Unveiling the Lens: A Conversation with Director Josh Cohen
Object & Animal director Josh Cohen’s trajectory into filmmaking is as unique as the characters he brings to life on screen. Starting his creative journey in front of the camera as an actor, it wasn’t long before he felt the gravitational pull of life behind it.
The London native began exploring visual storytelling through skate videos, nightlife photography, and festival films, honing his craft and building the foundation for his now-renowned and full-of-purpose directing style. It was those early days of capturing the energy of skateparks and club scenes that shaped his rather dynamic approach to filmmaking. And the formative experiences from these years taught him to push the boundaries of camera movement and visual storytelling.
In his commercial career, Josh has seamlessly blended bold creativity with brand objectives, crafting memorable campaigns for household names like Heinz, McDonald’s, and Just Eat, to name just a few. His work stands out for its vibrant production design and sharp comedic timing, often infused with a touch of surrealism. Whether it's a heartfelt moment or a quirky twist, Josh’s projects consistently strike the delicate balance between relatability and artistic flair.
Today, LBB’s Zoe Antonov and Josh Cohen talk about his recent project for Just Eat tied to Netflix’s ‘Squid Game’, his creative process, from developing unique characters to navigating collaborations with global brands, and what excites him about the upcoming year.
LBB> Your journey with filmmaking began with acting before transitioning to directing. What was it about it that ultimately drew you away from being in front of the camera?
Josh> I generally had a passion for the arts whether that was performing on stage and on screen, or creating; shooting and editing skate videos or little skits, etc. I juggled the two growing up.
Ultimately I was faced with a ‘crossroads’ choice at 18… Stay in London (at home) and start auditioning for drama schools, or go and live that ‘uni life’ elsewhere. Having grown up in London, I ultimately decided to go and spend three years in Leeds, which led me to nightlife photography and videography which was the start of my professional journey behind the camera.
LBB> You’ve mentioned a background in skate videos, club videos, and festival films. How did these early experiences shape your directing style, especially when you moved into commercial work?
Josh> As a ‘videographer’ in those situations – a club night, a festival, etc. – there’s really only one thing you have control of, and that's the camera in your hand.
Unlike the craft of filmmaking and directing in a typical sense, you’re not really in control of anything else beyond it, which leaves you to start thinking ‘What can I do with this thing to up the ante, grab viewers attention and add production value’. So, instinctively I’d get creative with the way in which the camera moves, using different focal lengths and interesting angles to create shot variety, adding visual interest, and editing techniques to keep viewers impressed and engaged.
As my videos progressed I moved more into sports films, fashion films, and low budget brand ‘content’. I’d arm myself with a pair of rollerblades, a gimbal, a monopod to get up high, etc. This kind of dynamic camera work started to shape what felt like a specific visual style and I think this has bled into my current commercial work.
LBB> Looking back at your career, what would you consider to be a turning point or defining moment that significantly changed the direction of your work?
Josh> Those early projects I talk about above I think were mostly style-led. There was no real element of ‘performance’.
I was really looking for that strategic ‘switch up’. A project to offset the style-led films I was making and get stuck into something with some proper characters and performance.
I ended up landing a spot for Heinz, thanks to creative duo Jen & Oli (now at Wonderhood) who thankfully put their trust in me. That was my first real TVC which I think was a nice shift to change the course and it brought me into the world of commercials.
LBB> Your work is known for its immersive storytelling and purposeful camera movements. Can you talk about how you develop your visual style for a project and how you decide what approach to take?
Josh> As I’ve said above, I think some of those ‘purposeful’ camera moves have become native to me and my craft through those early experiences.
That said, I think it’s important to note that these camera moves aren't integral to my filmmaking, and do like to ensure that it’s never slipping into anything that feels like a gimmick or ‘dynamic’ for the sake of it. ‘Purposeful’ is very much the right word as everything I do always has reason and rationale. It’s all about craft.
What actions happen within the film and why might those actions motivate my camera in a specific way, what am I trying to show the viewer, how am I trying to make them feel and what can my camera do to enhance that and help me tell my story are all questions I ask myself.
The approach in each project is, of course, bespoke. Initially my thinking comes from the brief and off the back of an initial chat with the creatives, but then naturally, the creative juices get flowing.
LBB> You’ve worked with well-known brands like McDonald’s, Doritos, 7UP and Just Eat! What’s the process like when you collaborate with big brands? Do you have a particular approach to blending commercial goals with your creative vision?
Josh> I think when you read a script for the first time and are instantly excited about it, you’re already in a good place for a great collaboration between director, agency and client. From that point onwards naturally as a director I’ll aim to develop that script, and throw out ideas. I think the best creative work comes when the agency and client have trust in you and there’s a shared vision from the treatment phase.
Trust is a two-way street. I’m always mindful that I am making a film for a specific brand with a specific message. That said, of course I’m always pushing for what I feel is right for the film creatively and I actually enjoy the process of explaining in detail why I’m pushing to make certain creative decisions with the rationale to back them up. I’m a people person and generally like to get in a room with people and hash it all out! One team, one dream!
LBB> Your projects often feature unique characters rooted in reality. What draws you to these kinds of characters, and how do you ensure they feel authentic even in heightened, hyper-real scenarios?
Josh> For me, one of my favourite parts of filmmaking is the character building. Who are these films about? What are these people like? I draw from everyday observations about people you see in the real world.
Ultimately, we make commercials to appeal to humans, so those little relatable nuances that ground our cast in reality are so important especially when the concept involves something perhaps a little heightened or surreal.
Casting is key, and I love that process of finding those relatable faces with a little hint of charm, something a little bit special, endearing little quirks, or cinematic features that draw the viewers in!
LBB> How do you balance the line between surreal and relatable in your work, ensuring your projects feel engaging to a broad audience?
Josh> I think world and tone are both hugely important when it comes to balancing this line. Generally speaking I like the world in which the characters live to be grounded in reality, which further emphasises the reliability of the protagonists. The fun is then in imagining how they might react in a surreal situation, which feels engaging to viewers, who can relate to those characters in how they would be feeling or experiencing those moments.
LBB> Can you tell us about your most recent project? What excites you about it, and how does it differ from previous work you've done?
Josh> My most recent piece of work was for Just Eat’s sponsorship of Netflix’s ‘Squid Game’.
It was an honour to be given the keys to the world of such an iconic show, and to be able to play with some of those existing characters and elements, like the giant killer doll Young-Hee, for example, which was a new experience but one that was thoroughly enjoyable!
Then bringing to life how every day customers of Just Eat might react to some of those tense situations, all with a little slither of tongue-in-cheek, whether it was a couple of lads making a brave dive for the last slice of pizza or a girl gambling with her life just for one sneaky last slurp of noodles.
LBB> As someone who has successfully bridged the gap between brand work and more artistic, narrative-driven content, how do you see the evolving relationship between commercial and creative filmmaking in the future?
Josh> I’d like to think that clients are still keen to continue to push boundaries creatively! In commercials, I think the most successful work often comes from bold ideas at inception. That gives filmmakers something to really get our teeth stuck into, which in turn I think has the ability to really excite and engage consumers!
LBB> What are you most excited about looking ahead to 2025?
Josh> Continuing to hone in on my craft. New ideas, new opportunities and new collaborations! It’s all a journey, so I'm generally excited to continue it!
