences. If a suggestion or new direction threatens to alter or dilute the original idea, I make sure to communicate that clearly: “We can pursue this new direction, but it will change the concept in these ways. Are we comfortable with that?”
Sometimes the answer is no, and we stay on course. Other times, the team agrees it’s worth sacrificing certain aspects to embrace something new. This requires constant dialogue and negotiation, especially when some suggestions might not directly impact the final product but could have a long-term ripple effect. As the director, it's my responsibility to articulate these potential outcomes clearly.
I also believe in identifying ideas that may simply be different, rather than better. It’s crucial to ask, “Is this new idea actually improving the project, or is it just another way to achieve the same thing?” If it’s truly an improvement, then it's worth considering. If not, it's important to acknowledge that and move forward.
Ultimately, I value collaboration and want everyone to feel like they're contributing to the process. I strive to create an environment where people are excited and engaged. My goal isn’t to create the exact vision that appeared in my head the moment I read the script, it’s to craft something memorable that accomplishes the goal and leaves everyone wanting more. To do that, I set the expectation early on that while I welcome and encourage new ideas, I’ll also be transparent if I feel something is steering us off track.
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?
Brett> We absolutely need to open up the production world to a more diverse pool of talent. Different perspectives, backgrounds, and voices are essential. The more diverse the group of people creating art, making films, and telling stories, the richer and more meaningful those stories become. It’s concerning when someone believes they are the only one qualified for their role, and that others can’t do it.
Others may approach things differently, but that’s exactly what we should be embracing. We don't need everyone to do things the same way—we need fresh perspectives, new ideas, and unique combinations of thoughts that haven't been brought together before.
That's what creativity is: connecting ideas in innovative ways, prompting people to think differently and consider things they may never have encountered. We all have blind spots—we don’t know what we don’t know—and that’s why we need diverse voices to reveal new possibilities, things beyond our limited imaginations. Our creativity is shaped by our backgrounds, our childhoods, the people we meet, and the experiences we go through.
If we rely on the same types of people to tell stories over and over, the narrative quickly becomes stale. There's nothing compelling or exciting about sameness—it's diversity in thought, experience, and storytelling that keeps things interesting and keeps pushing the boundaries of what’s possible.
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)?
Brett> When it comes to formatting for social media and digital platforms, there’s a lot to consider. Generally, I recommend starting with the widest format you're shooting in, whether that's 16:9 or 2.35:1, and then protecting for the smaller formats like 16:9, followed by 1:1 for square. On set, we make sure to display these guides on the monitors to keep them in mind during filming. As long as you're mindful of these formats and don't handcuff the editor by overlooking key compositions, you’ll be in good shape.
In post-production, it’s important to avoid doing a simple centre cut for the smaller aspect ratios. Each shot should be framed specifically for that format, and sometimes, even within a single shot, adjustments are needed. Like a 16:9 two-shot dialogue scene might become two singles in 1:1.
One aspect ratio I don’t think should be "protected" for is vertical video (9:16). This is a completely different format that requires shooting with that ratio in mind. You can't simply crop a wide shot into 9:16 and expect the same impact—it won't work. However, you can get compelling wide shots in 9:16 if you're consciously framing for it.
When vertical video comes up, my recommendation is to use a dedicated second camera or at minimum a phone for shooting in 9:16. You need to capture shots specifically for that format. Ideally, you’d have a second camera set up exclusively for 9:16. Then in post, you sync that 9:16 with your main cameras and sound so it sticks around throughout the edit.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Brett> I’m always excited about new technology and exploring how it can be used, whether it’s advancements in camera gear, lighting, post-production tools, or workflow improvements.
But it’s important to distinguish between what’s genuinely useful and what’s simply new. Just because something is new doesn’t mean it’s better. Take LED lights, for example—there are tons of options, but many of them fall short when it comes to colour accuracy. If you’re not too concerned about colour correction, they might be fine, but when you want to maintain precise colour balance, they don’t always cut it.
I’m fascinated by innovative production techniques, but I’m not a big proponent of virtual production. I’m more drawn to methods that blend digital effects with practical elements, like the video walls used in 'The Mandalorian'. I’ve been a fan of that approach since 'Oblivion', where they projected the sky around Tom Cruise’s floating home. The projections not only created the environment but also cast natural reflections and light onto the set and actors, making it feel more immersive.
We even pitched a similar concept for Vice’s new studio, but unfortunately, the new leadership at the time didn’t quite understand the potential.
As far as AI, I think we need to be cautious with it, especially when it’s used to generate images, environments, or entire visuals from scratch. There’s something off about it—it lacks the natural quality of real footage, and once you’ve seen enough AI-generated content, you start to notice the hallmarks. I do, however, love AI when it’s used to enhance certain tasks, like visual effects.
For instance, AI can be incredibly helpful with animation, keyframing, or even generating realistic snow effects. It’s also fantastic for tasks like upscaling images to higher resolutions, expanding the edges of a frame, or automating tedious processes like rotoscoping. These are the kinds of time-consuming jobs that AI can now handle efficiently, and it’s only getting better. But for now, I prefer to use AI as a tool to enhance, not replace, traditional filmmaking techniques.
LBB> Which pieces of your work do you feel show what you do best – and why?
Brett> TBS Network IDs - Grannies
These network IDs for TBS, especially the “Grannies” series, might be my favourite projects I’ve ever done. The first one I created came during a complete rebrand and redesign of the network. I made it while they were in the midst of that process, and it ended up helping inform the tone and style for the comedy they were going for. Later, they asked me to do some holiday-themed IDs, and I jumped at the chance because I loved working on it so much. Any time I can build a set, I am super happy. For these, I wrote, directed, and edited them.
After the holidays, I did two more TBS IDs, which weren’t related to the “Grannies” series. One featured a quirky astronomer, inspired by a painting I had seen of a strange figure studying the stars. The other was about a wanderer looking for answers who stumble upon magic, with the solution to all his problems being… TBS! These were such a joy to make because they blended practical effects with a bit of special effects, creating a surreal, strange vibe.
Mass Lottery - Holiday Fatigue Syndrome
For this spot I got to work with fantastic improvisational actors. They brought so much to the table, and it was a fun, collaborative process—with a lot of laughing on set. There were so many great moments that, unfortunately, didn’t make the final cut. We ended up with about 8 different versions of a really funny spot, but could only choose one.
Sundance - Great Debate, Horror Movies
This concept was a sponsored :60 that aired during Sundance’s themed movie nights, specifically this one was for horror movies. I loved working on it—the atmosphere, with its Fall aesthetic, campfire, fog, and the creepy drifter lurking. The dialogue was fast-paced and layered, and it’s one of those pieces you can rewatch to catch all the little details. It was a super fun project, and I still love how it came out. I wrote, directed, and edited it.
