The Directors: John Grammatico
An ardent student of story, John has a writing background that includes a sold feature film screenplay to DreamWorks, several short films, a series of cheeky children's' books (under the pseudonym Professor Punctilious) and countless ad campaigns. Since 2010, when he left the writing (agency) world for production, John has directed over 300 films for brands like M&Ms, Visa, AT&T, Cadillac and McDonalds. He's worked with many celebrities including Sam Neil, Roger Federer, Chris Elliot, Anna Faris and Meghan Markle. John has helmed productions in nearly every major city across the US and Canada. He's also filmed abroad in Mexico, Central and South America, South Africa and just about every major market in Europe. John currently serves as a mentor for the AIPC Bipoc Mentoring Program to help usher in the next generation of diverse talent.
Name: John Grammatico
Location: US
Repped by/in: Hunky Dory UK
Awards: Grand Prize Strategies Festival, Multiple Webby Awards, 1st Place in TED’s Ideas Worth Spreading, multiple Adweek 'Ad of the Day', 'Editor’s Picks' and Creativity’s Top 5, as well as official selections at LEEDS International Film Festival, Cinequest and HollyShorts.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
John> Tone is the first thing I look for and the first thing I’m attracted to. But there’s two ways to digest what you’re seeing with regard to tone; is there a sense of what the expectation of the tone is (in the way the script is written) and then… how do I interpret the work with respect to tone? Tone is the touch we, hopefully as filmmakers, bring to their script. If the tone speaks to me, then the rest falls in line rather quickly - including my own excitement for the project.
LBB> How do you approach creating a treatment for a spot?
John> I treat everything at once in the order it’s written on the page. I tend not to break it out into sections like 'Visual Style' and 'Performance' because it interrupts my flow of thoughts. I’ll discuss those elements as they pertain to the beat in the story I’m treating. Then go to the next beat and discuss everything about that one. My personal background in writing focuses me more on the beats than anything because I was brought up to believe story is king so I’m not really treating a commercial. I’m treating beats of a story.
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?
John> Like anyone, I get amped to work on big spots for big brands in big venues when those opportunities arise, but it’s a misconception to think we directors only care about that. I could care less if the brand is unknown and in a small market because it’s only about the work. I’m in this game to do great work and if I can do that for a hair salon in a small town that’s never done a commercial before, I’m just as into it on set as any Budweiser Super Bowl ad. And just as proud when it comes out well. All this is to say… the research into what their brand is about and what their voice was (or wants to be) is exactly the same. Before I can bring my own touch to anything, I have to be sure I’m honouring the brand. That starts by understanding it.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
John> This has always been a tough one for me to answer because I’ve been on many shows where a certain player (relationship) was critical to its success and that isn’t always the same player. I’ve had shows where the MVP was the DoP. I’ve had projects where it was the production designer. And I’ve certainly done shoots that were literally saved by the line producer and/or executive producer. So it seems unfair to pick one. But that’s the question, so I’ll go with my DoP. When I am comfortable and getting what I want from my DoP, I find my work excels, consistently.
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?
John> I’m most passionate about anything that stands out from the clutter. You see so many brands just wanting to do what is expected in their respective categories. I know, from my past at the agency side, that this isn’t a function of the creatives not wanting to push. It’s from their own fears of taking risk. If there’s a script that takes a risk in any way… oh, I’m in regardless of the genre.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
John> I do a lot of comedy, but that’s only because I’m downright hilarious. I kid, of course. People think a comedy director only does comedy in the same way they believe a comedy actor only acts in comedies. But the truth is, we are all storytellers first. Defining genre is something done by viewers after they feel the tone you’ve chosen. The tone that’s right for that story. For example, I wrote/directed a dramatic short film about an invisible student who must find the courage to be seen. It was all about letting the story beats come from the inside of the character (arc).
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
John> Of course. On almost every job these days. Usually during the bidding process but occasionally in pre-production. In a word… frustrating. There’s a heckuva lot more to making a great film than choosing the lowest line items across the board for everything on the bid.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
John> I once had a pre-pro call with a client who decided the night before the shoot that they did not like my treatment and entire approach. The agency was in shock and were prepared to go to battle, to their credit, but I tried a different tactic where I said, “Okay cool. Let’s find a new approach together.” And I swear, by the time we finished the pre-pro (and the shooting) we made almost identically the same thing we intended to make from my original treatment. Sometimes clients are just frustrated they’re not being heard and their feedback sounds more dire than it really is.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
John> This balance is not equal on every project. Sometimes it’s easier to be the water. Sometimes it’s necessary to be the stone. But always to protect what’s best for everyone, not just the filmmaker. They’re not hiring me to say 'no' to their client. They’re hiring me to help them find solutions. I do that as much as I can until it becomes untenable for us to make the day or if it’s putting something in the can that none of us can stand by. That’s when it’s important to have discussions. It can all be done tactfully, though. In the end, we all want the same thing; a great commercial.
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?
John> I’m actually a mentor for the AICP Bipoc Diversity Program. Each year I mentor a different young filmmaker for this very reason. They attend meetings, listen to calls, read my treatments and storyboards, etc.
LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?
John> I don’t even think about the pandemic anymore. Trying to block it out. It doesn’t really impact what I’m doing on set, aside from the fact that I use hand sanitiser out of habit a lot more now.
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)?
John> This does present problems, especially when framing a two-shot that’s framed intimately. You just have to work with your 1st AD to make time in the schedule to cover alternate framings from time to time. But agencies are also pretty cool about understanding this and allowing for a lot of pan-and-scan on most shots that can allow for it to keep the day moving.
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)?
John> I use MidJourney like a maniac during prep. It helps me provide killer visual references to my team for just about everything. I also use it for treatments, when appropriate. Aside from that, I rely on all the old-school tools of the trade.
LBB> Which pieces of work do you feel really show off what you do best – and why?
John> T.I.M. The Invisible Me
This is the favourite example of my understanding of character and how story works.
Budweiser Whassup 20th Anniversary
A fun homage to a classic. I like the silliness of the products contrasted by the subtlety of the actor at the end and the cinematic nature with which it’s all delivered.
The characters of the husband and wife are too great not to love.
Again, it’s about character and the dialog that comes from it. The childish nature of the bank heist hostage whining because he’s hungry makes me smile every time.
