The Directors: Jamie Maule-ffinch
An actor’s director, known for empowering casts to make interesting choices (leading to compelling performances), Jamie Maule-ffinch has just signed with Circle Productions for Canadian representation.
Originally from England, he grew up in the part that served as inspiration for ‘The Lord of the Rings’, although Jamie really wanted to be Marty McFly. Unfortunately, he was not able to befriend a strange old man with a time machine, so he did the next obvious thing and became a film director!
Since then, as a writer and director, Jamie has shot all over the world for brands like Virgin, McDonald’s, Hasbro, Wayfair and Ford. Whether it’s turning a small insight into a big story via great casting or the addition of complex characters, his style has seen him successfully blend comedy with classic filmmaking techniques… although he sometimes wanders off-piste into the worlds of kids stories and dark drama. Moreover, he also writes and directs shorts and feature films for which he’s won awards. Specifically, Jamie has a TV show in development with international production company Gaumont, and a feature film in development with a Scottish indie.
Name: Jamie Maule-ffinch
Location: UK
Repped by/in: Circle Productions - Canada
Awards: 5 meter swimming badge (and a few ad awards)
LBB> What elements of a script sets one apart from the other, and what sort of scripts get you excited to shoot them?
Jamie> There are two things I look for in a commercial script.
The first is a strong idea. I think too many scripts don’t have a central device that one can use to hook the audience with. I want to see an interesting concept that cleverly links itself to the brand. This excites me because I can explore and extend the idea on camera.
The second is character. I like scripts that have central characters who are flawed, idiosyncratic and amusing. Like a good movie, the audience connects with complex characters. I often look to add little details to these people which creates a greater sense of connection.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Jamie> A giving relationship!
Anyone you work with on a creative project from the cast, crew or agency should be willing to take risks. People who say ‘yes’ as opposed to ‘no’ are truly instrumental in the filmmaking process. I’m after your honest opinion and thoughts - what could we do that we aren’t already doing? A relationship of honesty, trust and down right ballsiness is really important to have.
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?
Jamie> Anything with a strong sense of narrative is something that really floats my boat.
As well as bizarre character driven comedies, I love dark drama. Making a commercial more like a mini movie really interests me. I would love it if brands did more of this type of storytelling. I think it’s a really cinematic way of selling a product.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Jamie> I used to make documentaries when I first started filmmaking. I did a charity gig in the Ugandan mountains. During a storm, we almost got swept off the mountain. The road was washed away, we couldn’t get home…
The solution: take a two hour detour via Rwanda to get back to base. Sometimes, the longest route is the best way to go.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Jamie> I’m always open to trying different approaches for clients and agencies. The way I see it is, let’s get a take for you and a take for me. We might as well get it a couple of ways so that we can make an informed choice in the edit.
The trouble comes when clients or agencies don’t allow you to try new things. Risks MUST be taken - especially in comedy, as you have no clue what’s going to work until the editing stage. Gathering a wealth of takes in different ways will only enrich the process. I always capture the script as is written, and then I see if there are any other ways we can make it better.
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?
Jamie> Always! I’ve been fortunate to have people help me along my journey and so it’s only fair to pull others up with me. I once heard this philosophy that one should spend 33% of your time with people lower down than yourself, 33% with your peers, and 33% with those above you. That way you get the whole spectrum of a career.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (eg. virtual production, interactive storytelling, AI/data-driven visuals, etc.)?
Jamie> I think if new tech allows you to explore your character in interesting ways that serve the story, then I’m all for it. However, I feel that too many brands use tech because it's cool. If a story just needs a camera and a great actor, then why complicate things? Or indeed, if you are using a cool piece of kit to make a spot interesting, then maybe your central idea isn’t strong enough?
Also, beware AI… have you not seen ‘Terminator 2’???
LBB> Which pieces of work do you feel really show off what you do best – and why?
Jamie> ‘Wayfair’ - I re-wrote this idea and added extra character depth to make these people become more idiosyncratic. I love the way the simple, dynamic camerawork reveals certain elements of the home and character.
‘Orange’ - everyone knows what it’s like to drop a phone. That feeling is one of dread, horror and regret. This idea really went there in terms of its boldness and that made me laugh.
‘San’ - this is a Romanian product and what really got me was the potential to tell the story in a classically cinematic way. I loved the idea of a little girl having a scarecrow as a friend! I channelled ‘Forest Gump’ when shooting it and I really love the way it feels.
‘Top Golf’ - I wrote this idea and what I really like about it is the juxtaposition of epic shooting style with the low stakes golf game. I think the clients were really brave and let me write these silly things. The voice over adds so much depth to the spot too.
