Perfect Imperfection: How NERD’s Lewis Andrews is Redefining Commercial Direction

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We sat down with NERD’s director Lewis Andrews who brings a refreshing perspective to the evolving landscape of advertising and filmmaking. Lewis has carved out a distinctive space in the industry, embracing both traditional cinematic excellence and the raw authenticity that modern audiences crave. From shooting music videos in Prague to crafting horror shorts in his hometown, his journey offers unique insights into the future of commercial directing.

What are some upcoming projects that you’re excited about? Tell us a bit about them?

While working on Amazon’s TV show Blade Runner 2099 in the Czech Republic, I’ve been simultaneously directing two music videos too. One captures the essence of Prague’s heart, while the other, shot in Barcelona, draws inspiration from the Dune franchise. I’m particularly excited to reveal the Barcelona project soon, which pays homage to Dune’s cinematic universe.

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

The most exciting development is the industry’s metamorphosis toward natural, raw, accessible visuals rather than glossy overplayed perfection. We’re in an era where a single tweet or Instagram post can outperform a multi-million-pound campaign. Look at British retailer Currys, who now uses employees for social media content, or Kanye West’s Super Bowl LVIII ad – just a selfie video in a car announcing he didn’t spend money on traditional advertising.

Of course, not every filmmaker can achieve Kanye’s results with a selfie video. But what these big players have demonstrated is that traditional filmmaking isn’t always necessary. The impact of a brand’s advertisement depends on the message, creativity, and authentic resonance with the audience.

What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

I’m drawn to unique concepts, extremely high stakes, time travel, apocalyptic moments, disaster, quick-witted dialogue, comedic timing, and culturally relevant themes. I love when scripts incorporate topical news stories and social issues that challenge viewers’ values and beliefs. There is no perfect film script, because art is supposed to spark debate and divide people’s opinions.

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How do you approach creating a treatment for a spot?

My process often starts in complete darkness. The creative process isn’t always linear – I’ll work through multiple ideas until something clicks. It’s not methodical or structured; I let ideas flow and see how they align with each brand’s needs.

If the script is for a brand that you’re not familiar with/ don’t have a big affinity with or a market you’re new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

A brand will approach me based on my creative skill and capabilities as a filmmaker rather than my detailed knowledge of their brand history. When it comes to creative direction, you can develop an affinity with anything, even without knowing the full facts. I welcome each project as an opportunity to be unbiased in my creative assessment, basing the direction on my creative instincts first.

For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

A great director has a strong working relationship with all creative professionals involved – Director of Photography, Camera Operator, Art Director, Producer, and Costume Designer. The team can make or break a project, which is why I maintain a black book of industry-level talent.

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What type of work are you most passionate about – is there a particular genre or subject matter or style you are most drawn to?

I am quite drawn to horror, and all things which seem a little bit off. I love reimagining. I love reimagining characters, emulating real-life encounters, and incorporating my dreams into my film work.

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

I once had less than 24 hours to coordinate a shoot in Morocco. We managed by connecting with a local film student who had filming permissions, enabling us to shoot in Marrakesh, the Agafay Desert, and city center.

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

Clear communication and thorough pre-production breakdown are essential. This preparation helps prevent later confusion. I keep in mind that creative briefs are just ideas, and ideas for someone else’s project can never truly be yours, because that wouldn’t be a collaboration.

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What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

AI is a genie out of the bottle for quickly projecting ideas in pre-production stages. Mid Journey is a super tool that can produce fluid imagery from text. In the past, I would solely use photoshop to enhance treatment imagery but now I can create rough concept art quickly with Mid Journey then I process it to finalise.

Which pieces of your work do you feel show what you do best – and why? Include 3-4 links and a sentence or 2 about each piece of work!

I would love to share the new works here but they are not quite ready yet! To give a flavour …

DRINK (Music Video): https://wonderfilmpictures.com/directings/drink/

DRINK was a project where I could control every creative aspect. From the set design (creating a cobwebbed dark bedroom out of my outdoor cupboard space), selecting and designing the costumes, sourcing an E-Type Jaguar, creating and executing the whole film storyboard, embedding cool visual effects. DRINK was a project I was fully immersed in.

Clown (Short Horror Film): https://wonderfilmpictures.com/directings/clown/

Clown was a short film which represents the imperfection I was talking about earlier in the article. It’s a small project I created with my friends in the town where I grew up. We shot it in the early hours of the morning so that I could transform the town into an eerie film set. I wanted the piece to feel as morbid and haunting as possible whilst retaining the audience until the end.

From navigating last-minute shoots in Morocco to transforming outdoor cupboards into cinematic sets, Lewis Andrews exemplifies the modern commercial director’s need to balance technical precision with authentic storytelling. His approach – embracing both high-end production values and raw, unfiltered creativity – positions him at the intersection of traditional filmmaking and contemporary digital culture. Andrews isn’t just adapting to the changing landscape of commercial directing; he’s helping to shape its future.

FOR THE LOVE OF NERD & WORKING TOGETHER

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We all know the stereotypes and cliches surrounding working within the creative industries, crazed directors, evil interfering producers and runners getting the electric chair for producing the wrong shade of coffee. But what if we told you that isn’t always the case and you can create something special in a warm and inclusive environment? If you didn’t already know Valentine’s Day is here and everyone at NERD wants to spread a different kind of love, a love of working together and reminding everyone why we work in the industry in the first place. A celebration of making the craft and sharing stories with the world that hopefully inspire and bring a little joy. 

Getting involved in the action is the lovely and super talented, award winning director Shay Hamias who is a champion for supporting NERDs underrepresented and up and coming talent. He makes collaborating feel like a smooth summer breeze. Over the years Milana and Shay have worked together on endless projects, building up a level of trust and creative harmony that would make most married couples blush. 

So get those valentines day chocolates out, stick on some smooth jazz and have a read of our latest get together.

Where did it all begin for you both as a creative collaboration?

Shay: I can’t actually remember, as it’s been so long ago but Milana was always my favorite producer to work with so we got paired up quite often while at the production company we both worked at, which is where we first met. We were both instantly in sync with each other, so it made collaborating a breeze. 

What’s the most invaluable lesson you’ve learnt from working together?

Shay: A valuable lesson I have learnt from working with Milana is to be patient and her ability to manage client expectation while also providing me with enough creative freedom to do my job is borderline inspiring to witness. 

Milana: To be yourself because by doing so you will be able to bring the most to a project and pave the way for others to do the same! When I first started I was heavenly and unfairly judged for being from South London, for not being of privileged background and for simply not being white enough. However, working with Shay and just being in his presence allowed me to be myself and shine with my skills, craft and worry less about my appearance, accent and background. Simply by spending less time focusing on how to present myself etc I could just concentrate more on how to do the best job in my role. It is so liberating! This has since led to much of how NERD treats all our collaborators and talent. Inclusive, nurturing and supportive work space is what we have formed, where people don’t feel judged but simply celebrated for their contribution and skills.

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Separate from working together, what are your main icks when it comes to collaborating with people?

Shay: Red flag for me is when boundaries are unclear creatively… in order to be creative,we need some parameters that allow creative problem solving, when some of these are unknown it can generate friction during the process. 

Milana: A big ick for me is working with people who are only motivated by their own shellfish goals, cliche but nobody wants to work with someone who isn’t a teamplayer, we work in an industry that is built upon collaboration, from the boom operators to the focus pullers. Everybody plays a role in bringing something together and unfortunately some people who work in the industry often forget this very important element of filmmaking. Empowering and inspiring your crew is endlessly rewarding as they will do their best work!

Historically the relationship between producer & director can be one fraught with friction, how did both avoid those pitfalls?

Shay: We have full honesty and we both want to get the job done in the best possible way, always open dialogue. I know I can call Milana at any time or NERDs other fantastic creative  producer Ira and they will support or help solve whatever is needed. They know they can ask me for anything as well as what the project may require and we will mutually try and make it work. We share the responsibility for the culture of the company, the success of the projects and we never fight each other. In fact we have developed a close personal friendships and support even goes beyond the professional bounds as we have full trust in each other.

Milana: Shay put it perfectly, having an open and honest dialogue with each other is key to avoiding frictions. Oftentimes the producer can be seen as the harbinger of bad news or someone who is only there to restrict them. However that simply is not the case, my role is to provide the creatives with support to make each project feel rewarding and comfortable. Naturally it helps that me and Shay have yet to have a bust up or even exchange some sarcastic back and forths.

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The creative industries can be known for being very unwelcoming especially for those who come from underrepresented backgrounds, could you tell us a bit more about your work with supporting young talent? 

Shay: I like supporting young talent to help them navigate the brief, clients and even their relationship with the producer. Help them focus on the brief, it is a collaborative process and we are making it for a client’s needs. Even I need to ask Milana what she thinks about a brief, so we hone it down correctly. Sometimes when I was young I’d miss out certain details because it can be a lot to process while chatting with the agencies. The other thing is while on production, in the past I’ve helped the new director understand they have the power to negotiate time or support with the producer and not be afraid of the producer because they’re on their side. I also help directors understand and manage client expectations, to be honest with what can be achieved. I’ve learned from my own experiences of sleepless nights  that clear communication is key for managing expectations.

What aspect of collaborating with others do you love the most?

Shay: What I love most is working with other people who are all talented in their own way. I know my limitations and strengths, and when working with others they bring in a different design or point of view making the project and experience richer. It can be at the producer level suggesting how to approach a project and the agency to the animator suggesting how the character should move. I see my role as a creative director is to help steer the ship, by facilitating other talents to make the work they enjoy most even better.

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How has your working relationship with Shay helped shape NERDs ethos?

Milana: Meeting Shay and the inception of NERD Productions started around the sametime so there’s no surprise my working relationship with him has had a huge influence on the ethos of the company. I wanted to create something that had a true sense of inclusion with a culture of championing voices from all backgrounds. I wanted the talent to feel welcomed and more than just a name on a roster, or someone to tick a box for an agency. Working with Shay was a great reference point for me when looking for new and exciting artists to work and collaborate with.

We all know how demanding the role of producer is, so how do you still find time to love the role?

Milana: I think with any role especially one you’ve done for so long can for some people become stale or repetitive but the joy of producing for me is getting to work with so many different people, be they clients or talent. The creative brief is never the same so the production path of bringing the project to life is always new and fun. Also, for me seeing who we can bring on board to elevate, what new methods or techniques and styles we can mix and play with.. Well possibilities are endless. For example, to know you can help a young director by pushing them and changing the course of their career journey is a privilege and something I want to be remembered for one day. Once again not to sound like a broken record, no two days are the same as a producer and you never know what the day will present to you and there’s a massive, exciting thrill to that. It is all a little bit addictive. 

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How do you balance the emotional and professional aspects of working closely with people you care about?

Milana: I don’t! I believe in hard work in every relationship in life. Things we care about do require effort if we want to reap the benefits. It’s very simple. I do care about every single person I work with and want to do my best by them. They are in my life and we make wonders together so why not make the most of that situation and environment instead of seeing it as something that needs to be a separate set of relationships. 

Of course, if you hate what you do and people you do it with, I can see how ‘balance’ may be much needed. Being able to reach a point in my career where I can choose the talent I work with and clients we craft for is like a slice of heaven and I am aware is a blessing but it is a well deserved one. 

We would also like to take this time to share our love with the team and roster at NERD and all the fantastic clients we’ve worked with over the years who have made everything possible. 

Our romantic optimism is infectious so do be careful! We look forward to forging more relationships in the future, just make sure to swipe right 😉