The Directors: Jack Howard
Born out of the YouTube generation, Jack Howard has spent years establishing himself as one of the most exciting and authentic voices in the world of comedy entertainment. Now, as a commercials director, he’s applying his experience of directing, writing, and acting, to help brands connect with their audience in real and resonant ways.
As a teenager, Jack, who was making YouTube videos of himself talking to camera in his bedroom, found himself on the receiving end of increasing notoriety. It was the long-running series of sketches as part of the comedy duo Jack & Dean that propelled him to online fame - with their YouTube channel accruing over 73 million views and gaining 647k subscribers. A few years and a fist-full of brand partnerships later, Jack boasts a following on Instagram of 235k (and counting), made up almost entirely of 18-34 year olds.
Equal parts filmmaker and film fan, Jack naturally considers how the audience will experience what he’s making; often using comedy in unexpected places to subvert and evoke. He has used his deep understanding of film language both as a director, working with brands including ZenAuto, Sky, Campari, and Domino’s, and as Mark Kermode’s counterpart on their podcast ‘Kermode On Film.’ He’s also directed big names in the British comedy circuit including Matt King, Jessica Hynes, Kerry Godliman, and Doc Brown.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Jack> When the idea is clear and concise. If there's too much going on it becomes confusing. I respond to simplicity - I find that, especially with short form, the simpler the idea, the better it will be.
LBB> How do you approach creating a treatment for a spot?
Jack> Shot Deck has changed the game. I get very inspired by visuals so being able to easily search through frames from my favourite movies is a dream. I also like to talk ideas out with the producer or other people on the team - I like to remain open and I’m not precious about ideas until we find something that feels right. I like to build the idea out, focusing on the details like colour palette or what the pace of the edit will be, what tone are we creating, what genre does it fit in. A lot of my references are to cinema, I’ll often use a specific film I love as a jumping off point so I know what box I’m playing in.
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?
Jack> I will do research into a brand - my YouTube search history starts to look a bit weird. I want to learn what the brand voice is, what they’ve done before and more importantly, what they haven’t done - that way I can discover what I can bring to them.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Jack> I want the brand themselves to be excited about what we’re making - if they share the same passion and excitement for it as you do, it makes the whole process much smoother. But for me, it’s all about sound design. When I hear the finished sound, every time, the thing is elevated to another level. I really like paying attention to the small little moments that can enhance the drama or make something funnier etc etc
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?
Jack> I’m drawn to comedy, I think it’s just in my DNA, I can’t help but make things funny. So I don’t really have to think about how to make things funny. They just end up being comedic because that’s my tone of voice. I never like to do the standard high key, sitcom style visual language, it just doesn’t appeal to me. So my challenge becomes how to package and present each idea: what genre does this idea fit into? What visual style does it need? But what’s really important for me is that we’re never parodying the genre - I don’t want it to feel like a spoof - so if we’re doing a heist, it should feel like we’ve been dropped into a heist movie. If it’s a horror, it feels like a horror. It just happens to be funny as well.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Jack> People have assumed for years that I want to feature in my own stuff… probably because of years of starring in my own stuff. But that was never the plan - I was just available and more importantly, I didn’t cost any money.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Jack> I haven’t! I don’t even know what that is but it sounds helpful.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Jack> Last year I directed a TV ad for ZenAuto, starring Matt King (bloody SuperHans himself) and two days before the shoot… I got covid. The big C word. I was devastated. But I managed to direct it from home! I was on the phone to my first AD all day, and the camera team hooked up a monitor to zoom so I could watch it as if I was just off in video village. Luckily my DOP and I had done so much prep that it went very smoothly. Also it was shot on the day that England were playing in the semi finals of the Euros so the whole crew worked especially hard to finish on time.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Jack> I can’t remember where I heard this but someone good said “look for the note behind the note” - so if someone gives you a note that seems contradictory or vague, it usually means something isn’t working for them, so it becomes your job to decipher what that is and fix it.
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?
Jack> I would absolutely love that! I really like working with new passionate people and would like to help out in any way I can.
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)?
Jack> Occasionally I’ve been reminded to frame something so that it can be cropped to 4:3, which is fine. But in my experience trying to make a piece of content work on several different platforms has never worked out. I think, unless specifically requested, I try to focus on executing one idea/format to be the best it can be, rather than juggling multiple ideas/formats badly.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Jack> I’m open to figuring out new ways of working all the time. I just shot a new short film on a phone and that turned out so much better than I had expected. If there’s something that can help make the production process run smoother, I’m so down to try it.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Jack> These are all examples of my work that used my limitations to my advantage. There’s never enough money or time or resources, so I try to make that look like a choice, rather than a restriction.
The Pick Up - a short film about an anxious getaway driver shot on a phone
Zen Auto - starring the incredible Matt King, and directed from my bedroom
Emotional Baggage - a comedy short about men’s mental health, uses a light comedic tone before hitting you with a sad conclusion.
Asians Eleven - for Comedy Central. Using my knowledge of cinema language to an enhance a comedy sketch.
