The Directors: Neil Stubbings
As a director, designer, epic storyteller and skilled technical CGI animator, Neil masterfully blends classic cartoon spirit with 3D modelling to create a classic and timeless result.
However, it is carefully considered character design that sets Neil apart from his peers. If he’s not forming on-going global partnerships with brands like Redbreast Whiskey, his characters are being turned into long-standing brand ambassadors, as they have for OnePlus.
His signature comic wit extends across his body of work, from short films including ‘Sunday’ and 'Stopover' to commercials for PETA, Nestle, McDonald’s and Kinsale Shark winning ‘Truckin’ for Swiss bag producers Freitag.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
As a director, designer, epic storyteller and skilled technical CGI animator, Neil masterfully blends classic cartoon spirit with 3D modelling to create a classic and timeless result.
However, it is carefully considered character design that sets Neil apart from his peers. If he’s not forming on-going global partnerships with brands like Redbreast Whiskey, his characters are being turned into long-standing brand ambassadors, as they have for OnePlus.
His signature comic wit extends across his body of work, from short films including ‘Sunday’ and 'Stopover' to commercials for PETA, Nestle, McDonald’s and Kinsale Shark winning ‘Truckin’ for Swiss bag producers Freitag.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Neil> I get really enthusiastic whenever a unique sense of humour comes into play. I have a genuine fondness for eccentric characters navigating unusual circumstances, and am even more excited when presented with scripts that feature unconventional and eccentric characters grappling with peculiar and extraordinary circumstances. Delving into narratives that embrace the unconventional and celebrate the extraordinary never fails to ignite my passion for storytelling.
LBB> How do you approach creating a treatment for a spot?
Neil> I always aim to understand the essence of the client's brand or product as best I can, and strive to empathize with the target audience and their perception of the brand, while also considering the client's expectations outlined in the brief... though of course these perspectives may not always align perfectly. When presenting a pitch, for me it's crucial to anticipate the client's desires and surpass them by incorporating my own vision to elevate the outcome.
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?
Neil> Understanding the product you're promoting is essential. I typically research the client's past advertising strategies and their competitors' approaches. Of course, it's crucial not to be overly influenced by conventional methods, and I find it’s valuable to think innovatively by bringing fresh ideas to the table, and adding an unexpected twist to the campaign.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Neil> It's so special when you sense a mutual understanding with another person, sharing the same wavelength, and the endeavor transforms into a collaboration rather than a single individual dictating directions to another. I think this holds true for both clients and the artists or individuals you’re guiding.
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?
Neil> Comedy is my favourite genre, and I have a deep appreciation for all things retro, which never fails to ignite my creativity. I also have a strong interest in horror and sci-fi, genres that are rarely explored in the realm of advertising. One day I’d like to transition into the entertainment industry, where I can fulfill my passion for these genres and explore my creative inclinations to the fullest.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Neil> The misconception that "animation is just for kids" is fundamentally flawed because it overlooks the depth and diversity of storytelling and artistic expression within the medium. Animation, as an art form, has evolved to encompass a broad spectrum of themes, genres, and styles, catering to audiences of all ages and demographics. It has the capacity to explore complex narratives, address mature themes, and convey nuanced emotions, making it a powerful tool for storytelling that transcends age boundaries.
Animation can be used as a vehicle to communicate profound messages in ways that might not be achievable through live-action storytelling alone. It also allows for creative freedom in portraying fantastical worlds, intricate character developments, and visually stunning storytelling that can captivate and engage viewers of all ages.
Ultimately, the misconception that animation is only for children disregards the artistic complexity and narrative depth that the medium offers, limiting its perceived potential and overlooking the rich and varied storytelling possibilities that animation can bring to the forefront.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Neil> I haven’t personally, but my producers often will.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Neil> I was given the opportunity to develop a mascot bird, serving as the "animated brand ambassador" for a whiskey brand. The challenge was to ensure that the character didn't appeal to children due to advertising regulations concerning alcohol. Balancing the concept's comedic elements while creating an exclusively adult appeal presented a unique challenge. To achieve this, I deliberately steered clear of child-friendly features like large, adorable eyes and a fluffy appearance. Instead, I opted for a wooden bird design, reminiscent of whiskey casks, featuring small black eyes and notably uncommon bird-like eyebrows, which facilitated a broad spectrum of emotions.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Neil> Grasping the client's requirements and their project objectives is one of the most important aspects. With this understanding, it's essential to remain receptive to feedback and consistently question your perspective. An approach like this means you can uncover alternative concepts beyond the one you were particularly attached to, especially if it didn't resonate strongly with the client.
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?
Neil> People are way more open to international collaboration. One of the most significant changes has been the shift to remote work, which has made it easier for people to work with colleagues and clients from around the world.
Remote work has made it possible for people to work from anywhere with an internet connection, which has opened up new opportunities for international collaboration. Video conferencing tools like Zoom and Microsoft Teams have made it easy to communicate with colleagues and clients in different time zones, and cloud-based collaboration tools like Google Docs and Dropbox have made it easy to share files and work on projects together in real-time.
Overall, the pandemic has made it more accessible for people to work internationally by removing many of the barriers that previously existed both mental and physical. As remote work becomes more common, it’s likely that we will see more international collaboration and more opportunities for people to work with colleagues and clients from around the world.
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)?
Neil> Dealing with various formats poses significant creative challenges, particularly when attempting to adapt content to both 16:9 and 9:16 ratios. Ideally, each shot would be reframed for the specific format, but budget constraints often make this impractical. Consequently, a compromise is reached to accommodate all formats, leading to a solution that only partially meets the requirements. Moreover, this approach increases the workload, as elements that would have been out of frame in the traditional landscape format now need to be designed and animated for the different orientations.
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)?
Neil> While it’s convenient to have access to new technology, it’s important to remember that technology is merely a tool that can help us realize our ideas. As a creative, I enjoy experimenting with new technology, but I always make sure that it doesn’t overshadow the creative process - which is a delicate balance between inspiration, imagination, and technical execution. I believe it’s important to maintain that balance in order to create truly innovative and impactful work.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Neil> My most recent project was a Christmas advert created for the animal rights organization PETA, which stands out due to its dark and twisted narrative. This dark and twisted humour is the kind of comedy I thrive on, and this piece for PETA was my dream job.
Neil> I was also involved in an exceptionally unconventional commercial series for a bank, contributing to the scriptwriting process. These commercials, characterised by their brevity and complexity, showcase humorous characters and a peculiar storyline.
