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The Directors: Catherine Losing


Darling Films director on colourful scripts, talking TV with her family and the importance of a clear visual concept

The Directors: Catherine Losing

Catherine’s work embodies surreal studio-scapes, colour brilliance and bold conceptual execution. An award winning director and photographer who has an undeniable ability to create graphic eye-catching creations focussing on fashion, food and technology. Her impressive career has seen her work for world renowned clients including Absolut, BBC, British Fashion Council, British Vogue, Elle, Farfetch, Grolsch, IKEA, Lacoste, Miss Vogue, MoMA, Peroni, Polaroid, Riposte, Samsung, Sharwoods, Target, TFL, Topshop, The Guardian, Twin Magazine, UA, Vogue, Vogue Italia, Wired, Wonderland and WWD. Her most recent photography work was capturing legendary props from BBC programmes for Comic Relief’s Red Nose Day including Pat Butcher’s iconic clip ons.

Catherine’s acute visual sensibilities have also built a reputation in the fine art world, becoming one of only four photographers commissioned for MoMA’s first fashion exhibition in over 70 years. .

She is a multi-talented force capable of delivering full brand campaigns across commercials, social assets and print photography.

Name: Catherine Losing

Location: London 

Repped by/in: Darling Films, Ridley Scott Creative Group


Sheffield Doc Fest 2020

AOP Gold Award 2022 - Food

AOP Silver Award 2022 - Documentary

Food Photographer of the year Award - 2021 Finalist

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Catherine> Something fun, colourful and upbeat that doesn’t take itself too seriously.

LBB> How do you approach creating a treatment for a spot?

Catherine> Of course I’ll always go in with what I think is the best approach but at the same time I love to find out who the competition is and what sets me apart from them both stylistically and personally. I’ve won jobs because I can relate more to the audience and products over the swathes of posh, older guys that are up for the same briefs.

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?

Catherine> I always thoroughly research the brands I want to work with. I also love talking to my friends and family about TV, ads and brands. What’s struck a chord with them lately and stood out for the right (and wrong!) reasons.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Catherine> Clarity of vision with the creatives is key for me. It means we can show a united front to really push to create something that looks great.

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?

Catherine> I’ve worked for a huge variety of brands from designer fashion houses to household products. But it always comes down to clear visual concept for me. I adore a slick concept that has a quick read and is visually striking.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Catherine> That clean and graphic studio based shoots are quick and easy. If anything it’s the opposite, everything from the performance to the set has to be absolutely on point and there’s a lot of work that goes into the planning and the pre-production process.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Catherine> Shane Richie nearly ran me over with an ice cream van. Kanye needed a Nando's over an hour ago. Lady Gaga ran out of Organic ginger tea and Robert Downey Jr needed somewhere to practise Kung Fu. You name a celeb and I’ve got a crazy story from my days as a runner. My own shoots are much more organised and zero drama.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Catherine> I’m pretty pragmatic and understanding, but also a stereotypically blunt northerner. I’m more than happy to cut through the politics and have an honest conversation.

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?

Catherine> Mentoring is absolutely key to opening up this industry to people from different backgrounds. Seeing mentees do well is a total joy and has been a surprise highlight of my career. People hire in their own image and a more diverse talent pool throughout the industry will make sets feel like a much more welcoming place and will be beneficial for everyone.

LBB> Have you picked up new habits that you feel will stick around for a long time?

Catherine> People recognising and accepting the constraints of people’s home lives has been a game changer for me. If you want to do a last minute call, I’ll be there but my kids might be in the background and that’s ok.

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)?

Catherine> I’m a huge fan of Instagram, so always have in the back of my mind how I’ll be able to show off about my latest projects in posts and stories. It’s definitely in my mind when I’m lining up shots.

LBB> Which pieces of work do you feel really show off what you do best – and why?

Catherine> These films showcase what I love doing best, graphic eye-catching creations, surreal studio-scapes, colour brilliance and bold conceptual executions focusing on fashion and food.

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Darling Films - UK, Tue, 07 Mar 2023 17:42:13 GMT