The Directors: Thom Kerr
In 2005 Thom Kerr graduated with a Bachelor of Fine Arts specializing in writing and directing. He initially freelanced as a stylist, set designer, and writer for numerous publications - collaborating with an eclectic set of photographers & directors whilst developing his own direction. In 2007 he decided to step behind the camera officially and developed a successful photographic career taking him around the globe. 2017 saw him relocate to Los Angeles, translating his stylistic imagery into directing with eye-catching visuals for dynamic artists, including Christina Aguilera, Doja Cat, Bebe Rexha, Quavo, Iggy Azalea, Kim Petras, Kehlani, Brooke Candy, Jason Derulo, Rico Nasty and Kimbra.
His directing folio has attracted an international audience with advertising and magazine commissions worldwide. With experience working across all aspects of imagery, he is often asked to consult with brands, personalities, and publications on the creative direction of each assignment.
Whilst many artists follow a more conventional path of working within the defined aesthetics of music and fashion, Thom continues to break away from industry expectations by delivering visuals that are bold and forward-thinking in their approach.
Name: Thom Kerr
Location: Los Angeles
Repped by/in: Underwonder Content
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Thom> I started first in set design, then moved into photography before directing, so I have a very hands-on approach to all the finer details. Having each element thought out carefully is where the magic happens. The scripts that excite me are the ones that are rich in details and characters. The final result is captivating because of the attention paid to every element, from casting to wardrobe to sets. That was how I developed a reputation for creating eye-catching imagery.
LBB> How do you approach creating a treatment for a spot?
Thom> First, I think a lot about what the client or agency needs to accomplish through the piece. Once I understand the key message and how the audience needs to feel, I brainstorm imaginative ways to translate that message with a twist. I study what has been successful in the past and think about ways to reinvent and reimagine while keeping the core idea intact.
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?
I'll always research the brand and examine what has been done previously. After that, I will have a strong instinct in which direction to veer - whether or not I feel the desire to continue the story or tell a brand new one. Educating yourself on a brand's history is the best way to see what a client is looking for in the future.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Thom> I believe it's with all of the talent on and off-screen. In order to bring out the best creativity in everyone, I believe in cultivating really positive-energy working environments - where nobody is afraid to share their thoughts and clients and agencies feel they have access to me. At the end of the day, people need to be motivated to do their best work - and ultimately, that is the pathway that leads to the very best product for the client. I want people who want to return to set, not just because of the final product but their experience making it.
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?
Thom> I love anything involving beautiful detail, colour, and characters. My fashion background informs my style, and I work a lot with artists, so I specialize in extracting great performances from talent. You come to me when you want a highly stylized look with a twist.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Thom> I work in various mediums, including photography, directing, and creative direction for live stage shows. I think the misconception was that I could only excel in one of those arenas. My body of work has now proven that I can glide from project to project, often working in different areas. It's a reason why I construct imagery that feels innovative - because I'm constantly exposed to different ways to execute ideas. I'm a better communicator for it. When it comes to technical execution, I'm very practical. I don't just talk about ideas - I make them happen.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Thom> On my set, every department head is a cost consultant! Ha! We have very elaborate commissions from our clients, and everyone has to work hard to determine how to get the best result with the budget allocated to their division. It's about being clever with money.
LBB> What's the craziest problem you've come across in the course of a production – and how did you solve it?
Thom> Sometimes there is friction with talent for a variety of reasons - both in front and behind the camera - but I've always managed to steer the project back on course with a positive attitude and by being a fearless communicator. When something goes wrong, take a beat to process the solution, then consult with everyone to ensure we are all on board with the plan. That is the best way to float out of the storm. And a little comedy goes a long way to lightening the mood. I have yet to encounter any situation to date that was impossible to solve or find a creative high-end alternative.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Thom> I think by being as honest as possible and being as open as possible. I am always open to great ideas when I can see they will make the project more amazing. I think ego can block you from seeing good ideas, so you have to be open. That said, when I forecast and execute in my mind, I will also be honest if I think a suggestion isn't going to achieve what the client hopes it will. I am lucky, though, because my clients understand what they're walking into before they step on my sets.
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?
Thom> We've definitely been doing that within our production teams. When we find great talent from different backgrounds, we hold onto them and take their advice when they recommend more extraordinary people. I love seeing people shine - and as someone who started as an intern on shoots, I can see when someone is bringing the love and attention needed no matter what their department. I've always prided myself on spotting great talent before others realize their potential and slowly increase their responsibilities. It's personally rewarding to see people grow.
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?
Thom> Initially, I was a much bigger fan of sitting in front of people when conceptualizing - and still am where possible - but the pandemic taught me that I could still execute and communicate very effectively through Zoom without needing to be in the room. Our team worked on the VMAS, the AMAS, and the BET awards, and we achieved amazing results without having to be as physically present with each other as we're used to. That said, I will always choose to be present where 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)?
Thom> For me, it's just about having as many options as possible when it comes to how the work is seen. I'm thinking about the cropping and physicality of what's happening in the frame and if the elements around it lend themselves to various formats. So much work is now viewed on phones, which really changes how you approach image-making.
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)?
Thom> Our team at Underwonder Content has been doing a deep dive into AI technology on all fronts, and after much experimentation, we are getting much better results. Ultimately it's a tool, and like all other tools, you have to figure out the best way to use it. We just created some amazing visuals for Bebe Rexha's US tour using AI and have more exciting projects coming out. I have found it works best as a base from which you build and manipulate.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Thom> Ugly cry for Maybelline. I loved the Y2K pop star concept that the agency Gotham presented for this Maybelline commercial. Extracting performances out of talent is one of my favourite parts of being a director, and SNL star Chloe Fineman did not disappoint. She gave us so many different options it was a battle to choose takes. I loved collaborating with Chloe on each moment. Everyone on this project was super talented, and I really appreciated Maybelline making unexpected content that went viral. It was the perfect merge of my television commercial and music video backgrounds. The energy on set was amazing.
I loved Iggy Azalea - Lola, as we conceptualized each set from scratch - nothing was shot on location; everything was built in a warehouse and shot in one long day. I loved the detail in every room, and this was a video where art direction and details flourished to their full potential. It showcases my fashion photographer eye coming out in full force for a music video.
I loved creating a stylistic rendition of the famous Sharon Stone scene from Basic Instinct in Paper Magazine - Happy Halloween. This was a wonderful play between making a hyper-stylised version of a classic and extracting entertaining performances from people who aren't traditional actors. It has an Andy Warhol, Pedro Almodovar, pop art quality - it felt very liberating to make something weird and wonderful that was watched by millions.
I also absolutely loved the Maybelline Candy Drop starring Storm Reid. The commerce part of my personality just loved working with Storm and putting together a polished eye catching commercial that hits all the right technical and product notes while still keeping my signature pop colour aesthetic. Gotham and Storm Reid were a dream to work with.
Entire folio here.
