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.

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.

 

Jing Zhang's Illustrations Capture A Big World In A Small Frame

Jing Zhang's Illustrations
Capture A Big World In A Small Frame

MIKE O'DONNELL / EDITOR

WNW Member Jing Zhang has lived in London for over 10 years, and she doesn't play down its influence. "This city changes lots of people’s dreams and life paths, including mine." During her time in London, Jing has seen her career as an illustrator develop and flourish. In our interview below, Jing opens up about some of the challenges of pursuing a creative career, specifically in regards to pricing yourself and your work. She also shares her dream to have her work printed on a jumbo jet, references London's investment in creativity through the lens of the TFL, and predicts how the creative landscape may shift in the UK. "Despite the political uncertainty ahead, I think the future of the UK’s creative industry is actually shaped by the internet. The way clients and freelancers work will become more borderless; it will be less important where you’re based."

 

Tell us a bit about your creative background. Who is Jing and how did she get here?

I was born and raised in Southern China. I've been living in London since 10 years ago, where I now make it my home. This city changes lots of people’s dreams and life paths, including mine. In 2007 I took my first commission from Computer Arts to illustrate their cover when I was a student. This has paved my way to becoming an illustrator today.

 

How would you describe your creative style? Do you recognize a signature style that links most of your projects, or do you try to excuse yourself and approach each project as its own entity?

My illustration style is architectural, graphical, infographic. From project to project the style might differ. But the general theme is to give all my illustrations a big world in a small frame with lots of tiny people. They can be flat, isometric, 3D. I don't claim to own a certain style. But it is what I find very interesting at the moment and have been the most passionate about.

What do you see as the turning point in your creative development and career?

Perhaps it's the point when I left my full-time job which lasted for five whole years. In the latest 2 years of my full-time job, I started taking lots of "moonlight shifts." I got more and more commission work, so much that I started to lose my personal time and weekends. So I started my real career in 2014 concentrating on my illustrations. I don't even call myself a freelancer as I am selling my products rather than just my skills and time.

 

What were some of the challenges in launching your creative career?

The difficult part would be pricing myself in the market. Everyone is different, you simply can't apply someone else's experience and price card on your own. On top of that, my customers come from all over the world with different markets and different values for creative work. This added more complexity to my non-existing price card. I had my agents but honestly no one really knows your price better than yourself. And it takes years of experience to get to know that. No, I still don't have a price card.

Which of your projects are you proudest of and why?

The Imaginary Factory project got me started with my career as an illustrator;

The Recipe Card project kept me going.

The Heys Luggage is my first packaging project.

Legoland map is my first theme park map project.

My illustration for Dubai Expo went exhibiting around Dubai as a sculpture. It was my true honor to be a part of it.

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

In my mind, a typical dream job would be a well-established brand knocking on my door and saying, "Hey, here is some money and please do whatever you want." But my type of dream job would be having my work printed on a jumbo jet. I don’t have anything like that in my portfolio yet. I will tell you when I do although I don’t think I ever will. But I think about it every day. :)

 

Where are the best places to work in the UK?

Not sure if I'm stating the obvious. But it can't be anywhere else than London. It's such a great city encouraging all kinds of creative work.

How would you define the London creative scene?

It's fast-paced, open-minded, and diverse. To start with, TFL (Transport for London) is probably the best example of a London corporation that embraces creativity so well. London underground feels like a gallery for commuters and a battleground for all advertisers. TFL also fuels up the creative scene with their own vivid seasonal campaigns.

East London is also home to many brilliant creative studios and world-renowned artists. When you walk into a kebab shop in Dalston, it’s very likely you’ll see the art legends George and Gilbert having their meals next to you.

 

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

Despite the political uncertainty ahead, I think the future of the UK’s creative industry is actually shaped by the internet. The way clients and freelancers work will become more borderless; it will be less important where you’re based.

In terms of creative style, Europeans keep a lot of local tradition whilst the British would very much like to try everything. e.g. the hand-drawn look has been popular for a long time in France whilst lots of Nordics will favor minimalism. British might just like them all.

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

Porto, Amsterdam, Hanoi, Kyoto, just to name a few.

 

Who are your biggest creative influences?

My husband, WNW Member James Wignall. He’s a super talented animation director who brought me to the creative world.

 

What scares you most about making creativity your career?

I wracked my brain for an answer. But there really isn’t anything serious. If there needs to be one, I’d say that I’m constantly paranoid about “oh no, people don’t like my work anymore, because I have fewer likes from this project than the last one." It’s silly but we are sensitive.

One book, one album, one movie, one show. Go.

Sleep Tight (Rachel Abbot)

Innerworld (Electric Youth)

Spirited Away (I’ve watched it probably over 10 times)

Black Mirror

 

What is your most treasured possession?

Most of my plants. I have recently obtained a pilea peperomioides. Oh my gosh it is so beautiful.

 

What do you do when Not Working?

Having some time away is very important for me. I usually go away around 2 months a year. In the last year, I spent 4 months traveling around the world. It was very refreshing.

In my spare time, I just stare at my plants. I’m growing over 50+ species in my balcony, enough to keep me away from the computer every now and then.

What’s your motto?

"Keep your eyes on the prize."

 

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

Stay inspired. Stay excited.

You should keep finding time for personal projects. The benefits of personal projects are so much more than you think, in your career, in bringing better clients, also in mental health.

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

I’m working on my cocktail recipe project. It’s a project that connects the recipe with local culture. I learn a lot through the process. I’ve tried lots of new things outside of my skillsets (3D texturing and creative writing). It is my zen garden time after my commercial work.

Are you a WNW Member with new work, exhibits, products, or news to share? 

Email us!

Overshare Podcast: Jon Contino

OVERSHARE PODCAST:Overshare Podcast: Jon Contino

 

Overshare is a new WNW event series and podcast that features honest conversations with our favorite creatives about the realities of being an independent creative. For the second installment, renowned designer Jon Contino helps Overshare earn its Parental Advisory sticker on iTunes in an honest and hilarious discussion about building his brand over twenty years and dealing with copycats. Jon comes clean to the audience about his competitive nature and inclination to always have something to prove: "I always, always, always feel like I have something to prove, mostly because what I do is ridiculous. The fact that I just draw stupid shit for big companies and they say 'Okay'. How long could that possibly last?" 

When hearing his imitators receive praise for being "visionaries," Jon tries to take it in stride: "Not that I am, but the fact that I know you’re stealing from me, if anyone should be getting those compliments it should be me. And I know I shouldn’t be getting those compliments 'cause I got it from somewhere else too." Jon finds assistance on big projects from one unlikely source in particular: "I’m not even joking. [My daughter] is three and I’m always just like, 'Which one do you like?' And she’s like, 'Umm, this one.' And I’m like 'Done. Here you go AT&T.'”

It's clear that Jon Contino operates at his best when he has a certain edge. On whether moving to the suburbs and having a kid has made him lose his edge, Jon had this to say: "It’s probably made it worse because I have a daughter. I’m just waiting to knife a 14-year old kid. The first boy she brings home, I can’t wait because I’m locking him in the basement and I’m just gonna call his parents to come pick him up because he’s not allowed upstairs."

Lastly, Jon offers some priceless advice of his own to remember when you inevitably hit a creative wall: "If [your creativity] didn’t come back, I think you would be some kind of science experiment. I feel like you are wired to be a creative person. If you hit a wall, that’s natural. If you hit a wall, and it never comes back, you should probably be studied. You don’t stop breathing unless you die. You’re always breathing, you’re always doing these things that it’s just like a bodily function that’s unique to you."

For those of you who couldn't join us, we have good news: you can listen to the entire conversation below on our new podcast. Subscribe to Overshare on iTunes, Soundcloud, or with any other podcasting app via our RSS feed.

Are you a WNW Member with new work, exhibits, products, or news to share? Email us.

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Male Copywriter's Guide to Personal Branding

Male Copywriter's Guide to Personal Branding

Are you having trouble standing out in a sea of creatives? Is your portfolio site in need of a major reboot? Good news, WNW Member #1695 Lawson Clarke aka Male Copywriter is here to show you the way. He's the naked one, with the mustache, lounging on a bearskin rug, simultaneously channeling Burt Reynolds and Vladimir Putin. In our interview below, Lawson reflects on his unconventional approach to branding himself: "I consider Malecopywriter.com the smartest stupid thing I’ve ever done. Not only did it give me a career as a freelancer, but it went on to win two Webby Awards."

Lawson also talked to us about the genesis of his alter ego, how it has helped him filter the right kind of work, and why it's important not to neglect your own brand. "Now if you’re a superstar creative who has enough Cannes Lions to start a petting zoo, then maybe you can afford to use a template site to showcase your work.  But for the rest of us mortals who have to hustle to get ourselves noticed, my advice would be to treat your portfolio as a creative assignment. Ask yourself, what would make you jealous if you saw someone else do it. Then do that."

Tell us a little bit about your creative background. Who is Lawson and how did he get here?

I’m actually the product of an advertising family. My father had a great creative shop in Boston called Clarke Goward. I can’t begin to tell you how many amazing copywriters and art directors came out of that place: David Lubars, Mike Sheehan, Sean Farrell, Colin Nissan, the list is pretty impressive. And, of course, I’m at the very bottom of that list.  

I worked at the family agency for years then went down the street to Arnold. Right around the time of the financial meltdown in 2008, I launched Malecopywriter.com, which was basically just a photo of me lying naked on a bearskin rug. At the time I just thought it would be a funny way to make my portfolio stand out, but when everyone started getting laid off, including myself, it ended up getting a lot of attention. I think most people who saw it thought, “Look what the recession made this poor bastard do!” but the reality is I shot that photo a year before the shit hit the fan.  

In the end, I consider Malecopywriter.com the smartest stupid thing I’ve ever done. Not only did it give me a career as a freelancer, but it went on to win two Webby Awards.

Your alter ego “Male Copywriter” plays almost like “The Most Interesting Man”, but about 1000 times sleazier. When did “Male Copywriter” come to life? 

Uhhhh… thank you?

Funny thing is, had LawsonClarke.com been available on GoDaddy chances are Male Copywriter would never have even existed. When I first set out to make a portfolio site, I tried buying LawsonClarke.com, but apparently my name is also a public relations firm in England. Once I realized “Lawson Clarke” was off the table, I started thinking about who else I could be. Male Copywriter just seemed stupid enough to work.

As for the persona, that sort of came later. At the time I launched Malecopywriter.com, it was really only meant to be a portfolio site. But then when all the press started rolling in, my brother called me up and told me to get on Twitter immediately. I didn’t even have an account at the time, so I had no idea what I was doing. I just remember asking him what my Twitter feed should be and he said, “Just say whatever you think Male Copywriter would say.”

That’s pretty much where the character was ultimately developed – on Twitter. Well, that is if you can call it a character. At the end of the day Male Copywriter is pretty much me.

You recently put out a brave, bold short film starring “Male Copywriter” which announces your availability for freelance work. When did you decide to go all out?

It had been about 8 years since I first launched the original site, so it was definitely time to freshen things up. I figured I needed to up the ante a bit this time around, so I decided to shoot a landing video that showed Male Copywriter in all of his glory. Although this time around he probably has more in common with Vladimir Putin than Burt Reynolds.

The goal of Malecopywriter 2.0 was essentially the same as the original: I just wanted to make a portfolio that would make me laugh if it ever popped up on my computer. I launched the new site in April, but we shot the video last summer. So it’s definitely been in the works for a while.  

“There’s always the chance my son’s kindergarten teacher is going to stumble onto the site and I won’t be asked to volunteer at the next field trip, but I suppose that’s a risk I just have to make peace with.”

Any deleted scenes that didn’t make the final cut? Or ideas that didn’t make the filming stage?

I actually wanted to film myself doing a pole dance in one of the seedier strip clubs in Boston with a bunch of creepy dudes throwing dollar bills at me. But I couldn’t find a club that would let me in with cameras. Go figure.

 

What’s been the overall response? Any enjoyably negative reactions? Family & friend response?

Overall the response has been great. There’s always the chance my son’s kindergarten teacher is going to stumble onto the site and I won’t be asked to volunteer at the next field trip, but I suppose that’s a risk I just have to make peace with.

“Do I run the risk of turning off potential agencies and creative directors? Of course, but I look at that as a positive. I mean, if you’re genuinely offended by Malecopywriter.com then there’s a good chance we wouldn’t work well together.”

Has your “Male Copywriter” brand directly helped you get work?

It’s absolutely helped me get work. The goal from day one was to have a site that made the phone ring. Now that said, do I run the risk of turning off potential agencies and creative directors? Of course, but I look at that as a positive. I mean, if you’re genuinely offended by Malecopywriter.com then there’s a good chance we wouldn’t work well together.

True story. A few years ago a friend once recommended me for a gig at the in-house agency for a pretty big financial institution. It wasn’t going to be sexy work, and they actually had a pretty strict dress code – like I’d have to wear a coat and tie – but the day rate was pretty decent.  Anyway, I talked to the creative director and the guy basically said I had the job. There was just one thing, though. He needed to show his boss my creative portfolio, you know, just to make everything official. Naturally, I sent him a link to malecopywriter.com… and then I never heard from him again.  

And you know what, it was the greatest thing that could’ve happened.  I probably would’ve been miserable working there. So if nothing else, my site is a pretty good filtering mechanism.

“The irony is that as creatives we spend the bulk of our careers trying to think of ways to make our clients stand out, but when it comes to our own portfolios most of us are just happy to throw our work on Cargo Collective and call it a day. ”

Any tips you can share on spicing up a creative portfolio so that it stands out in a sea of creative portfolios?

The irony is that as creatives we spend the bulk of our careers trying to think of ways to make our clients stand out, but when it comes to our own portfolios most of us are just happy throw our work on Cargo Collective and call it a day.  

Now if you’re a superstar creative who has enough Cannes Lions to start a petting zoo, then maybe you can afford to use a template site to showcase your work.  But for the rest of us mortals who have to hustle to get ourselves noticed, my advice would be to treat your portfolio as a creative assignment. Ask yourself, what would make you jealous if you saw someone else do it. Then do that.

 

What do you see as the pros and cons of freelancing vs full-time?

I think they both have their merits. I freelanced for about 5 years before my last staff job and loved every day of it. But the main reason I went back to full-time was the fact that I hadn’t really produced anything book-worthy in all that time. I had plenty of billable days, but when I looked at my portfolio it was more or less the same stuff I had in there when I started. 

Of course, I loved the lifestyle and creative options freelance offers, so it’s no surprise I’m back hustling my wares on the street again. I know there are people who swear they’ll never go back to full-time, but the reality is you have more creative control over your work when you have a staff job.

For me personally, I think the perfect career would be a balance of both. If another great full-time opportunity presents itself, I’ll definitely consider it.

Which one of your creative projects makes you the proudest and why?

I don’t even have to think about it -- the Pink Cadillac Project we shot with Teddy Bridgewater.

For those who don’t know the story, Teddy Bridgewater was in 3rd grade when told his Mom he was gonna buy her a pink Escalade when he made it to the NFL. First off, what 9-year-old is that career-focused? Secondly, if anyone ever deserved a pink Cadillac it’s Teddy Bridgewater’s mother, Rose. The woman raised four kids in one of the worst neighborhoods in America, and if that wasn’t enough she beat breast cancer into remission all the while making sure Teddy stayed in school and got his degree. She’s basically a first ballot Hall-of-Fame mom.  

Anyway, let’s just say when Teddy handed Rose the keys to the pink Escalade there wasn’t a dry eye in the place. I cried like it was my mom.

“Honestly, I don’t think I’m fit to do anything else. I dug a foundation for an outdoor fireplace in my back yard over the weekend and it damn near killed me. Frankly, I wouldn’t last a day in the real world. ”

If you weren’t a copywriter, what would you be doing?

Honestly, I don’t think I’m fit to do anything else. I dug a foundation for an outdoor fireplace in my backyard over the weekend and it damn near killed me. Frankly, I wouldn’t last a day in the real world.  

 

What’s the creative scene in Boston like?

Anonymous commenters on Agency Spy LOVE to beat up on Boston every chance they get, but the fact of the matter is Boston still holds its own as a creative hub. The city is represented in every major award show year after year. In fact, I’d go so far as to say the Hatch Awards (the local New England show) is traditionally one of the hardest local shows to enter work in. Some great thinking comes out of this town. Of course, I’m unabashedly biased. I also think Tom Brady is 1000% innocent and that Roger Goodell belongs in prison.

Who are some of the creative and comedic idols that inspired you from the start or motivate you to keep at it?

I was always a huge fan of Chris Elliot. Back when he was a writer on Late Night With David Letterman I thought the man was nothing short of a comedy god. I suppose what I really loved about him was that he was never afraid to make himself look like a complete asshole. He’d do stuff like eat dog food out of a can in a lab coat and play it off as if he was conducting the most serious scientific research in the world. It blew my mind. The whole audience would be howling with laughter, and yet he’d have the straightest face in the room. Meanwhile, he’s on stage literally choking down this dog food and trying not to puke. He was absolutely fearless. He basically made me want to be a writer for David Letterman.  

I think there’s still time to chase down that dream.

 

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

Jeff Church is a guy I like to partner with a lot. He’s one of those rare art directors who can actually write really well. In addition to being incredibly talented, he’s also a great guy to pal around with. 

As for other WNW members, I think I’m contractually obligated to give a shout out to your founders, Adam Tompkins and Justin Gignac. In my humble opinion what they’ve done for the advertising freelance world is nothing short of game changing. And if it sounds like I’m kissing their asses just so I’ll get priority treatment, well, then I don’t know what to say other than I think they’re both incredibly brilliant and handsome.

Discover more talented creatives on Working Not Working.

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