The Directors: James Anderson
Name: James Anderson
Location: Auckland, Aotearoa
Repped by/in: Clockwork Films
Awards: Right here.
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
James> I recently directed a Road Safety Commission (RSC) job in Western Australia with the Clockwork Films crew. Perth is an incredible place to shoot, and the crews are super talented. It was more of a dramatic performance-driven piece, which was a lovely change from the comedy-driven stuff. It felt like a really special time to be in WA, as the wild west seems to really be coming of age.
I’ve also just completed a spot for Instant Kiwi, which has been an absolute pleasure to direct. It brings back a famous soundtrack they used in an ad when I was only ten, and 35 years on it still gives me the feels. A total earworm.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
James> No matter where you are in the world right now, the ad industry is bloody tough. There are fewer jobs and smaller budgets, but I do think it has taught me that you just gotta roll with it and, ideally, embrace it. It’s made me put any ego aside and just take what I can.
I’m digging the growing demand for authenticity. People don’t want polished; they want real. It means scripts that lean into humour, humanity, and honest moments—and that’s where I thrive.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
James> The potential of humour is what gets my juices flowing. That sounds gross, but you know what I mean. Comedy has always played a part in my work right back to my TV days. My aim is always to have something that at least makes me smirk, giggle, or laugh. Is that selfish?
I am also excited by scripts and brands that are open to how we tell a story, sometimes flipping things around or inducing camera techniques that feel more immersive or exciting.
LBB> How do you approach creating a treatment for a spot?
James> Oh, treatments. The bane of every director. Love or hate 'em, you do 'em.
It’s all about my first creative jam on an idea. The ideas that come out of that are often my favourites. I throw some good music in my headphones, read, think, and daydream… then just write every idea down, no matter how dumb they are.
While treatments play a large part in winning a job, I also think creatives and brands just want to work with people they’ll enjoy working with. So, the initial director’s creative brief can be the make or break of winning a job. It’s a chance to show you understand the idea, respect that they have probably gone around in (painful) circles to get to this point, and you’re not a dick.
In the end, the treatment needs to focus on bringing out what makes the concept memorable. Whether it’s a unique camera technique, a killer location, or a quirky character detail, I want the client and agency to see the magic before we even roll.
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?
James> Research is critical. In my opinion, gone are the days when you can pick and choose the brands you want to work with. If I’m clueless about the brand, it’s like directing in the dark. So, I deep-dive into their ethos, audience, and tone. Stalking their social media is key to seeing previous campaigns and understanding more about their brand voice. I also take a lot of notes and ask plenty of obvious questions in the director’s briefing as the agency has no doubt already done the hard work on side of things.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
James> It’s probably a combo of the DP and producer.
The DP is number 1. They’re the ones who help translate all the chaos in my head into a cohesive visual story. Plus, they’re the ones who tolerate me saying, "What if we tried…" for the 400th time. I also think the success of a shoot depends on the vibe on set and if the DP and director are having fun, jamming, and laughing, then the crew will too.
Having been a producer for years, I understand that they are the unsung heroes of production, juggling so many plates and having to deal with being locked in the video village small-talk loop. I love working with true creative producers who say "let's look into it" before they say "no".
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?
James> I’m a sucker for humour. It’s always been what has I’ve been drawn to when it comes to movies, commercials and television. If a script makes me laugh out loud, I’m sold. Bonus points if it’s the kind of humour that makes you a little uncomfortable - it means it has the potential to be memorable.
I’m always excited by concepts with a strong visual hook - those ideas where the imagery carries as much weight as the words, maybe even more. There’s something magic about crafting a shot that tells the story all on its own.
LBB> What misconception about you or your work do you most often encounter, and why is it wrong?
James> That I’m married to my ideas. While I’ll always fight for the best creative outcome, I believe I’m pretty collaborative and not that precious. If someone has a better idea, I’m always up for trying it. To me, it’s about the work, not my ego. Well, maybe a little bit of ego?
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
James> It depends on what is considered a problem. Oh the stories I could tell you from my days travelling the world making subculture and music documentaries!
On the commercial side, I’ve done a lot of work with the mighty All Blacks and Black Ferns rugby team. All their media content is shot in these mad one-week blocks twice a year. The players are shipped around town to be in different ads and turn up having had no brief, let alone read a script, and kinda just wanna eat sushi. You get about 20 minutes with the players to make whatever you need to happen. Add onto that they are rugby players and not actors, and it’s a recipe for disaster that I am pleased to say has never occurred.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
James> It’s a dance, really. I start by listening - understanding their vision, concerns, and ideas. I’m definitely a supporter of creative decisions that make the story stronger. Sometimes, it’s about finding a middle ground; other times, it’s about showing why the bold choice is the best one.
In the end, I believe it was the brand and agency's idea to start with, so I don’t get too caught up in fighting for everything. There have sometimes been months of work on an idea before it comes across my desk, so the last thing they want is for a director to come in and turn it inside out.
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent?
James> It’s crucial that we make it more diverse. While production is full of women, there is sadly only a small amount of women working as commercial DPs and directors, and this has to change. That change has to come from the agencies first and foremost when they select directors to pitch, then, it’s up to directors to use more women DPs. I am guilty of this as much as the next male director, but in the next couple of years, I want to be a part of this change.
I am also constantly inspired by young directors and DPs, or "little talented shits", as I like to call them. Social media has allowed their work to sit alongside huge international directors and shooters in my feed, and that’s awesome.
I was making TV when the Canon 5D arrived, and suddenly, we could create cinematic images without a hugely expensive camera. While I look back now and realise it wasn’t as amazing I remember, it feels like we have hit another exciting period in filmmaking where young kids can access killer cameras and lenses and make amazing work. It’s both inspirational and threatening!
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working?
James> I keep formats in mind, but I don’t let them dictate the creative. The heart of the story has to shine, no matter the screen size. When I started in commercials, I was all about anamorphic, but I’ve fallen in love with the dynamic range and shallowness you can get with full frame. Plus, it makes the nightmare of social outputs that much easier. We always shoot with frame lines, which I know is any filmmaker's worst nightmare, but it’s the reality of our industry now, and it’s pointless fighting it. I still always shoot for a hero cinematic frame, but you have to consider the others, or you will kick yourself later on.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
James> I’ve always been a gear nerd, given I shot a lot back in the day, so I love embracing new tech especially around cameras and grip. I’m yet to work with a virtual production, but I am super keen, so hit me up, people!
I get sent reels from mates of how AI will take over our industry on a daily basis, but I don’t see AI as our enemy. It’s an incredible tool if used in the right way. The fact is, AI filmmaking is still miles off, and Coke just showed us that with their recent remake of their Christmas commercial. It lacked intimacy and that human quality that real actors give. In a few years, I may have something different to say, of course, but I respect our robot overlords.
LBB> Which pieces of your work do you feel show what you do best – and why?
James> Sky TV New Zealand - Access Like Never Before
I seem to have found myself doing a bunch of POV commercials over the years, but really happy with how this one turned out. We went all in on the right lens for the job not the operators’s neck.
Yeastie Boys - Blokequet
One of those charity jobs where you are able to play without the restriction of duration and an overbearing brand.
New World - Masterchef Excuses
Just a solid piece of work in my opinion. Some simple humour and a couple of fun angles
Kapiti - Too good to share
I love the interplay between our two leads in this piece. Super simple idea and setting.
100% New Zealand - Under the Social Influence
A different take for a tourism job. Killer talent and a mockumentary format which I adore.
