All Hail The Queen, London's Ace Directing Duo

All Hail The Queen, London's Ace Directing Duo

MIKE O'DONNELL / EDITOR

WNW Members Dan Lumb and Crinan Cambell, the directing duo that goes by The Queen, aren't afraid to experiment with different techniques and styles. It's what keeps their work fresh, inviting their audience into the unexpected with each and every project. In our interview below, The Queen takes us on a tour of some portfolio highlights and shares how each endeavor allowed them to hone their collaboration and approach, and add new weapons to their collective visual arsenal. 

Dan and Crinan also clearly see the London creative scene as an ideal environment teeming with energy. Their reverence is on full display here: "Production companies, galleries, and agencies are all being priced out of Soho and going east, and these amazing, fun pockets like Hackney Wick and Manor House are cropping up. It’s really competitive because there are so many people chasing the same opportunities, but that’s what gets the best work...The opportunities are coming from all directions, and places you wouldn’t expect." 

Tell us a bit about The Queen’s creative background. Who are Dan & Crinan and how did they get here?

It was a bit like a scene from Seven Samurai - we met each other soon after moving to London - both fresh out of art college, doing odd jobs around Soho - camera assisting, editing, and cleaning stains off porcelain. Keen and green, we’d be shooting tests with borrowed kit, working long into the night. First out of necessity, we started helping each other out. The stuff we were making very quickly became more advanced and, well, just better, and we realised that with two heads and four eyes we were more than a specky monster. Many adverts, music videos, short films, and branded-online-advertorial-video-content later, we’ve done all sorts of work in all sorts of amazing places, and are having epic adventures all along the way. High-fives riding into sunset, as credits begin to roll.

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What is it about the other’s creative style or personality that made them an ideal creative partner for you?

Generally, Dan’s the one who is very impulsive and just spews out stuff. Crinan has a more calm and logical approach, which aligns everything, then we question and layer things to make them better and better. The creative-ping-pong makes the initial ideas fast, then the refining takes a little longer - we recommend burgers over all other food for late night working. In commercials, with the number of meetings, conversations, and often nervy clients, we find it really helps to sell ideas and concepts as a duo (Crinan flutters his eyelids - Dan rambles).

What do you see as the turning point in The Queen’s creative development and career thus far?

When you’re working from scripts that you’ve been given, it can be quite hard to carve out your style as a director. Most of the times we’ve really made a jump to a new place or direction is when we’ve made something off our own backs - be it a music video, a short film, or just a camera test that you can show people. That’s when you realise how important it is to keep doing those side-projects; otherwise, you end up being typecast and being employed to basically the same job you’ve done before. We haven’t yet been shoved into one of the directing boxes - kids, cars, beauty, food etc. It’s useful to be typecast to get work, but through making our own stuff, we’ve been lucky enough to get a broad range of scripts which we’ve been able to treat with executions that tell those stories in unusual ways that we find fun to watch.

Which of your projects are you proudest of and why?

Virgin Media - Squeezed

It was mega low-budget, but sort of cemented our art direction style. The original script had a drawing of a balloon popping, and that was about it! We were lucky that the creatives totally trusted us. We’re always surprised and amazed when we look back at the first tests and treatments for each job and see what they eventually evolved into. This one’s a prime example of saying ‘yes’ to something and seeing where it can end up.

AARP - Disrupt

The combination of edit style and subtle visual tricks while maintaining a genuine emotion is what we’ve notice in a lot of other people’s stuff we love, and we always try to achieve this where we can. It’s important to layer in those pleasing, unexpected moments which trick the brain, and force you to think more about what you’re watching.

Samsung - Paper Skater

We like this one as everyone thinks it’s CG, but it’s not! The whole thing is stop-motion animated over seven long basement days, with two incredibly talented stop-motion animators. It’s so good to get the chance to push established techniques in new ways. We based the camera work on 90’s skate videos - low angles and fisheye lenses - and all the skate moves were studied frame-by-frame from life, which is why he throws his weight so believably. It was a lovely idea that was incredibly satisfying to craft.

What would be your dream project or job, or is it already on your resume?

We’d love to get a few more narrative projects and combine all the technical stuff that we've developed over the years, which is why we write that sort of stuff into our short films. We really love visual storytelling, so working with lots of actors on a tightly choreographed, technique-driven, narrative number, in multiple countries would be it for us. ..oh, and a feature film.

Who do you see as the best brands, agencies, or studios to work with, in the UK?

We really like the recent Under Armour campaigns and the Nike women stuff has been ace. We’ve seen some really great scripts out of BBH and Havas, recently. Also the Ikea stuff out of Mother and the Volvo stuff out of Grey.

How would you define the London creative scene?

London’s so varied, and constantly evolving, which is the fun of it. Production companies, galleries, and agencies are all being priced out of Soho and going east, and these amazing, fun pockets like Hackney Wick and Manor House are cropping up. It’s really competitive because there are so many people chasing the same opportunities, but that’s what gets the best work.

How do you see the creative landscape shifting in the UK/Europe?

Advertising’s in a massive transition, and everyone’s still trying to figure out what on earth’s going on - it’s brilliant. Content-creation wise, people are slowly realising that asking for one good film will get you a much better result than 4 films for the same budget, but it’s a situation which never really goes away.

The opportunities are coming from all directions, and places you wouldn’t expect: PR companies, small boutique start-up places from one desk, clients and agencies coming straight to us with freelance producers, all mixing in with the big guys. You’ve just gotta keep open to adapting to however they want to work and wearing lots of hats if need be.

If not here, where would you most like to live?

Dan: I’d live in France.

Crinan: Edinburgh would be nice - anywhere with a long history, and lots of space.

We do half-and-half international work at the moment, and Skype from home most of the time, so in theory, we could be wherever we wanted, but unfortunately nothing really beats a face-to-face.

Who are your biggest creative influences?

There’s way too many but here’s a solid few giants: Martin de Thurah, Kasper Tuxen, Tom Kuntz, Koen Mortier, The Daniels, Andreas Nilsson, Bjork, Dougal Wilson, Jacques Audiard, Megaforce, CANADA, Goldie, Egon Schiele, Gustav Klimt, John Hillcoat, Steve Annis, Trevor Robinson, Nirvana, Joanna Newsom, Daniel Wolfe, Paul Thomas Anderson, Martin Krejci, Sam Brown, Chris Hewitt.

What scares you most about making creativity your career?

Losing that thing that made us start doing it in the first place. We were born out of the self-shooting three-men-and-a-van style of filmmaking. The landscape has already shifted massively in this direction, and long may it continue.

One book, one movie, one show, from each of you. Go.

Dan: The Log from the Sea of Cortez, Magnolia, Baywatch

Crinan: The Etymologicon, Natural Born Killers, Crimewatch

What do you do when Not Working?

Cooking, writing, watching early '90s rave videos on Youtube, D.I.Y. Dad Stuff (double denim on the weekends).

What’s the best advice you’ve ever heard or received that all creatives should hear?

Dan asked Ringan Ledwidge for advice a couple of years ago, and he sent some great nuggets. Among others: “Spec ads are kind of a waste of time, as creatives don't really take them seriously and don't really look beyond the idea. Music videos however I think are really worth pursuing; you can show them more of who you guys are. A lot of the guys I now work with were at the bottom of the ladder when we met, we became mates and supported each other and went up together. Basically don't wait for the work to come to you, which I'm sure you're not: go after it.”

Who are some WNW members whose work you admire and why?

There are loads of great photographers and illustrators that are fantastic for inspiration - it’s great to see. Creative-wise, there are some amazing people whose stuff we love: Patrick Burns, Richard Beer, Theo Bayani - all brilliant!

What’s next for you? What are you working on now?

We’re finishing the script on a new short, working on two animated commercials for the US and pitching stuff in the meantime - in for tomorrow. If that happens we’ll be doing that!

Discover more creative talent and projects like this on Working Not Working. If you're a WNW Member with new work, exhibits, products, or news to share, email us.

A CELEBRATION OF SWING & THE CHASE FOR PERFECT MOMENTS

A CELEBRATION OF SWING & THE CHASE FOR PERFECT MOMENTS

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The first spoken words of the newest short by WNW Member #9338 Leandro Santini & Anna Franzén describe Swing as a dance form that's "a bit like a drug." Kudos to the filmmakers, as the intoxicating movements, dreamy slow-motion and reflective voiceover almost immediately put you under Swing's spell. "You're constantly chasing this high, this amazing magical moment," the voice continues.

SWING is a lyrical documentary that portrays the harmonious relationship between two dance partners, and between them and the dance itself. Michaela and Rupert share how the dance form has changed their lives and brought out their real selves. 

SWING's running time is just over 2 and a half minutes; that's how long it should take for you to wonder how you ended up dancing on your desk looking down at the chair you had just been sitting in. 

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HOW TO DIRECT A FILM ON A SMALL BUDGET

HOW TO DIRECT A FILM ON A SMALL BUDGET

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Let's face it: directing a film looks really hard. WNW Member #7027 Mikél Leyva embarked on his first directing gig so we had a few questions for him. Like how he juggled his creative brain with solving logistical challenges, getting the crew to work as a team, and keeping his day job in advertising. Oh, and the pressure: "As a director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses. In the end, you either made a good film, or you didn’t." 

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What inspired you to direct Falling?

I’d been wanting to direct a film for a long time. Whenever I heard interviews with my favorite directors, I often felt that their way of deciphering life-stories was closest to the way that I related to life. But I’m aware that no one’s going to hire you to direct a film if you’ve never made one before. So in 2008 I decided to just go for it and direct my first one.

Where did the story come from?

I was living in LA working on a music project with a drummer friend of mine, while looking for a story for my film. And a close friend there was about to marry into quite a volatile relationship. Their tense wedding planning made me contemplate that need to secure an idea of love at all costs. I wanted to figure out what drives all of us to continually fall in and out of different versions of love, and that seemed like a good beginning for my film’s story. My focus was on the need for love, and not the discovery of it.

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"I wanted to figure out what drives all of us to continually fall in and out of different versions of love, and that seemed like a good beginning for my film’s story. My focus was on the need for love, and not the discovery of it."

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Where did you find the time while working on commercial projects?

It wasn't easy. I saved money for a few months to start with a small budget, and to take time to do pre-production. Then I set off to San Francisco to lead a large online project for Microsoft while preparing my film. I’d wake up before 6am every day and send film pre- production tasks to my crew. Then I’d go into the agency to lead the Microsoft project during the day. And then follow up on the film tasks in the evenings. I found it more natural to treat both projects pretty much the same, rather than to try to switch modes between personal and client projects. I must say that a huge number of people helped along the way, friends and many (then) strangers too.

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"I’d wake up before 6am every day and send film pre- production tasks to my crew. Then I’d go into the agency to lead the Microsoft project during the day. And then follow up on the film tasks in the evenings."

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Any advice you can share on learning to sit comfortably in the director's chair?

The phrasing of this question made me laugh – maybe Ridley Scott actually ’sits comfortably’ in the director’s chair, but I think the rest of us are on our feet orchestrating everything under pressure. But as for directing advice, I might just repeat what my good friend (and producer) David Levine said when he called me after reading the script for Falling. He said something like: “Mikel, no matter what happens, don’t compromise. Just don’t compromise." I’ve worked in every creative channel, and this advice has felt particularly meaningful in filmmaking. But it took me making a film to really understand the value of it. When making a creatively affected film, there were many more moments than usual in which you choose to either push on, or compromise.

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"If you’re going to make a film, dig in deep, find something honest in you that you can be passionate about. Because it’s likely to take all of that to do a good job, and for your story to be worth sharing; then godspeed."

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Another element I find important is motivation. I’d say that each of us sees the world in our own unique way, and our own way of living and understanding our experiences. And there’s already more half-hearted bad films out there than any of us will have time to take in. So if you’re going to make a film, dig in deep, find something honest in you that you can be passionate about. Because it’s likely to take all of that to do a good job, and for your story to be worth sharing; then godspeed. You will succeed in some ways and you will also make mistakes. But that’s okay, just learn from it all, and keep going.

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What were some of the biggest challenges on set?

Film pre and post-production can have a project pace close to advertising, but directing on set is quite different. During filming, time is quite unforgiving, and you’re all working to create one big event, with parts that are being recorded at the same time, like an orchestra or scenes in a play. You prepare actors and crew for weeks to play scenes in meticulously transformed spaces that you only have for a certain amount of time, in which budget and the options for shots are directly linked. This event would be challenging to replicate.

And although you work with so many people, as the director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses, and having to re-shoot is not a viable option. In the end, you either made a good film, or you didn’t.

Compared to leading an ad agency project over a set of weeks (or more), one directs the course of a shoot by the second. And there’s a rhythm; it’s more similar to making music. Also, when under time pressure, people are hesitant to risk working in ways they haven’t worked before, which sounds understandable, but trying new things is often what you need them to do. And as a director you’re shaping the creative environment constantly and quickly. You define when and how it is collaborative, and when it’s time to keep moving, in a much faster pace.

I was operating in such a driven mode that when someone on the team wasn’t 100% on board, it was very noticeable to me. And so began this dynamic between my creative ambition, and my team’s skills and motivation, which I had to navigate constantly while making this film.

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"As a director, the final outcome of the film is on your shoulders alone. No one is going to accept anyone else’s mistakes as excuses. In the end, you either made a good film, or you didn’t.

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What differences did you notice in how you approached your work in advertising and this personal project?

Inspiration was gold. At a big ad agency you already have some of the best talent in their field and a team structure. But on a personal project there’s no accountable company structure or obligations. People don’t really ‘have to’ do what you ask, and your team could potentially walk away from your project at any time. So to make the best personal film possible with a rather small budget, and the majority of the team being junior volunteers, you have to find what will drive people to care as much as you do.

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How did the process of Falling make you think of teamwork differently?

I'd like to think that I've always treated my teams with empathy. But directing volunteers while striving for professional quality means that I had to push a lot of people further than they expected to go. And I'm very grateful that this challenge made me consider what each person is getting out of working on the project, and out of working with me. In advertising, the client experience, the portfolio pice, and pay are often enough, but we don’t often think about what we have to give back to our teams. And I actually really enjoy nurturing talent. I’m the eldest of 3, maybe that’s got something to do with it.

In post-production, the dynamic changes again. And you may have a very clear idea of where you want something to go and feel compelled to micromanage. But if you do that you could block that person’s ability to make creative decisions, and you end up shooting yourself in the foot. So you need to read your effect on the team..

There are times when you just give a direction to aim for and that’s enough, but there’s often times when you need to support your team member enough to enable them to get on that journey with you.

Having directed a big project depending on a lot volunteers has been a gift in a way. You get more candid reactions from your team, and you learn to read people better. And without a budget, you really have to learn to inspire people to care for the work as much you do. Not only does this make you a better leader, it also reconnects all of you with the core reasons that drive the work you do.

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"To make the best personal film possible with a rather small budget... you have to find what will drive people to care as much as you do."

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What's next for you?

I’m currently most interested in how the emotive aspects of film/video can mix with the uniting power of digital media. I'm also looking into ways that I can contribute to projects that provide a social benefit - especially in the area of bridging perspectives. In terms of filmmaking, my next step is to continue developing my voice, and make more films. I want to find my ‘dream team’ of writers, producers, cinematographers, and crew to continually work with on many projects to come.

I’m currently editing Part 2 of Falling, and plan to finish it by Spring. 

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JASON ZADA WILL SCARE THE BEJESUS OUT OF YOU

JASON ZADA WILL SCARE THE BEJESUS OUT OF YOU

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Cheers to WNW Member #5385 Jason Zada, whose first feature film, The Forest, just hit theaters on Friday. 

Previously, Jason started the renowned digital advertising agency Evolution Bureau (EVB). He has directed broadcast and digital projects for the likes of Wieden + Kennedy, CP+B, and Sid Lee, and is the mind behind Facebook's terrifying viral sensation TakeThisLollipop.

It turns out "terrifying" is a sharpened skill in Jason's toolshed. The premise to The Forest: A woman goes into Japan's Suicide Forest to find her twin sister, and confronts supernatural terror.

Jason is returning intrigue to the same forest explored last year by Gus Van Sant, but this time to both horrifying effect and box office success. The Forest, starring Natalie Dormer from Game of Thrones, has already earned $15 million in under a week. Not a bad way to kick off the New Year.

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NOT WORKING: LIVE FAST, DRAW YUNG

NOT WORKING:
LIVE FAST, DRAW YUNG

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WNW Member #3500 Stacey Lee is close to finishing her documentary about our favorite 7-year-old hip hop portraitist, Yung Lenox, and has turned to Kickstarter for help getting it done. Check out the trailer above and head over to the Kickstarter page for "Live Fast, Draw Yung" to show them some love. A little more about the project from Stacey and her co-director Anthony Mathile below:

Described by the LA Weekly as the “foremost doodler of rap”, Yung Lenox is a hip hop portraitist specializing in marker drawings of iconic rap albums, from 2 Live Crew's Nasty As They Wanna Be, to ODB's Return to the 36 Chambers. He’s sold hundreds of prints, been commissioned for record sleeves, custom apparel and had his artistic debut at the Frieze Art Fair in New York. Unfortunately, Lenox did not attend that show. It was past his bedtime. He was six.

“Even though I do famous artwork, only the kids in my math group know.” - Lenox

“Live Fast, Draw Yung" is an intimate and entertaining tale about Lenox and his Dad, Skip, a graffiti artist, copywriter and silent collaborator behind the Yung Lenox brand. As we bear witness to their unconventional after-school hobby, we discover an endearing friendship forged through creativity; a Dad teaching his son about coloring, shading, and the heroes of his youth. Through Instagram and press attention, what starts as a hobby turns into a lifestyle and a business. Soon, the two are hanging with Cam’ron backstage with Action Bronson, in the studio with Kool Keith, chilling with "Uncle Raekwon", and on a plane to LA for Lenox’s first solo exhibition.

Through Lenox’s eyes and ears, the film offers an innocent and hilariously honest entry point into the often explicit and idolized culture of hip hop. It reconsiders the age old parental advisory debate and the realities of a kid growing up in an adult world. As Skip is forced to confront his intentions and parenting skills, Lenox remains unfazed. He isn’t listening to any of it. In his world, art is “medium important” as opposed to school, legos and Minecraft. And that’s what makes the kid everyone’s favorite artist.

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