The Directors: Leigh Richards

Leigh Richards is an independent film director who is passionate about the power of visual storytelling to guide hearts and move minds.

He studied English, History, and eventually Film, graduating with a Masters in Directing Drama from AFTRS. He is also an Alumni of the Berlinale Talent Campus.

Since 2009, Leigh has directed TVC's and online content for brands including Weet-Bix, Samsung, Uncle Tobys, Aldi, e-Harmony, Solo, Tuffy Paper Towels, Commonwealth Bank, AMF Bowling and Volkswagen. He balances out his karma by directing campaigns for The Greens, The Smith Family, Vinnies, The Marine Stewardship Council, Royal Flying Doctors Service and Red Cross.

As well as directing, Leigh writes, edits, shoots and draws. He’s currently developing several long form projects across different platforms. He also lectures part-time in film and video production at the University of Technology, Sydney.

Name: Leigh Richards

Location: Sydney, Australia

Repped by/in: Independent director, I often work with Found At Sea

Awards: Have regularly won the full-card bingo at Rock’n’Roll Bingo at the Cricketers’ Arms. Hotel (pre-lockdown)

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

Leigh> Anything that gets the ol’ grey matter humming, or the heart pumping. For me it’s usually the use of a really great metaphor or a wry observation about the collective human experience. But it can also simply be the clear and precise juxtaposition of word and image. Which is really what visual storytelling boils down to. If there’s an emotional hook in that juxtaposition, then you had me at “hello”.

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

Leigh> With the best jobs, it’s different every time. But I tend to try to find the words, first. How am I going to get my approach across? The old E.B. The White quote about “being sure of what you are saying, the chances of you having actually said it are slim” is something I always come back to. I want to give you a strong sense of what I have in mind for the tone and execution of the spot, but also what it might be like to work with me… so I want it to be easy to read, and fun and as clear as possible.

The words come first, and that generally inspires the images. And I try to look in unexpected places for tonal and visual references… I like challenging myself to not just fall back on what is currently doing the rounds on YouTube and (*ahem, cough*) sites like Little Black Book.

The trickiest bits are always the introduction and conclusion, which are really just veiled attempts at sucking up to the agency and/or client and humble-bragging about one’s talent and abilities. But having figured out what I want to say about the potential work itself - and being sure I am saying it - makes the begging and pleading much easier.

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?

Leigh> I want to know enough to not come across as ignorant about the brand. I will definitely want to know what’s come before in terms of prior ad campaigns and overall marketing approach. But I want to stay more in the shoes of the audience than someone who’s an expert on the brand because that’s who I should be speaking to with my approach.

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

Leigh> I think everyone involved in making the ad is important. I hope everyone on my set feels appreciated and knows they are an essential part of the process. The key relationships, though, can vary depending on the project. I always want to work with people I like and trust - and that goes for crew, agency, client…

Is this answer a bit of a cop-out? Maybe. Next question!

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?

Leigh> I love the opportunity to make work that has some sort of good karmic value. I’ve worked hard to cultivate relationships with agencies and creatives who specialise in charities or working with organisations I feel align with my values politically and ethically. They tend to be the most rewarding jobs, and the worst paid. I wonder if there’s a correlation there?

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

Leigh> It’s very difficult to try and build a career as a director without choosing a lane: comedy, visual style, drama… there’s a sense that you can only ever really excel in one area, which I think is such a load of crap. But I know wanting to work across genres and styles has made me very difficult to market to agencies and clients, and continues to be tricky when I’m put forward for a particular genre or style of campaign.

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

Leigh> No. Should I? Nobody told me about this…

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

Leigh> I’ve got a tie for crazy problems… You are welcome to use either.

First was filming a TVC for apples outside of apple season, in an orchard full of bare trees. Bare apple trees are really scary and sad-looking. Solution: we decamped to the orchard’s packing plant where we got great footage of fruit being sorted, and kept the orchard shots to closeups of the engaging farmer walking his dogs and laughing with an old friend.

Second was working with Bear Grylls. The only solution I could come up with was surrendering to the undeniable truth that Bear Grylls does Bear Grylls better than anyone else. I still think my method for throwing a backpack over my shoulder would have worked better than Grylls’. But the agency and client were thrilled with the result, and that’s all that matters.

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

Leigh> I always try and remind myself that I’m playing in someone else’s sand box. Ultimately, the agency and/or client have to be happy with the end result, and not feel that their brief and brand have been hijacked in the service of “art”. Having said that, I think there are ways to get everyone on board without risking raised voices and bruised egos. One that I use regularly: coming up with a list of 5 key words relating to what we’re trying to achieve creatively, and always coming back to these when friction arises.

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?

Leigh> One thing I’ve always loved about this industry is the generosity that is shown to newcomers, and I am always happy to share my (specific, if limited) knowledge and experience with those who think I might have anything worth passing on.

In fact, I’ve had a very rewarding side-hustle as a university lecturer in film and video production based on this principle.

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? 

Leigh> I must admit, having directed a TVC remotely from my home office under lockdown is not something I ever expected to do… but it worked. I’m not champing at the bit to repeat the experience, but it’s good to know one can work that way.

It’s always good to be challenged. And it’s even more important to be reminded that we are not in control, that one has to remain agile and resilient in work as in life. I hope to keep that mindset long after we’re out of lockdown and have gone back to licking each other’s faces with reckless abandon. (Note to potential future collaborators: when we do return to in-person shoots, I’ll be bringing home-made sourdough loaves to set with me.)

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)? 

Leigh> While multiple formats, aspect ratios, timings have become a standard aspect of almost any production - and will and should be part of the ideation process from the get-go - I still try and focus on what is universally essential: the story, the message, the connection with the audience.

There will be plenty of reminders along the way to make sure we frame for 1:1, get extra footage for social, etc. As long as it’s built into the schedule, these deliverables will get their due!

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)?

Leigh> I’m open to exploring new technology, but I’m primarily drawn to fairly traditional media in terms of my own storytelling process. I would hope, though, that as “new technology” becomes the dominant form, I will find a way to use it as another tool in my storytelling “belt-of-tools", to coin a phrase.

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

Leigh> Hopefully the work speaks for itself… but just in case…

UNCLE TOBY’S OATS - BLACK SUMMER (DIRECTOR’S CUT)

A project that was challenging but enormously rewarding. We had a ridiculously in-depth casting and research period and the core creative team had wonderful chemistry. I loved making this piece.

GRUEN PITCH - GO VEGAN

Okay, not a “real” ad. But I loved the creative on this and it was super fun to make (on the tiniest of budgets). I think it looks like a million bucks. We didn’t win that week’s pitch, though… Lesson learned is: never go up against a talking cow.

SMITH FAMILY - BACK TO SCHOOL

Beautiful, direct creative that flowed (almost effortlessly) from script to treatment to end result. Great crew. Great performances. Good karma.

OPTUS - PARALYMPIC SUPPORT NETWORK -

I love the energy we were able to capture in this spot, working with one of my favourite DOPs, flying somewhat by the seat of our pants. Heath Davidson was such a pleasure to work with. I love the rhythm of this piece and the joy Heath exudes, doing what he does best.