Zach Heinzerling on Bringing His “Invisible” Filmmaking from Documentaries to Ads

Epoch Films’ director Zach Heinzerling is known for his cinematic and artful approach to capturing real moments and intimate performances - both in the documentary and commercial worlds. By befriending his cast and working collaboratively with everyone on set, this skill has earned him the opportunity to work with some of the biggest names and brands - from Paul McCartney to Beyoncé, Rick Rubin to Sean Combs and the Major League Baseball organisation. 

In 2014, he was nominated for an Academy Award for Best Documentary Feature for his film ‘Cutie and the Boxer’, and more recently, Zach’s found success with two critically-acclaimed docuseries on Hulu, ‘Stolen Youth’ and ‘McCartney 3, 2, 1’.

Speaking to LBB’s Ben Conway, Zach discusses his beginnings in the more “approachable” documentary filmmaking medium, how he helps celebrities, actors and real people be themselves in front of the camera, and transferring his DIY documentary skills to the world of advertising.

LBB> You've recently worked on two Hulu projects - 'McCartney 3,2,1' and 'Stolen Youth' - tell us a bit about each of these!

Zach> ‘McCartney’ almost feels like a dream still and, in a lot of ways,  it was a dream project. It was shot over the course of two days on Long Island, where Paul was staying for part of the pandemic. We moved from concept to shoot in about two weeks, so everything happened at a whirlwind pace. Rick [Rubin, record producer and co-star of the show] was the ultimate collaborator: it was immensely educational and inspiring to work with someone so knowledgeable about the creative process, who has made a career of getting the best out of artists. 

We went for a minimalist approach, shooting in black and white and designing a set meant to be a deconstructed studio environment of the mind, where Paul could roam around as he pleased. The lighting and camera paths were choreographed to follow Paul wherever he went. We didn't want any interruptions. So when Paul wanted to go to the piano, he got up from the booth and the lights and cameras moved with him. We never cut. The goal was to create an environment where the interaction and play between these two titans of musical history would be the sole focus. The beauty comes from the intimacy between them. They both geeked out with childlike glee, enamoured by moments of spontaneity and pure discovery.

‘Stolen Youth’ was a life-changing project in a completely different way. First off, it took three years to make. Time was needed to develop the trust necessary to cover such a traumatic subject matter, but that patience allowed me access to this utterly insane story. I think we created something that will stand the test of time. So many discussions came out of that project and it touched many people quite deeply - during a time when it has become increasingly difficult to leave a mark on society. It woke people up to the dangers of coercive control and the shocking reality of just how malleable our thoughts and, consequently, our identities are. 

LBB> Your work often captures real and intimate moments - what are the keys to finding and distilling these moments onto film when working with icons such as Paul McCartney and Beyoncé?

Zach> For me, it's all about the environment you create on set. [On ‘McCartney’,] most of our decisions revolved around getting the best performance out of Paul. That goal motivates everything: from the space's design and the questions' presentation to the vibe on set. Similarly, with Beyoncé, we decided to do the interview in her studio, with no one else present. It became more of a conversation, like a podcast we were recording. It's all about getting to a place of comfort and freedom where the subject feels equally invested in the project because they're enjoying themselves. That comfort enables them to lean into their artistry and energy in a way they find creative rather than mundane or tedious (as some interviews can be).

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities? 

Zach> It's an interesting time. Everyone is constantly trying to innovate because trends come and go so quickly; there isn't a firm basis for new work to stand on. It's created a landscape where new ideas are encouraged, and brands act boldly because fresh, unique perspectives are valuable. There is a new generation of strong storytellers out there breaking moulds and pushing us forward into places we have yet to see. The key is landing the emotion - allowing the story to guide the innovation. By approaching it in this way, we discover an original story that lands emotionally and opens our eyes to a genuine, heartfelt feeling we didn't expect.

I like seeing ambition in a script or brief. So many ads feel the same. If the goal is to get people's attention in a competitive world, you need ideas to break through.  

LBB> You cut your teeth at HBO, working on Emmy-winning documentaries, and have since been nominated for an academy award for 'Cutie and the Boxer'. Was documentary filmmaking always your passion? And how does your docu experience influence your filmmaking on commercial projects?

Zach> I got into documentary because it was approachable. I don't have cinema lovers in my family, so I came to it later in life. I was a philosophy major, but started messing around with cameras. The easiest films to make were documentaries because I could make them on my own. However, as a viewer, I've always been more interested in narrative films rather than documentaries. I got my start in docs and succeeded with my first crack, so I was given more opportunities and just stuck with it. 

I still carry some of that DIY approach in my commercial work. In a documentary, you're trying to be as invisible as possible, allowing the subject's truth to shine without the artifice of filmmaking dirting the lens. I take this same approach in my commercial work. 

LBB> On the advertising side of things, you've worked several times with MLB, and MLB-adjacent brand, New Era - how did this relationship develop? Do you have a personal connection with baseball that helps you bring authenticity and intimacy to a wonderfully candid spot like 'Catch'?

Zach> What I like about baseball is that it is a more egalitarian sport. The athletes are represented by all colours, shapes and sizes. There is no stereotypical body type for a baseball player. In the Hall of Fame, you might have a pitcher like 6’6’’ CC Sabathia, a homerun king like Babe Ruth known for his belly, or a 5-foot first-baseman like Altuve. 

Kids see these legends defying stereotypes and think: ‘That could be me’. I also like the culture around baseball –the outdoor stadium in the summer, the hotdogs, the beer. Also, kids that play baseball tend to be more independent and courageous. It takes a lot of bravery to step up into the batter's box, especially compared to a sport like soccer, where you could get by blending in a bit more with the crowd. All these things make for great real-people casting, which is why I think the MLB spot was successful.

LBB> Like your docu work, your ads often capture candid moments with real people, rather than using characters, written dialogue or voiceovers. How do you ensure the talent is relaxed and acting naturally on set - especially if they're not actors? And how important is your pre-production and casting as a result? 

Zach> I've always been attracted to realness in a performance. I shy away from schtick or melodrama because it feels stale on the screen. It's not relatable. Even in fantasy films, I like a character who feels real. That begins with casting, but happens mostly on set. I spend a lot of time with the cast, getting to know them, their desires, and what they think their strengths and weaknesses are. 

In the craziness of a film set, oftentimes, it feels like there isn't time for the actors to be heard. I find that the most interesting performances come out of a conversation I have with an actor. We find something they want to express and mould it to the task at hand. Whether it's an actor or a non-actor, the technique is usually similar. With non-actors, it helps to cast friends. With actors, it helps to befriend them. 

A moment is only as good as the creativity and energy that both the actor and director put towards it. This collaboration is my favourite. I have a soft spot for non-actors because they typically have much more life experience to bring into their performances.  

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

Zach> We were filming with Puff Daddy at a mansion on some exclusive island in Miami for a Ciroc commercial. We needed to get a shot of Diddy jogging on the street, but it was 10 pm, which was the official curfew for the neighbourhood. Diddy, the DP and I were sitting on a golf cart, wondering what to do. So I asked Diddy: “Could you talk to the cop for us?”. We cart over, and Diddy talks to the cop for a while. I see them take a selfie. Then, he jumps back on and says: ‘Let's go get the shot’. We also had an incident where we couldn't find a life jacket that fit DJ Khaled properly for his jet ski scene. That shoot is chock full of bizarre memories. 

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

Zach> I really enjoy working and collaborating with the agency and clients. I think some directors try to separate themselves, but I love hanging out with them. I've rarely had to battle to protect an idea because, by the time it ever comes to that, we're already good friends and find ways of reaching decisions that feel like a win-win. Ultimately, I aim to make them happy; to make a final product they value and want to promote. They have the data and know what works for their brand, and I'm there to execute it and add some ideas along the way.  

LBB> What are you looking forward to most in 2023? 

Zach> I'm looking forward to doing more commercials this year. I spent last year in the editing room working on a docu-series about a manipulative cult leader preying on college-age kids. So I'm just looking forward to not having to do that again!