The Directors: Keith McCarthy

Keith McCarthy recently signed to Object & Animal for representation in the UK and USA, following seven years at Stink Films. A visual storyteller, he is known for his distinctive style that combines stunning cinematography with a wry sense of humour. His background in creative writing, and a finely tuned sense of comedic timing, can be seen across much of his work for brands such as Nike, Suburu, adidas and Coca Cola. Whilst a senior director at Channel 4’s 4 Creative, he crafted some innovative work for the Channel 4 Grand National, which led to a number of high-octane, action-driven projects, making stunt work a standout feature in his repertoire. His work has been recognised by BAFTA, D&AD, British Arrows and Cannes Lions.

Name: Keith McCarthy 

Location: UK

Repped by/in: Object & Animal (UK/USA)

Awards: BAFTA, D&AD, British Arrows, Cannes Lions

LBB> Congratulations on signing to Object & Animal - what influenced this decision and what opportunities will this open up for you?

Keith> Well, thank you. It goes without saying that I’ve been a fan of O&A for some time. But I think the thing that was most attractive to me was a clear willingness to approach the creative world in a fresh way. With new ideas, new thinking and honesty. It’s pretty clear the world, and not just the advertising world, is in a state of huge change and upheaval. Things that seemed certain yesterday are uncertain today. The old ways of thinking are collapsing and we need new approaches to many things. O&A hasn’t changed the world yet, but I think it might. 

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them!

Keith> I just got back from LA, shooting John Cena for Experian! Can’t say too much right now but there might be some singing and dancing and car chases and explosions…

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?  

Keith> I’m a very optimistic person. Clearly, there are dark clouds gathering over many things right now. But in the microcosm of the advertising world, I’m starting to also see people fed up with the status quo. A feeling that, without some fresh thinking and some fresh visuals, we cease to exist. Chaos as a rule breeds energy. Under the surface of all the things going on, I see a vibrancy of ideas just waiting to emerge. 

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

Keith> A good script comes in all shapes and sizes. Sometimes the great idea is hidden amongst a bunch of rewrites and you have to help remind everyone what it was that got everyone excited in the first place. And every now and then, one comes in fully formed and ready to go. But in its very simple form, I love scripts that make you feel something rather than tell you something. I’m a feelings junky. Anything that gives me the feels. Thrills, chills or belly laughs. Ideas that persuade rather than promote. I love a bit of storytelling. 

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

Keith> It all starts with the revised script. That’s where the creases are ironed out and new ideas generated. I know visuals are helpful but I sometimes find they get in the way of trying to do something new and interesting. It means we’re always looking at something that’s been done without trying to create something new. The script allows you to create something fresh.  

LBB> If the script is for a brand that you're not familiar with, how important is it for you to research the strategic and contextual side of the ad? 

Keith> It’s vital. How can you work with something you don’t understand? 

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

Keith> It’s a complete collaboration from start to finish. A team is only as strong as its weakest member. Every relationship is important. 

LBB> Talk to us about working with Channel 4 / 4 Creative - what stories or lessons learned can you share from your time working there?

Keith> I think it’s been well documented but 4 Creative was built on two things. Taking risks and collaboration. And stories? A gentleman never tells. 

LBB> Also - what’s it like working with Messi? How was that Adidas shoot in general?

Keith> He’s a very uncomplicated man (I mean that as a compliment) and a phenomenally gifted footballer. Both of these things don’t necessarily make it easy to get to him. Therefore you have to work with the circus that surrounds him. But I always wanted to run off and join the circus so I had a great time. 

LBB> You’ve created some really meticulously crafted and cinematic chase/race sequences - ‘Grand National’, ‘Play Less Nice’, ‘Engage’, ‘The Chase’ etc. - what are some of your favourite techniques when filming intense sequences?

Keith> I love chaos. I genuinely do. I like being in the middle of it. Maybe it's the ADHD in me but I weirdly find it quite comforting. In some ways, chase sequences are pretty simple. You’ve just got to get from A to B, then it’s about having fun coming up with a bunch of obstacles that get in the way. The ‘Grand National’ was complete organised chaos. I loved it. But it did involve building a two-mile fence around one of the most notorious parks in Liverpool. To protect them - not us! 

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

Keith> A lead actor bringing a gun into the airport on the day of a shoot. Why? Because it was his favourite gun, of course! We asked him to take it home. Please. 

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

Keith> Transparency. What’s wrong with honesty? If you can be as honest about the good ideas as the bad then, at some point, most people trust that it’s not an ego thing and you genuinely care about something. Sometimes it’s easy. Sometimes not. 

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

Channel 4 Racing - ‘Grand National’ 

The sheer scale and chaos of it all. I’m also proud of the fact that I wrote AND directed it. It brings out my love of chaos and storytelling. 

Tuborg - 'It’s Not the Same Without You' 

I’ve got a bit of a soft spot for it - and creatives will agree - partly because it was one of the least promising scripts I’d ever had. It had been through so many rounds of changes that everyone had forgotten where they were. I asked very politely if I could completely rewrite it – but just keep the kernel of the idea alive. They said yes. We all like it very much. 

Cheapflights – ‘Traveling Stuntman’ 

It has everything I love. Storytelling. Stunts. Humour. 

Subaru - ‘One Day They Will Understand’

Two words: That kid!