The Directors: Courtney Loo

Courtney Zhì-Xián Loo is a Chinese-American filmmaker based in New York City. Her work across mediums uplifts the AAPI community, bringing its rich characters and journeys to new audiences through grounded storytelling with a touch of magical realism. Her short films include Slick Talk, which premiered at the 2023 SXSW Film Festival, and Post Office, which premiered at the 2021 Slamdance Film Festival and was named a Vimeo Staff Pick. Both narrative films draw on Courtney’s lived experiences as a Chinese-American woman and examine themes of identity, language, and female objectification.

Courtney’s commercial work includes projects for Honda and Athletic Greens, and she has collaborated with talent including Kehlani, Allyson Felix, Pink Sweat$, KIRBY, 6lack, and D Smoke. She is also the co-founder of the music management company Thrice Cooked. Her instincts for music and sound inform the rhythm and emotional waves of the stories she writes and directs.

Currently, Courtney is a 2023 Almanack Screenwriting Fellow and is working on writing her debut feature film. She is represented by Institute for commercials and branded content, and WME and Entertainment 360 for film and television.

Name: Courtney Loo

Location: New York City

Repped by/in: Institute

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

Courtney> I’m drawn to scripts with a distinct perspective and voice. If that perspective moves me in some way - whether it be through messaging, humour, or characters - then count me in.

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

Courtney> Music and sound play a big role in my creative process. I’ll read a brief several times and then listen to music that aligns with the spot. It helps me find the rhythm of the story and inspires potential ideas.

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?

Courtney> I usually study past campaigns and talk to friends/family who are acquainted with the brand. Understanding the 'why' behind every project is key in order to craft a compelling narrative, and at the end of the day, that is what I care about most – evoking emotion through story.

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

Courtney> All of them hold equal significance in my eyes. As the director, I dictate the energy on set by choosing who to hire. I always ask myself - What energy does this project call for? Who do I need to surround myself with in order to be the best leader I can possibly be? I truly believe that every single person on set assumes a unique role, bringing their expertise into the mix. 

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?

Courtney> I like to work across different genres and styles, otherwise it gets boring. I think one of the reasons why I gravitated toward film is because no project, no moment, no day in my career will ever be exactly the same. There will always be new adventures and I never want to lose the joy of creating.

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

Courtney> Luckily I haven’t been pigeonholed yet. I really hope to keep it that way so I have the freedom to evolve throughout my career and draw from various experiences.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

Courtney> I have not, but I’m grateful to have a knowledgeable team at Institute who can help me navigate these waters.

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

Courtney> This one’s complicated because there are so many perspectives to consider when making a commercial. I constantly remind myself to stay committed to my ideas and principles without getting caught up in ego. At the end of the day, I just try my best to communicate as honestly and efficiently as possible.

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?

Courtney> I am 1000% behind both.

LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time? 

Courtney> The pandemic made me appreciate my job more. It’s easy to take something for granted until it’s taken away from you, and the feeling of being back on set once covid was under control felt like magic. It reminded me how much joy filmmaking brings to my life and I’m so grateful to do this for a living.

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)? 

Courtney> It depends on the project. If given the freedom to choose aspect ratio, then I base my decision on what serves the story best. But if the client has certain format requirements, then that’s ok too. We’ll make it work. I try to view it as a creative challenge instead of a limitation.

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)?

Courtney> I love being on set and making things in the real world. It’s one of the main reasons why I love filmmaking. I thrive off human connection and I’m not sure I’d find joy working in this industry without it. That being said, I recognise new technology has made filmmaking more accessible - and that’s a beautiful thing. 

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

Courtney> My short film ‘Post Office’ shows off my ability to work with children and first-time actors. I’m really proud of the performances and pacing in this film. 

My music video ‘Get Lost In The Music’ for Ambar Lucid shows off my style. The budget on this one was extremely tight, but because of that, I was given immense creative freedom and I’m very happy with the final product.