The Directors: Curtis Hill
Curtis brings a natural storytelling intuition to all of his work. Known for his ability to find the emotional centre of every story, his work combines a deeply considered film craft with real, subtle performances.
To Curtis, the power of filmmaking lies in its ability to inspire change for the better and to remind us all what it means to be human.
Having previously explored themes of family, growth, and transformation, Curtis delves into the unseen moments of life and the meaningful relationships we foster.
Name: Curtis Hill
Location: Melbourne
Repped by/in: Good Oil in AU/NZ
Awards: Gold Clio Award, Best Cinematography & Editing Ad Stars International, Finalist Cannes Lions
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Curtis> I’m drawn to good ideas that have an ingrained sense of humanity — whether that’s with heart or relatable humour — and a message that will move people in one way or another. I often see what I do as creating the right pitch or frequency to resonate with the audience, and I get excited by the challenge of an idea that blends genresor deals with subject matter that calls for a pitch-perfect tone.
LBB> How do you approach creating a treatment for a spot?
Curtis> I’m definitely a believer that no two scripts are the same. Each calls for its own unique and considered approach. The first thing I do is find my connection to the core message of the idea, feeling into where the humanity, heart and humour lies. It requires a good amount of staring at the ceiling, but I build out from this place…not the ceiling, that seems structurally unsound…the core of the idea, I mean. Every production element of my approach — tone, technique, design, character/performance — is in service of the idea, and how we pull audiences out of their ‘doom scroll’ to feel something.
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?
Curtis> I’m always keen to tap into creatives to get plenty of background info about the idea and its journey before it hits my inbox, as well as the strategy behind the message. I’ll also watch a bunch of client work from the recent past, and check out the other work that’s been done in the category here and overseas. I always like to figure out
where we need to stay true and where we can shake things up.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Curtis> I’d have to say some of my favourite collaborations have been with the creative team. I know it’s a cliche, but it really is their baby. I enjoy riffing on things together, and it’s important to be able to tap into their client knowledge and storytelling instincts along the way. It’s the longest relationship you have in the process. You’re riding the wave together from the first brief right through the online (not including wrap drinks), and I love the camaraderie you build over that time.
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?
Curtis> I’m definitely drawn to visual storytelling, as well as performance based work. I love crafting something stylish and cinematic for the fun of it. It’s a bonus if it has a story I get to sink my teeth into and put a message into the world that I align with. I’m particularly passionate about redefining what it means to be Masculine through telling stories that inspire empathy and connection to self and the natural world.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Curtis> I think the answer lies in the question. It’s about being open. I see it pretty simply, my ‘vision’ for the idea is something I wholly believe in, but it’s not about me. A lot of the time their position is valid, they just haven’t considered that dying the lead characters hair the brand colours may break the authenticity of our spot. Seriously though, it’s about removing any ego and speaking what you believe to be true while, at the same time, respecting where they are coming from.
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?
Curtis> Of course. Authentic representation matters. It helps break down stereotypes, and promotes a richer, more empathic society. We can only begin to quantify the importance of traditionally marginalised communities being able to see themselves on screen in a way that feels truthful and fully realised. I’d consider it an honour to play a part in empowering the next wave of storytellers.
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)?
Curtis> The more aspect ratios the better!!!
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)?
Curtis> Best case scenario is that AI remains a handy tool for production. It’s great for rendering reference images and being able to show crew your vision before stepping onto set.
Worst case scenario, the robots put us all out of a job, and who’s going to save us now that Will Smith is cancelled?
LBB> Which pieces of work do you feel really show off what you do best – and why?
Curtis> Movember - Showing it’s okay for men to be vulnerable is something I’m passionate about, so this idea felt very aligned. That said, it was a tonal challenge to play it as a dry-comedic beer cross storybook yarn, and then ‘rug pull’ to a serious heartfelt message at the end. I think we stuck the landing.
Suncorp - I love coming-of-age stories, and it was a joy to scope the cross-country journey of Milly and her family. I’m proud of the sense of scale we managed to achieve over a tight schedule, and the authentic performances/emotional beats that all build to the end pay-off moment.
Cadbury - An authentic performance out of a rugby player? Yikes. It could have gone either way, but like any good athlete, with a bit of training, Nic White turns in a subtle and authentic performance. It helps when you have a kid like that to act off as well!
Memories - I wouldn't describe myself as a morbid person, but I was excited about dealing with themes of death and grief in a commercial. The brief felt like a short film, and I love crafting every piece of this and poured a lot of myself into it.
