The Directors: Harvey Eaton

Named after a six foot invisible rabbit and being half-Canadian, half-English, probably heavily influenced how silly director Harvey Eaton became as a human being. He grew up watching Uncle Buck, Ghostbusters, Trading Places and Beverly Hills Cop on repeat, at a very inappropriate age; broke a couple of sofas by doing backflips off the arms; learnt magic, and put on lip sync shows with his brother and sister, taking the role of lead singer/manager.

Later, he studied French & Film at UCL, but quit after a year – realising literature wasn’t the same as filming bands, working on music videos or making short comedy skits with a £10 budget. He landed a French-speaking snowboarding cameraman job in the Alps, then joined an agency in London, then finally got a job at a commercials production company and started editing, photoshopping, encoding… and directing. Music videos, shorts, documentaries and ads. 

Name: Harvey Eaton

Location: London, England

Repped by/in: Nice Shirt Films

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

Harvey> The simpler the script, the better. If we can harness the script’s feeling and push it to its limits, then I know the spot will be great. The opportunity for a strong reprise joke at the end always swings a script for me.

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

Harvey> I love treatment writing. I start with breaking down the narrative approach, supercharging every beat to its maximum, trying to enrich every moment with something human, something real. 

Then I’ll use all of the other elements like casting references to enhance and support that energy we are aiming for. Short treatments are best; I feel like you should be able to paint a vivid picture in minimal words and images. And I usually suggest some music tracks. This always helps everyone with the tone I’m trying to convey.

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?

Harvey> Of course! Even if I do know the brand or market, I watch as much previous work as possible and read the brief thoroughly a few times. I’m being employed to sell a product, and I need to fully digest and translate that into exciting and enjoyable films.

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

Harvey> Producer, for me. The sounding board, the partner and sage voice on the shoulder. Everyone is important in the collective effort, but my producer is my rock.

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?

Harvey> I’ll never tire of silly but serious scripts. Any brand, be it tech, food, delivery services - if they are willing to sell a product in a playful way, I’m in. Life is too serious, and I have big respect for any client that allows us to be light-hearted and have fun.

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

Harvey> Although my work is quite silly, I work hard and play everything to the nth degree. Seriously, you should see my shot list matrix spreadsheets…

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

Harvey> I never have. But from what friends have said, they are great. I never go over budget and am very considerate of what we have to play with, so I think I’d get on well working with one.

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

Harvey> Nothing too crazy. I had to cover up a lead talent’s boob popping out. And smoothing over relations with a rapper who was bitten by a snake wrapped around his arm. Oh, and way back, David Beckham wasn’t impressed when I filmed him on the company iPhone stuck to a tripod. “You’re kidding…is that it?” *frowny face*

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

Harvey> We all go through the end goal in such detail throughout the pre-pro process, so we all float through the geist of production with that shared desired result in mind. If and when we start losing any magic or charm, I will steer us back on track with some collaborative ideas and suggestions. Nobody wants a spot void of soul and spirit.

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?

Harvey> Hell, yes. I love teaching and mentoring. I believe there is no better way for younguns to learn than on the job. Feeling nerves, stress and the resounding joy when you do something great.

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)? 

Harvey> Nowadays, it’s pretty normal to be shooting for various formats and lengths. I always aim to keep the core message and tone across the board. This is where my shot list matrices come in handy.

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)?

Harvey> I have a pretty technical and logical mind, so I find new tech pretty easy to work with. I made a narrative music video last year in a 3D world, and taught myself a lot of new skills like compositing.

I think a lot of people lose their cinematic mind when using technology like virtual production and can get lazy. I think it’s so vital to develop all of your shots as if shooting in a real location, then apply the same rigorous filmic approach, using virtual production to your advantage. I always strive to have the viewer completely enveloped and absorbed in whatever world we are creating.

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

1. Linksys ‘Level Up’ - loads of cast, loads of fun moments, and a great driving energy.

2. Carrefour ‘Act for Food’ - full of everyday realistic nuance, with some fun camera moves and transitions.

3. Heinz ‘Vampire Store’ - Tongue. In. Cheek.

4. The Diamond Noise ‘Never Say Never’ - an oldie, but a goodie. Full of energy, performance and playful, spinny camera moves. We built the camera rig for £15 in a metal workshop!