The Directors: Ewurakua Dawson-Amoah
Hailing from a humble small town in New Jersey, Ewurakua Dawson-Amoah brings a fresh and vibrant perspective to storytelling, shaped by her upbringing as the daughter of immigrant parents from Ghana and St. Lucia. Fuelled by a deep passion for experimental filmmaking, her directorial voice echoes the rich tapestry of the cultures she embodies, injecting her work with influences and captivating narratives that resonate, move, and inspire. With an unwavering commitment to pushing boundaries and challenging traditional norms, she brings an innovative approach to each project that she undertakes, eager to be a borderless storyteller. As well as directing, Ewurakua is also a scriptwriter and voiceover artist, often combining all three elements to bring a holistic vision and approach to her projects. As a recent MacDowell fellow, she will delve into all three more deeply during her winter residency.
Her work has been recognised in numerous film competitions, including Fusion Film Festival, Raindance Festival, Cinequest, Toronto Black Film Festival, NFFTY, and the Tony Hawkins Award for Excellence in Sound Design. In August of 2020, her short film 'To the Girl That Looks Like Me' was named a finalist in the Alternative/Experimental category of the 2020 Student Academy Awards. Ewurakua’s 'To the Girl That Looks Like Me' is part of the Scene in Color Film Series, presented by Target, which shines a light on incredible filmmaking talent.
In demand for her work with real people and celebrities alike, Ewurakua is exceptionally gifted at finding the truth in a scene and eliciting authentic performances. Having already worked with Janelle Monae, Megan Thee Stallion, Serena Williams, Chrissy Teigen, and Queen Latifa, amongst others, Ewurakua’s distinct ability to genuinely connect with people translates to films that leave a lasting impression on viewers.
When she's not making spots, you'll find her listening to music from heavy metal to afro beats, singing, embracing her inner actress, practicing karate, or binging horror movies.
Name: Ewurakua Dawson-Amoah
Location: East Coast
Repped by/in: Sibling Rivalry
Awards: Clio Award, Shots New Director, Student Academy Awards Experimental Film, NFFTY Film Festival, Tony Hawkins Award
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Ewurakua> I’m pulled to scripts that take risks. I'm drawn to scripts that dare to be different, that explore uncharted waters instead of repeating the same old stuff. I prefer scripts that invite discussion, teamwork, and creativity. I don't just want to film pre-approved ideas; I want to be part of a project that lets imagination soar and transforms a concept into something extraordinary.
LBB> How do you approach creating a treatment for a spot?
Ewurakua> The first thing I look for is my personal 'in.' I don’t enjoy creating if I don’t find myself drawn to a project on even the tiniest shred of a personal level. I start by searching for that spark, an anecdote, a memory. Then, I dive into visual inspiration, typically drawing from music videos and paintings. I tackle what comes naturally first (the creative sections) and hit the logistics after.
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?
Ewurakua> Research is key for me - it's not just about winning a job, but also deciding if it aligns with my vision. Collaboration is crucial in commercials, so I invest time in understanding my collaborators, the product, and its consumer impact. My research starts early, even before pre-creative calls and treatment pitches.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Ewurakua> I don't believe there's a single 'most important' relationship; seeing people that way is limiting. If one role vanished, we'd all sense its absence. I treat everyone I encounter with the respect and autonomy I desire for myself. Each person, from my producer to my PA's, brings something valuable. I learn from them, and they can learn from me. I refuse to view specific roles as superior; you never know where someone will be in two years or what they might contribute in two minutes. Three years ago, I wouldn’t have been considered an important relationship for a director on set. Three years ago, I was a PA, often overlooked by other members of the crew. On one set, I met a DIT tech who treated me like his equal. It was the first time I felt just as important as the other members on set. That experience made me feel significant and stuck with me. On my first commercial as a Director, guess who was hired as my DIT tech? That guy.
It’s important to keep and maintain good AND GENUINE relationships with everyone. Of course everyone thinks the client and agency are the big ticket items, and sure, I value and make sure I keep good working rapport with them, but I can’t say I put any position over another. All the cogs make the machine run.
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?
Ewurakua> I’m drawn to stories that spark conversations. Timeless stories whose relevance morphs with time. The medium or genre that comes in doesn't really matter to me. Dramas, social justice think pieces, poetics, and experimental films have been the primary genres of my work, but I want to branch out. I love horror, psychological thrillers, and fantasy. I like fashion, dance, and sports. As long as my films have a message that feels true to me, I’m all about creating outside the confines of a box.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Ewurakua> A misconception about my work is that the genre of my current reel is the only genre I want to create. I love my past spots and creating in those genres, don’t get me wrong, but I don’t enjoy being in a creative box. Breaking away from this limitation and exploring diverse opportunities beyond race-related themes has been challenging.
A misconception about me is that I never get nervous. I am always nervous.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Ewurakua> I have not!
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Ewurakua> My wildest production hurdle turned into a hidden gem. It was my very first commercial, and a week before shooting, all the planned university locations dropped out. Stress levels skyrocketed - I was just 23, inexperienced in commercials, and not all crew members were thrilled about me leading. But here's the twist: I never liked the idea of filming in regular schools anyway. The spot was all about showcasing students and athletes as heroes. Shooting in ordinary places felt off to me from the jump.
One of my earlier pitches was to put the cast in unexpected spaces that elevated them and created a larger-than-life effect. With the help of my incredibly tapped-in location scout, we transformed the setback into a triumph. Instead of schools, we filmed in a stunning museum, a cool airplane hangar, serene waterfalls, and lush gardens. It not only elevated the project but also turned the initial chaos into an unforgettable experience!
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Ewurakua> I’m still figuring this one out; learning the art of collaboration has been a journey for me, a blend of flexibility and standing firm in what truly elevates the story. Initially, I struggled with getting too attached to my ideas. Creative changes used to frustrate me to the point of migraines. It felt personal - did they not trust me? Was it because of my gender, age, or race? But then it hit me: these projects have histories, evolving long before I stepped in. My role is to breathe life into them, aligning with the client's vision while infusing my directorial essence.
What's been helpful is viewing pitches as dates, not one-sided interviews. “Why should we go out with each other?” I ask agencies numerous questions upfront to understand the client's needs and creative boundaries. I gauge the level of creative freedom I'd really have and decide whether it aligns with my vision. The process should be mutually beneficial, a true partnership. While saying no isn't always easy, I will refrain from engaging if I sense a lack of collaboration (my edges are too precious).
To protect the idea, I collaborate with producers and assistant directors I trust wholly. The key is trust - I try to build it with my agency and clients and assure that I want to deliver the best possible product. All I ask is that throughout the process the needs and wants of the client are being transparently communicated to me and my team so we don’t approach our tech scouts and pre pro’s with a trainwreck.
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?
Ewurakua> Absolutely, 200%! I am fully on board with mentoring on set; I've voiced my willingness multiple times. Personally, I dove into the ad world headfirst and learned the ropes by doing and making many mistakes along the way. While it worked for me, I would’ve loved to have had a mentor. Having a mentor would have been invaluable - I'm still searching for one (if anyone reading this fits the bill holla at me). For anyone looking, I’m open to it.
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?
Ewurakua> I came into the brand space during the pandemic, so I have no gauge of what the industry 'normally' looked like. In many ways, I’m grateful for this because aspects of the process others had to adjust to, I was learning for the first time as a standard process. I think the main thing I took from the pandemic is how connected we can be without being physically present. I’ve found creative ways to hold meetings, virtual scouts, fittings, and other parts of the production process.
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)?
Ewurakua> I love to blend all of my passions into my work. I’m going into my 3rd year as a commercial director, and being in this space has made it a bit more difficult to prioritize all of my creative passions. I think it’s a case-by-case situation: some jobs will give me the creative freedom I love to put my directorial footprint on the work, and others don’t. And that’s okay, but I’ve become much more intentional about how I manage my creative time and balance personal with the professional.
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)?
Ewurakua> I'm gradually moving beyond my initial fear of AI, trying not to cling to the "this is terrifying, I'll never use this" mindset. I started challenging myself to embrace the technology and find ways to integrate it into my creative process rather than viewing it as a threat. Changes brought about by technological advancements are inevitable, and I’m finding ways to lean into change in a way that feels genuine to my artistic process and doesn’t kill the magic of storytelling.
LBB> Which pieces of work do you feel really show off what you do best?
Ewurakua> These projects are those for me:
