The Directors: Riley Robbins
Riley Robbins is a director born in Indianapolis and now based in Los Angeles. He believes that a director is not about what equipment he has, but is the sum total of his life experience. He draws on the fabric of his life to tell stories that are vibrant dances between his actors, the characters they portray, and the audiences that witness the movements contained within.
The most important thing for him is to have people's hearts and souls moved by the art, to help them examine things from a different angle, to give them a glimpse into another world.
Riley's priority is to create spaces where actors/actresses can shine their light the brightest. He is truly a friend of the actor, realising that a genuine positive relationship between director and actor will make the film the best it can be. He also has extensive experience working with celebrities and athletes including Drake, Pharrell, Spike Lee, Kevin Durant & more.
As a Black man, Riley Robbins understands the full scope of those who blazed the trail he is currently on. He does not take anything for granted, and will make it his life's work to continue adding to the tradition of powerful and moving cinema.
Name: Riley Robbins
Location: LA
Repped by: Cash Studios
Awards:
Paris Film Festival - Best Director
Florence Film Awards - Best Drama Film
New York Movie Awards - Best Drama Film
Global Film Festival Awards - Best Drama Film
Crown Wood International Film Festival - Best Director
Hollywood Gold Awards - Best Drama Film
Las Vegas Black Film Festival - Best Film & Best Screenplay
Las Vegas Black Film Festival - Best Director
Imagine Rain Independent Film Awards - Best Drama
IndieEye Film Awards - Best Director
Gona Film Awards - Best International Film
Los Angeles Cinematography AWARDS (LACA) - Best Director
Onyko Films Awards - Best Director - Best Drama
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Riley> Originality and Uniqueness. I like the unique perspectives on familiar themes or genres. Also compelling characters. Well-developed and complex characters with depth and relatability. I really love when characters undergo meaningful arcs and challenges.
My favourite emotional reaction to scripts are plot twists that keep the audience engaged. Almost treating it like an emotional rollercoaster.
Dialogue also sets scripts apart from one another. Being authentic and having memorable dialogue that reflects character personalities and background story.
Even having themes that explore universal human experiences. I get excited to shoot well-balanced pacing scripts that maintain tension and keeps the audience invested. It’s a beautiful dynamic rhythm that complements the story's tone.
LBB> How do you approach creating a treatment for a spot?
Riley> First things first I HAVE to turn on either '70s Diana Ross classics, MJ classics, or Journey’s greatest hits.
Then I light up a cigar and just start writing on my notes non stop. I clearly imagine the spot in my head. The cool thing is that I edit everything I direct; so I imagine the entire edit on the timeline. I envision everything in front of me like a pair of Apple Vision Pros. I think about the introduction of the spot. Then I focus on the visual style. Then my brain goes crazy over the narrative structure, characters, brands message, film techniques. Then I change the music to a more upbeat rhythm. Like a Black Coffee afro house. I focus on the soundtrack for the spot. And even the colour palette so everything connects smoothly.
It takes me HOURS, sometimes days to do just one treatment. Because I’m so consumed and invested in the entire treatment.
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?
Riley> It’s so important to research the brand and the asking message. Even If I know the brand, I do an FBI search of the entire brand, talent that might be associated with it, and all their past ads. I want to learn their language, their advantages, colour palette, even read the comments of what their consumer says / wants.
LBB> If it’s important to you, how do you do it?
Riley> Lets just say the FBI should hire me if they need finding things on the internet haha.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Riley> My priority is to create spaces where actors/actresses can shine their light the brightest. I’m truly a friend of the actor, realising that a genuine positive relationship between director and actor will make the film / ad the best it can be.
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?
Riley> My passion for drama genres and life-connecting subjects are probably the most connecting to me. It’s the most powerful of storytelling. Drama allows me to delve into the depths of the human experience, exploring the intricate tapestry of emotions, relationships, and challenges that define our lives. Through the lens of drama, I have the opportunity to unravel the complexities of the human psyche, portraying characters facing relatable struggles and triumphs.
Life-connecting subject matters resonate deeply with me because they serve as a mirror reflecting the shared experiences of the audience. By crafting narratives that explore universal themes such as love, loss, resilience, and personal growth. These stories become a vessel for empathy, understanding, and self-reflection, fostering a sense of connection that transcends individual backgrounds.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Riley> The misconception I personally get is the romanticised idea of the director as the sole "auteur" or creative genius behind a project. In reality, I work closely with a team of producers, cinematographers, actors, and other crew members, each contributing their expertise to the final product. The collaborative nature of filmmaking means that compromises, adjustments, and unexpected changes are inevitable. We are a team baby!!!
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Riley> Once on a production our background set caught on fire. Everyone was freaking out. I sat there and quickly thought to myself. “This is the new background.” I grabbed the camera and said action to the talent. And started recording haha. Everyone was freaking out, and I kept saying. “Don’t stop until I say cut, come on come on.” Meanwhile in the background people are extinguishing the fire out haha. Sometimes art is created when we least expect it.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Riley> I recognise the delicate balance required between being open and collaborative with both the agency and brand client while the core essence of the creative idea is being kept safe. Collaboration is the heartbeat of filmmaking, and it thrives on the synergy between diverse perspectives. Open communication and a collaborative spirit allow us to harness the collective creativity of the team, resulting in a richer, more nuanced final product.
My goal is to deliver a final product that not only meets the brand's objectives but also resonates emotionally with the audience. This delicate balance requires skilful navigation, but it is in this dynamic interplay between openness and protection that the most compelling and successful creative projects emerge. It's about fostering a collaborative environment without compromising the core essence of the creative idea, ensuring a harmonious and impactful outcome.
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?
Riley> It’s simple. God blessed me to be a filmmaker and recreate reality. So my hands and heart were born open. So my productions are always open to younger filmmakers that want to learn. You’re never to old to learn. Always be a sponge - even with white hair.
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?
Riley> ZOOOOOOOOOM. Haha I love Zoom meetings. The pandemic opened the door for “this could’ve been an email / Zoom meeting.” Haha, Zoom has saved me hours in traffic and long meetings. I even directed a Super Bowl commercial via Zoom during the pandemic. So that showed me anything is possible.
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)?
Riley> The evolution of technology and viewing platforms has introduced a wide range of formats, from traditional cinema screens to streaming services, mobile devices, and beyond. With the rise of streaming platforms, I consider the episodic structure and the potential for binge-watching. Adding quick story arcs to be crafted with natural breaks, and each episode may require its unique visual and narrative rhythm.
Even with mobile and online I consider the attention span of the audience and the need for visually compelling content that engages quickly. Framing and composition may be adjusted to cater to smaller screens, and storytelling techniques may need to adapt to shorter attention spans. (Which I lowkey dislike).
While the diversity of presentation formats has its challenges, it also offers exciting opportunities for creative expression. I navigate this world by striking a balance between the cinematic vision and the specific demands of each format, all while remaining open to innovation and collaboration to deliver a compelling and resonant viewing experience across diverse platforms.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Riley> As a true filmmaker with a deep appreciation for the traditional art of filmmaking, I am committed to preserving the essence of storytelling through the lens of human creativity. The timeless craft of capturing emotions, weaving narratives, and bringing characters to life is a passion that I hold dear. I’m rooted in the traditions that have shaped the cinematic world.
But I’m not resistant to embrace the possibilities that technology, specifically (AI), brings to the filmmaking process. AI has the potential to enhance and streamline aspects of production, from script analysis and pre-visualisation to post-production editing and visual effects.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Riley> Thank You MJ All Star - Because I got a one-on-one chance to direct one of my mentors Spike Lee. He gave me so much game on how to manoeuvre as a black director in the industry.
Foot Locker - Don C - Because in college I worked at a Foot Locker. I had to quit because the store I worked at wanted me to be a manager and I said no I wanted to move to Los Angeles and do film. They laughed in my face. So this commercial was personal. It was kind of like “funny how the world comes full circle.”
Jordan - LA Hoops - Because growing up waiting in line just to buy Jordans. And even putting a pair of Jordans on layaway when I was a kid. Then getting an opportunity to direct a commercial for them. It was a beautiful moment for the younger Riley.
Nike - Kevin Durant - because he’s one of my favourite ball players in the league. His humility, professionalism, and greatness of a human being.
