The Directors: Kelsey Taylor

Creative connoisseur and filmic polymath Kelsey Taylor a keen eye for cinematic excellence and an impeccable sense of comedic timing, this fearless storyteller crafts masterpieces that effortlessly entwine quick wit, visual artistry, and powerful narratives that touch the soul.

Beginning her filmmaking journey as a photographer and cinematographer, Kelsey attends to every frame with a fervent passion for imagery. Steeping each scene in impactful emotion, her natural talent for working with casts nurtures breathtaking performances.

From her viral, 'LIVE Moms Answer Moms' campaign to her feature film 'To Kill a Wolf', Kelsey’s storytelling visionary traverses mediums.

Name: Kelsey Taylor 

Location: Los Angeles 

Repped by: Eleanor 

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

Kelsey> I’m always drawn towards character-driven scripts or scripts that leave room for me to develop a character.

In my mind, strong characters are what create a bond with an audience. Scripts with a clear designing principle are also very attractive and often tied to character. Why does THIS person need to go on this journey? I think no matter how short a script is, there’s always room for a character to experience a beginning, middle, and end. 

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

Kelsey> The first step for me is letting my imagination loose on the script—the first reading is really important because it immediately triggers ideas and I think those instincts are important to recognise.

Then there’s the more calculated step of distilling the designing principle— in what way is this story being told, and why? And does everything point to that guiding light? I think for world-building and resonance this step is very important. 

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? 

Kelsey> Research is very important to me in familiarising myself with a new brand. I want to know who the audience is, what kind of advertising they’ve done in the past, and if we’re staying the course of the established advertising or pushing into new territory. I will usually do as much research as I can before an initial call so I know what questions to ask.

I generally try not to do research before I read the script however, I like to come at the creative without any context just to see what ideas spark. 

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

Kelsey> I don’t know that I would say there’s any one relationship that’s more important than any other. Especially because I’m always working with new people, it’s hard to pinpoint a particular relationship because so often you’re working with new teams and developing a brand new relationship.

But to me the most important quality in collaborators is honesty.

It saves time and money when everyone can be honest about what’s working and what’s not. That said, I’ll leave you with one of my favourite quotes: “Honesty without tact is cruelty.” 

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? 

Kelsey> I have so many interests and passions— I can get excited about just about anything. And when it comes to genres, I love it all, from sci-fi to musicals. My reading list is similarly eclectic, from a Buddhist book on work habits to a modern novel about the Greek witch, Circe. Don’t try to pin me down. 

LBB> What misconception about you or your work do you most often encounter and why is it wrong? 

Kelsey> When people first encounter my work they tend to say— “Oh you’re a horror director!” or, “So comedy is your thing!” And they’re both right and wrong because I do it all and I desperately don’t want to get pigeonholed. I think one of my greatest strengths is world-building and being able to use that skill to work in all genres.

One of my dreams is to someday make a musical! 

LBB> Have you ever worked with a cost consultant and if so how have your experiences been? 

Kelsey> I’ve only been made aware of cost consultants on a handful of jobs and they have been both helpful in finding solutions to budget issues, and also a hindrance when they overstep and start to infringe on the creative with their own opinions that are veiled as cost issues.

This is particularly frustrating when a common issue in advertising is already having one too many cooks in the kitchen. 

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

Kelsey> All the crazy problems I encounter seem to be weather-related. Which is frustrating because there’s nothing you can really do about it besides getting creative.

I’ve lost a location to flooding and made one kitchen look like five different kitchens. I’ve scrambled shots and schedules to avoid looking out windows on an incredibly overcast day on a fifth-story office building. And I’ve had scenes in which snow melted halfway through the scene— there wasn’t a solve for that one… 

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

Kelsey> I’m a very collaborative director— I recognise that my agency and client collaborators sit with a project a lot longer than I do and so I must be respectful of the journey that has brought them to hiring me and the journey that will continue on beyond me.

That said, my job is to have a vision for the project and to be able to communicate that vision to everyone. This begins with the treatment where I lay out that vision, but I always frame the treatment as just the starting point of the conversation. It’s not my way or the highway. For success, we all must be pulling in the same direction and that means getting on the same page at the very start. 

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? 

Kelsey> I’m incredibly excited that the production world seems to be slowly opening its doors to a more diverse pool of talent. It’s not enough, but organisations like Free The Bid and Free the Work (RIP), did a lot for me and I’m hoping that there will continue to be a push for more equal representation. I’m particularly passionate about increasing that representation below the line.

And as far as mentoring goes, I come from a family of teachers so I think sharing knowledge comes very naturally to me and I would LOVE to share what I’ve learned with someone who’s just starting out. This can be a very lonely business and knowing that so many people struggle with the same issues no matter where they are in their career can be very comforting. 

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)? 

Kelsey> So often the request for many formats demands assets be captured with creative integrity while being in total opposition to each other. Create a compelling narrative that works for sixty seconds— but could also work in six seconds… Or create visually striking visuals that work for vertical, but also widescreen.

It’s virtually impossible to satisfy these requests which is why I always want to know what the priority is and ultimately where the project will live so we’re fully delivering on what’s most important and not creating compromised work across the board. These days, this is an issue that’s always on my mind.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work? 

Kelsey> Technology is always changing and I learned a long time ago that you have to evolve with it. That said, I think good storytelling will always prevail no matter the evolution of technology and I use this as an excuse to justify many of my luddite tendencies. There are instance where new tools like virtual production and AI are very helpful, but I’m not keen on trying to force them into situations where they’re not the right tool. 

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

Kelsey> 'The Clash Royale Curse'

Pure Leaf 'Tea Break' with Lindsay Lohan 

Alien: Specimen 

Rakuten 'Book Club'