The Directors: Gavin Bellour

Gavin Bellour is a filmmaker known for his spot-on approach to humour and his ability to elicit great performances from actors, celebrities, and non-actors alike. A serendipitous mix-up landed him his first job behind the camera, leading him to cut his teeth as a director with branded content for Phillip Lim, Swarovski, Dior, Armani, and Casio. In 2012, Gavin joined Mustache Agency, a creative content studio based in Brooklyn, where he became partner, executive producer, and in-house director.

Gavin has helmed projects for Chevrolet, DoorDash, Keurig Dr. Pepper, Netflix, Red Bull, Tito’s, and Vogue and worked as creative director for projects with Google Creative Works, Progressive, Staples, and Neutrogena.

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

Gavin> The first thing I respond to is usually how the talent is being used. I’m always drawn to opportunities for the actors to really shine and create a connection with the viewers through their performance.

Secondly, I’m a sucker for a clever concept. Sure, sometimes a simple punch line is enough to get our messaging across, but the fun and games for me is when we really get to visualise and play with our messaging right on screen through action. That’s the best, and the bigger the swing, the better, in my opinion.

There is always an 'x-factor' involved in how something reads, or a unique creative challenge can inspire me as well.

In the end, it’s all about how I feel after reading through it a few times. If my head is spinning with a few ideas, or I’m seeing a cool frame in my head, or I laugh out loud, I’m in.

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

Gavin> It’s all pretty freeform, honestly.

I usually start by brain-dumping everything I’m thinking about into a single document just to get pen to paper, so to speak. It could be visual notes about the space or art direction, camera movement ideas, conceptual thoughts, casting or performance, whatever. I’ll organise things into chapters from that raw material.

Then, I’ll often go back to the brief, scripts, or whatever has been provided to do a fresh read and ensure I didn’t miss anything. I try to identify what the agency or brand is focused on, the key to making this work onscreen, or what they might be missing and speak to that directly.

With that all in mind, I start pulling swipe, and if I’m working with someone to help with visual research, we’ll dive in together and create a pretty extensive library of ideas to work from. I’m really particular about my visuals, but I have learned to be more evocative than see/say with them. It’s all about painting a picture.

Then, I get some great music going and work my way through the whole thing. If I can flesh out the bulk of the copy quickly, it will allow me to make many subsequent passes to iterate, clarify, and sometimes get inspired with additional ideas.

It’s definitely more art than science with me.  I just try to think of it as a conversation and respond in whatever way communicates an approach specific to that client and the creative 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?

Gavin> 100%. I don’t see how you can put your energy into something you generally don’t understand. These days, information is so accessible that it’s not a heavy lift to find out the basics of anything, as well as consumer reactions and narratives on the social side. If I can’t generate enough interest in something to simply read about it, then that’s usually a sign to myself that maybe I’m not the person who should be at the helm here.

  

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

Gavin> That’s a tough one because it can vary from job to job. I’d say, offhand, it probably rotates for me between DP, art dept, and my AD. Of course, the talent as well, but so much of the process is creating the bigger picture that my time spent actually working with the actors is pretty limited. So, if I do my job in casting, that connection is usually already there, and they are ready to roll when it’s time.

I try to foster excellent relationships with all our department heads, whether I’ve worked with them before or not, because the way I look at it, they are the expert in that field. Rather than show up and pretend I know everything, I much prefer to engage the expertise around me and challenge my own ideas to see how we can improve them. 

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?

Gavin> I work across a lot of styles and platforms, but I’d say I’m most drawn to humour. I’m just kind of fascinated with what makes us laugh and why. More generally, it’s just creating those moments of connection between people and the audience. Humour is an amazing tool for that – it might be a straight comic bit or just one of those ‘aha’ moments of recognition where we see a version of ourselves or someone we know on screen. I get passionate about that stuff, and it’s the most fun thing to create. 

 

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

Gavin> I find that many people I work with seem surprised when I’m prepared, come to a meeting with a point of view, am nice to my crew, or simply happy to be there. I’m pretty sure these are reflections of the more extreme cases, but it certainly sounds like some people who get these jobs either don’t take them seriously or feel like they need to justify their pay grade by acting like a rank asshole. And hey, if that works for you, I won’t criticise.

But frankly, I don’t get it. At the end of the day, even when things get crazy, this is a pretty fun job where we get to solve crazy problems and make fun things despite time, space, and money limitations. If you’re here, you signed up for it. So, I guess I don’t see the point of half-assing it or wasting everyone else’s time.

There are literally thousands of people waiting in the wings who would kill to get this gig and would probably do an amazing job, given that we’re often surrounded and propped up by some of the most talented, patient, and experienced crew available in the world. The fact that so many people are surprised when I show up and contribute as part of the team shows me that there aren’t enough directors out there who act the same, which surprises me.

Ok, I’ll get off my soapbox now.

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

Gavin> There are a couple of things I’d love to talk about but probably shouldn’t out of courtesy to former clients. Unfortunately, they are just too specific. There have been quite a few wild rides, though -  from losing locations the morning of, stealing a bicycle to make my call time (I returned it), talent being too high on set to form a sentence, and even more serious medical emergencies.

Probably the most fun was being challenged to create perfect spheres that bounced in a very particular way for a tabletop project. We, of course, had no money for a professional art department at the time, so the producers and I rolled up our sleeves, went to the grocery store, and got busy with gelatin, food coloring, and some ice cube molds. It took us three days to work out the exact blend and make it look perfect on the Phantom.

It’s not the most glamorous problem or the hardest, but I always think of it as a great example of the ethos of what we have to do sometimes. Just live in a world of possibility and figure it out. 

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

Gavin> I find that approaching the whole thing as a team sport gets the best results. As much as I feel I can elevate and add from a filmmaking and performance standpoint, I always keep in mind that these projects serve the client's needs; that’s why we’re there, not just to make something cool for my reel. I also come from an agency background, so I understand what goes into getting ideas developed and approved. I try to focus my ideas in service of the larger goal and make them as great as they can be.

I’m constantly in and out of video village and prefer to keep an active conversation going. I like real-time feedback on what we’re doing. I’ll push for the big ideas and try to protect against getting too vanilla. I’ll also grab alts and special gags whenever I can, which very often make the final edit. 

But ultimately, my job is to execute the creative and answer the brief. That’s what I’m hired to do, and I like to approach that head-on and in person. If I have to hide behind being aloof or acting too important to check in occasionally, then there’s something that I’m not doing right. 

 

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?

Gavin> I’ve made a decision to spend more time listening than trying to insert my opinions in conversations like these. But from the heart, one of my favourite things about production is that a set usually feels like a band of misfits from all different backgrounds and perspectives coming together for a few days to make the mildly impossible happen. It’s a bit like the circus, and to that end, I think the broader the perspectives and experiences, the better.

Of course, we can always do better. And that doesn’t just mean peppering in 'diversity' as window dressing. That’ll take time, but I’m hopeful we’re moving in the right direction.

In my opinion, the real goal is investing in people over a long period to ensure that we’ve got enough experienced and savvy crew of all stripes above and below the line who can contribute to any project. I think mentorship is incredibly important for that reason.

And particularly in the directing lane, there are very few ways to observe other directors on set and learn the job until you’re actually doing it, which is weird. Unfortunately, I don’t have many shadowing opportunities to offer as a freelancer, though I would love to.

However, I make a point to connect and make time for anyone who asks for help or insights. I can’t say that I always have the right thing to say, but I remember how important it was to have access and an occasional pat on the back. If I can pay it forward in some way, it’s important that I do so. 

LBB> How do you feel the pandemic has influenced the way you work into the longer term? Did you pick up new habits that you feel will stick around for a long time? 

Gavin> I gained more appreciation for the sheer fun of just being on set making things. I missed my people tremendously and that feeling of community we get while working together in person.

So, no matter how tough a day can be, I tend to step back and just be thankful to be there, and that perspective, which came from not being able to do it for so long, has been a very welcome one in my life. I’d also say that the pandemic untethered a lot of us. Working remotely isn’t always amazing, and it can be downright frustrating during prep sometimes.

Still, at the end of the day, no one cares where I am as long as I show up to set prepared, so that’s allowed my family and I to be a little more nomadic, which ultimately has been a positive for us in the quality of life column.

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)? 

Gavin> I like to think that the fundamentals of good storytelling play across all formats. Sure, there are technical things to keep in mind, as well as best practices on how to perform well on each platform. And, of course, when we have to compose for 16:9 and 9:16 simultaneously, it can be challenging, but we’re finding our way.

That said, I try to stay focused on the basics: great performances, clear communication of the concept, and options for the editor. It’s all still filmmaking. And truly, some of the most clever filmmaking I’ve seen is on social media. So, it’s fun to take inspiration and integrate those ideas into other formats.

 

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)?

Gavin> I’m fascinated by new tech and try to embrace it as much as possible. I think the important thing is to look at everything as a tool. I’ve dabbled in virtual production, which opens up whole worlds but also has its limitations. And the same goes for AI visuals and writing tools.

It can all be helpful when fleshing out ideas, iterating, or trying to get an idea across visually, but it does require someone at the helm to shape it, direct it, show it where to go, and ultimately sign off on what will work.

To be sure, we’re only seeing the very beginnings of where this will bring us, and the applications will probably require less and less guidance. This will undoubtedly change how we do things, what positions will be needed on a set, and the nature of what a ‘set’ even is. That said, I think the nature of art and storytelling is about humans expressing ideas through various creative means. So, the way I look at it, these are platforms and media to master and deploy, not necessarily things to fear. 

 

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

Gavin> Tito’s - Dry January

The concept here was a slam dunk, so it really was about maximising the ‘Martha Factor. On the day, Martha and the creative team were very open to allowing me some room to play, ad-lib, and get a ton of alts and additional ideas in the can. Some of my favourite moments that ended up in the spot actually came from that work. No matter how much we plan, there is always magic on set. 

Nectar - Motivational Sleeper

This was a big concept we shot on a tiny budget, and it came off well. In particular, I love the performances and how it feels pretty realistic, making the gag funnier. We cast great talent, and to get a more natural feel, I took all of the copy from the entire campaign and rewrote it into a single monologue for the “Yawn” character, which we ran in full. 

For the crowd reactions, I just sat on the edge of our stage and orchestrated the whole group by playing silly theatre games and a lot of call and response while the jib swooped around and other cameras picked off various angles. It was a blast.

Edwards Pies - Director’s Cut

We just shot a new round of these that will roll out through the next 12 months, but this was the original. I love it when things get a little meta, so I jumped at that chance to do this one. The fun for me was veering away from the obvious comedy, so we had him trying not to say something that could be a double entendre but then just keep stepping in it. Jason has amazing comic chops, so it was a blast to set him up and toss ideas back and forth.

There’s a lot of great stuff we couldn’t use because it just got too adult, but it was a lot of fun. 

Netflix - letterman x JVN

I think the best way to manage something like this is to build the sandbox well and then try to stay out of the way. I put two huge personalities in a tiny space to heighten the energy. Dave is notoriously cranky (in a fun way), and getting him actually in the chair so JVN could do his thing would create all sorts of great moments. I was very glad he agreed to that.

On the day of shooting, I kept them apart so we could get them to meet for the first time on camera and then allowed it to flow from there. A lot was going on behind the scenes, but it all came off very seamlessly and was a great document of a real conversation, which is what I wanted. The original deliverable was supposed to be 3 minutes, but Netflix was so happy they ran with a 10-minute cut, and it performed really well.