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Campaign Brief (AUS/NZ) Online.
Campaign Brief Magazine : May June 2008
TV C PROD UCT I ON Mizone (Clemenger BBDO, Sydney) Wrigley’s ‘Liquid Blast’ (DDB Sydney) Mailplus (DDB Sydney) inspired v isua lly by ‘Bei ng Jo hn Malkovich’, so the com mercial is shot from the point of vi ew of the characters to reflect their bad eating routines. It’s a visual job but it’s not VFX-driven because it was all s hot in-camera. CB: The best directors often ev olve by experimenting with fre sh techniques and fo rmats. How have yo u e volved over the past couple of years? NR: I’m still very di sciplined and technical in my approach, but these da ys I re all y und erstan d the strength of good ideas and bri ng a more collaborative approach to t he process . I’ve be en quite stra tegic about developing my reel into visual storytelling, it’s a transition that’s really taken root over the past year. It’s not a m assive market her e in Austr alia so you can ’t aff ord to focu s o n one part icular niche. Tha t’s so mething you can only achieve with experience. You’ve got to be quite resourceful; you have to look at th ings d ifferently w ithout compromising on the end re sult. 24 CAM PA I GN B RIE F It’s a process I actually enjoy. CB: What’s the advantage of h av- ing a technical background? NR: If an FX job requires a c er- tain number of components, I know exactly what we can take out. Less experienced directors cover them- selves so much it takes th em twice as long to shoot, whereas I know when to say, ‘That’s enough, move on’. It keeps you focussed on realis- ing the idea in t he script because the craft techniques jus t beco me second nature, rather th an ta king over the show. It’s surprising how the easiest way to approach a script is also usually the most expensive and boring. I try to look at a job and turn it on its head and see if I can look at it from a totally different pe rspective. Of cour se , some s cript s ar e ver y straight-forwa rd and th ere’s only one way to do it. But thematically, most creatives are flexible as long as you protect the idea. If you l ook after the idea first, then everything else should fall behind it. At the “For me it’s about trying to get something natural. I don’t like over-the-top comedic performances with over-exaggerated characters; personally I don’t respond to this style of comedy, but there are plenty of directors who do. I prefer clever writing and subtle performances, and that’s very dependent on the script,” says Robertson end of th e day it’s about making great pieces of communication. CB: It seems like you’re happy to co- develop scripts, but is this something creatives are open to? NR: I like to present a few hypo- thet ic al opti ons. The core idea remai ns i ntact , bu t t he d et ai ls might be flexible. You’ve got to ask creati ves what their expectations are. Once we’re all on the same page, we can determine the style of execution that will work best. CB: You’re bes t k nown fo r t he strength o f your car and VFX spots. But are you equally confident as a per- formance director? NR: For me it’s about trying to get something natural. I don’t like over-the-top comedic performances with over-exaggerated characters; personally I don’t respond to this style of comedy, but there are plen- ty of di rect ors who do. I prefer clever writing a nd subtle perfor- mances, and that’s very dependent on the script. So I w ouldn’t expect to be hired to direct an over-the-top MAY /JUN E 2 008
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