The Directors: Stoney Sharp

Stoney Sharp is a director, writer, and producer known for his unique visual storytelling style and passion for comedy. His decades-long career spans television, commercials, and new media. Informed by the wellspring of comedy that comes from growing up raised by academics in the swamps of rural North Florida, Stoney draws his inspiration from stories about relatable people and their relationships, set in unusual circumstances.

In 2022/2023, Stoney developed Wild Land, his animated series pilot (FOX), produced SMASH an animated/live-action series (Netflix), directed a season of comedy/commercial parodies for David Spade’s Snake Oil (FOX), Creative directed and produced StapleView, a sketch comedy series (TikTok), and won a Cannes Silver Lion with TinyGiant for their work on the Coordown series. (Hey, not bad!)

In the past few years, Stoney directed Well Done, Sebastian Maniscalco’s food and culture exploration series. He directed SILVER-SHOW, a talk show created by and starring Sarah Silverman and produced by Judd Apatow and has developed and directed many projects uplifting and highlighting diverse perspectives: BLACKSPIRACYS, a collaboration with James Davis, designed to challenge conventions and uncover hidden truths, END TIMES GIRLS CLUB, a collaboration with Broadway Video and Rose Schlossberg: A comedy show that tackled the question “how can girls survive the apocalypse and still be cute?” SMALL VICTORIES: a TruTV pilot, which is a quirky detective story about a band of friends helping the voiceless take back power from the jerks of this world produced by Abso Lutely Productions and Debbie Liebling.

Other highlights include forty episodes of the beloved COMEDY BANG! BANG! on IFC, the ABC Digital series BROKEN, BILLY ON THE STREET on TruTV. Plus many pilots and collaborations with Adult Swim, CollegeHumor UCB, and Funny Or Die. A graduate of the USC Film Production program, Stoney is fortunate to have spent two decades merging his passion for comedy with his visionary style, creating unforgettable television shows and commercial ad campaigns. Oh yeah, and his wife and kids are much more interesting.

Name: Stoney Sharp 

Location: Los Angeles

Repped by/in: TinyGiant, Artist First, CAA. 

Awards: Cannes Silver Lion 2023

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

Stoney> The most important element in a script that sets it apart for me is: “How is it memorable?” What's the point if we aren't making something that stands out, sparks the imagination, and keeps people thinking after seeing it? I look for moments that will stick with me, knowing they'll do the same for the audience.

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

Stoney> When writing a treatment, first, I think about how the spot relates to my experience. Everything in storytelling starts with a point of view, so even if very subtly, I know that if I can make this personal, it will also reverberate with someone else. I start with how the spot affects me and my community, then expand universally.

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?

Stoney> It's all about homework; prep is vital. I learn as much as possible about a brand, who the client is trying to reach, and what culture makes up the markets. I do this strategically, but mainly because I'm genuinely curious. I want to know what kind of things other people are into!

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

Stoney> The longer I work as a creator, the more I appreciate the opportunity to collaborate with all talented craftspeople. When we're all challenging ourselves to be at the top of our game and are on the same page about the tone, culture, and intent of a spot, the experience and the result are magical! So, I can't choose one most important relationship. Everyone on set is part of the process, and they are vital. We are so fortunate to work in a collaborative art form, and I appreciate everyone involved.

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?

Stoney> I'm a sucker for comedy. I was raised in a funny household, I grew up on comedy classics, and my pals are all comedians (and some of them are famous as hell, just for making dumb jokes!). Even my kids are funny! Well…one of them is.

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

Stoney> Hmmmmm, I made a lot of spots for [Adult Swim], which I am very, VERY proud of, but it's all very weird and silly. Now, would I be happy if I had the opportunity to make weird, silly stuff forever? ECSTATIC! But that is only one of the tones I like to play with.

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

Stoney> Nope! After college, I earned money to build my director reel by working in production. I worked my way up to producer and eventually produced some of the world's biggest commercials and lots of scrappy nearly-free indie projects. If I know one thing about budgets, it's where the money goes and how best to put it on the screen.

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

Stoney> I directed a music video tie-in for the movie Snow Buddies. We were supposed to have our musical star holding tiny puppies, but on the day of the shoot, the puppies showed up, and they were one-year-old golden retrievers. So FULL-GROWN DOGS. I used forced perspective and camera tricks to make them look as small as possible. Shockingly, it worked.

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

Stoney> Ah yes. So, the client and agency have spent a lot more time with the brand than I have, so I listen to what they say about striking the right tone, ensuring we are framing their campaign in the right way, and honouring their hard work. And I, in turn, understand how performance and visual storytelling will immerse the audience in a story. I speak to my strengths and work with the people who created the idea to make sure they get all and more of what they initially imagined.

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?

Stoney> Yes, yes, always yes! Growing up, my school was a K-12 affiliated with the local university. The school focused on integrating an economically diverse student body and building communities to uplift each other. I cannot stress enough that society is always best when underrepresented people are given a platform and a voice. I am always down to mentor. I work hard to offer opportunities that not only make individual lives better but the entire community. If you want an apprenticeship with a guy who makes dumb comedy, hit me up. The truth is, I'll wind up learning from you.

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?

Stoney> I won't go into the office for three weeks before a job anymore. Plus, I really missed working with people. I was very fortunate to be writing a show during the first year while spending time with my family. So now, although I still fully dive into my work, I understand the importance of slowing down and spending moments with family and friends. 

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)?

Stoney> Tough question. I often have to frame for multiple aspect ratios and capture alts for multiple cuts and lengths which can be constricting. From a storytelling aspect: I don't. If a story works, it works. These are universal truths, no matter how we present them.

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)?

Stoney> We live in an age where tech has surpassed how we approach the process of filmmaking. Not just AI (buzzword), but cheap and lightweight lighting, cameras with 10,000 ISO, digital make-up and hair, everyone on set with a portable screen, the ability to watch cuts as we shoot, and massive amounts of data storage. And yet we still structure shoots the same way we did nearly 100 years ago. These advances are all film tools; as long as we don't use them to remove craftspeople from the workplace, they will make us better artists. As a visual artist, I love access to the newest advances to break from the standard and discover something new. Whether unexpected AI prompts, non-traditional uses for LED rear screens, or retro-fitting Alexa bodies with standard def TV camera lenses from 1980, there are always new approaches to tech that enhance my stories. 

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

Stoney> I always love my latest work. And I am particularly proud of the Coordown series I directed this year with TinyGiant and TheSmallAgency. Each spot is a beautifully simple vignette with charismatic performers and a catchy twist.

I love my work with [adult swim], where we got to push the envelope of what even counts as an ad. For several years, we created a series of spots called ARKADY. The premise was that a Russian talk show host who would pitch products to us between acts. Each Arkady spot advertised a different product, but the host was consistent. The series was so successful we eventually got fan mail and requests for a series.

I also love spots where I get to play with storytelling style, like the Old Spice ad. We filmed all the backgrounds separately and then comped them in post to create a comic book style.

Or the Cricket Wireless ad, where I designed a fun way to freeze time using blocking, lighting, and sound design.

If I HAVE to only pick four, I'll go with those… for now.