The Directors: Hannah Berry George
With a background in stand-up, improv and sketch - as well as journalism - HBG’s thing is comedy and documentary. Recently, she’s worked with MUCH-loved Irish brand An Post, done her second collaboration with Republic of Gamers, and her films for The Booker Prize have garnered over 15m+ views across socials.
She’s also co-written The GLAMOUR Awards script with Katherine Ryan since 2021 and you can catch her docuseries ‘Herstory’ - about women coming up in the music scene in Saudi
Name: Hannah Berry George
Location: London
Repped by/in: Heritage and Radiance
Awards:
● A Cannes Lions Grand Prix (2021) for Libresse’s #PainStories
● 3 x Creative Circle Awards (2022), including a Silver, for The Department of Opportunities’ Class Polish Campaign
● An Adcan (2018) for Ashoka's ‘Think Big’
● Campaign’s Ad of the Day and Pick of The Week for British Army’s ‘A Soldier is a Soldier’
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Hannah> Writing that is clear and creative that is bold. My work is very HAHA or fuck you so I’m looking for projects that have a point to make or that I can have a lot of fun with.
LBB> How do you approach creating a treatment for a spot?
Hannah> I was a writer long before I started directing so I always start with the words first. Having said that, I think visually, when I’m reading or working on a script, I see it play out in my head. Then the first round of feedback from the EP is the most important as it makes me aware of the things that are still in my head and have not yet made it to the page.
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?
Hannah> I think it’s really important that something has to ‘sing’ to you - be it the brand or the script - for you to do your best work. And understanding the wider context of why a brand exists or a message needs to be heard is a part of that.
Research might be one of my favourite things to do. I love the journey of discovery it takes you on and never knowing where you’ll end up. And understanding the client, brand or market is a big part of your job which informs conversations, decisions and collaborations throughout the project.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Hannah> 100% with your producer. They are the calm to your storm. Your work wife. And they put out fires that you may not even be aware of. They have such a tricky balancing act between you and the client, creative and practical. But, when you both believe in something so much and know it’ll make the world of difference to the outcome of the project, they’re the ones who have your back and know which battles to pick. You bring out the best in each other.
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?
Hannah> I’m told (and rightly so) a lot of my work is focused on female empowerment. But, in general, I’m always drawn to the underdog and those who are othered through fear which is, sadly, a wide spectrum of people. No one should be judged on anything other than their personal and individual actions and, even then, there’s context which is often ignored or misunderstood. I also have a personal interest in mental health, absent fathers, languages and the queer community.
And cats. Lots of cats.
Then the silly side of me loves bringing objects to life and giving them personalities or voices, or turning humans into animals. I had a lot Western standoff fun last year between a man and a park bench. I’m also a total language and grammar geek so I love word play. A clever campaign line really brings me joy.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Hannah> It’s probably one that quite a few directors and creatives come across: that there’s no apparent ‘theme’ to your work. Which is bullshit. Whether I’m doing comedy or docs, my HAHA/Fuck You approach runs through everything. And, visually, I’ve always lent into a fashion aesthetic.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Hannah> How long have you got?!
I’ve had someone having an orgy above the studio we were shooting in, no water in an entire area (thanks to a burst pipe) when we needed shoot a bath scene, a storm come in when we’re shooting in an open field (and in summer)…and if I was to list off all the things we had the joy of navigating during filming and post on my docuseries ‘Herstory’, about women coming up in the music scene in Saudi, we’d be here all day. Whatever is thrown at you, we’re not saving lives here.
You have to keep perspective and approach these things pragmatically and with a calm head. And laugh, laugh else you’ll cry. I have shed many a happy tear.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Hannah> I love this question. I come from the other side of the table - working directly with a brand or in agency as a copywriter, so I understand that there are many levels of considerations and the biggest thing you’re really dealing with is fear of failure which leads to a lack of trust.
People want to be bold but often retreat back to their safe corner because, to truly be bold, you have to take risks and be OK with failing upwards. We’re all envious of those brands. But I get it, it’s scary. And it costs money.
I love collaboration, working on creative and scripts together, because that’s where I come from and that’s how my brain works. There’s always room for improvement. But all I can do, when working with anyone, is give them my recommendations and explain the reasoning or data behind them. Then it’s up to them. However, when we trust each other and empower creatives to have full creative control, that’s when we create things that stand out.
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?
Hannah> This should be happening in every industry. It’s not about talent, it’s about access. I’ve been mentoring young women of colour for maybe the past 2-3 years via The Media Trust and The Step-Up Sorority. I highly encourage those at the top or on their way to the top to get involved and bring others in.
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)?
Hannah> I think AI has a real place in the world but predominantly for research and stimulating new ideas. When it comes to producing the work I think there’s something to bear in mind: AI trains itself on a vast amount of information available in the public domain. But that ‘data’ was only ever put in the public domain to be consumed by an audience, not to train someone else's software for commercial purposes.
If they haven’t asked for permission or paid for it to be used in that way then, I think they don’t have the right to use it. I think more of these conversations will be cropping up in the industry but also in the courts of law.
As exciting as it is, I think it should be approached with caution as no one wants their works to be rendered void for using something which is deemed to be in breach of copyright later on.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Hannah> I’m proud of what I’ve done when it comes to the subject matter and the aesthetic but I’m by no means in a place where I think I’m fully flexing my visually bizarre, surreal and silly muscles. I wanna capture He-Man and Skeletor romancing to Dirty Dancing as much as I want women to Dream Crazier.
