Film ‘The Law of The Sea’: Advocating for Asylum Seekers and Global Compassion

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We find ourselves in a world where asylum seekers face formidable challenges, where political decisions can exacerbate their plight, as evidenced by recent developments in the UK.

We sat down with Elmaz Ekrem to talk about her film ‘The Law of the Sea’ that makes us shed light on the interconnectedness of the world crises, urging us all to reflect on the choices we make as a society and to embrace the notion that compassion and empathy must guide our actions in these turbulent times.

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What is the story behind making ‘The Law of the Sea’ ?

This film started life as a graduate project but ended up being televised by Channel 4 as part of their Random Acts series in 2016. It is not a pleasant origin story.

In the summer of 2015, the European refugee crisis was escalating in response to the civil war and attacks by ISIL in Syria. I was on holiday in Turkey. That September, the bodies of drowned children washed ashore a few hundred miles away from where I sat on the beach.

The sadness and grief I felt were overwhelming and I decided I needed to use the opportunity to make my graduation film about this. To make a film about anything else felt like an act of inhumanity. How could I not acknowledge what was happening in the world?

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The team went to Lesvos, one of the Greek islands to receive thousands of migrants crossing the Aegean Sea,and interviewed many people involved in the migrant crisis from volunteers to medics to fishermen. It took a lot of interviews before we found the angle of the documentary and it emerged while translating and transcribing the interviews. We realised that the perspective of the fisherman of Lesvos had been rescuing refugees while going about their usual schedules, and spoke of their unique and heroic experiences with the same level of nonchalance as describing their occupation.

The film, once a dream born out of empathy, found its way to Channel 4, where it would be broadcasted to a wider audience, touching hearts and minds around the world in December 2016.

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What would you like to share to our audience about advocating for migrants and refugees?

After making this film, using art, documentary and filmmaking as a form of activism to advocate for migrants, refugees or displaced indigenous communities became the forefront of my practice, and something I’d like to share is how the climate crisis is something that intersects through humanitarian and social injustices. 

A quote from the Zurich Group on how conflict worsens the climate crises, or vice versa:”This domino effect was felt in Syria, where the desertification of formerly fertile farming land between 2006 and 2010 meant crop yields plummeted, 800,000 people lost their income and 85 percent of the country’s livestock died. As people lost their livelihoods, food prices soared and 1.5 million rural workers moved to the city to find jobs. Those left behind facing poverty were an easy target for recruiters from the Islamic State… societal issues caused by climate change worked to exacerbate existing tensions. The result was a conflict that fueled the world’s worst refugee crises in decades with around 6.6 million Syrians (roughly a quarter of the population) forced to flee their country.”

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My main message is ‘REFUGEES ARE WELCOME’, and should be granted safe passage. But if you’re reading this you probably agree with me.

The horrible truth is that there are people who disagree. As recently as August 2023, the UK home secretary Suella Braverman refused to endorse a scheme that would help asylum seekers in the UK, despite it being described by the UN as “more humane” while she pursues increased detention capacity for immigrants, a programme which is estimated to cost billions. 

As we navigate the climate emergency, we must recognise that global conflict and migration are intrinsically linked. Together, we can create a world where refugees are not only welcomed but embraced, where the threads of compassion bind us as a global community, and where the darkest of times can give rise to the brightest of futures.

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Sustainable Production Unveiled: How to get to the greener future with NERD Productions?

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Is greener production just a myth? Join Ira Giorgetti, a creative producer and photographer from NERD Productions, as he shares his experiences and thoughts on sustainability in his career. Learn how simple changes can make production greener and discover ways to embrace eco-conscious practices.

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Can you tell us about your own personal journey when it comes to getting involved in sustainable production – how did you get started and where has that journey taken you?

Growing up in the Philippines, a country directly affected by climate change, sustainability became a deeply personal and relevant issue for me as a creative producer. My family elders instilled a sense of responsibility for nature, which influences every aspect of my production planning. To reduce the environmental impact, I prioritise eco-friendly practices, source from environmentally conscious suppliers, and use energy-efficient lighting and recycled props. I also manage resources efficiently, minimising waste, implementing recycling and composting programs on set, and promoting low-emission transportation options to reduce carbon emissions. Alongside environmental sustainability, I advocate for diversity and inclusion, aiming to create fair and inclusive working environments in my productions.

By integrating sustainable practices into my work, I aim to minimise environmental impact while staying true to our company’s values of diversity and inclusion.

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What are the conversations that clients are having with you about their desire to reduce the carbon footprint and environmental impact of their content production?

While the demand for sustainability varies from client to client, many of them now consider it a crucial aspect of their content creation strategies. Some may view sustainability as a checkbox exercise, but a significant number take these concerns seriously, understanding the urgency and the need for substantial changes to mitigate environmental impact. This growing demand is partly driven by younger generations, who are more environmentally aware and passionate about sustainability, and are pushing for brands and companies to take action to reduce their impact on the environment.

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Because of remote production and the impact of transporting people and kits, I guess most sustainable production conversations are limited to live action, but what are the challenges and opportunities on the animation front?

Sustainable production conversations typically focus on live-action productions due to the significant impact of transporting people and equipment. However, there are also challenges and opportunities in the realm of  animation. One challenge is the collaborative nature of the work, but advancements in technology and remote collaboration tools have made it more feasible and efficient.

On the other hand, animation offers unique opportunities for sustainability. By creating virtual worlds and characters, they can reduce reliance on physical sets and props, lowering energy consumption and waste production. Studios can also prioritise renewable energy sources, like solar or wind power, for rendering farms and computer systems. Embracing remote work allows for tapping into global talent while reducing the need for extensive travel. By leveraging technology and making conscious choices, the animation industry can promote sustainable practices and reduce its environmental impact.

What advice would you give anyone working in production, whether for the production company, agency or brand, who is struggling to get buy-in from their clients and colleagues on sustainable production?

When seeking buy-in for sustainable production, focus on personalising the conversation to connect with clients and colleagues on a human level. Engage in one-on-one discussions to understand their values and concerns, emphasising the direct impact sustainable production can have on their lives, their loved ones, and future generations. Share stories and evidence of successful sustainable projects to illustrate positive outcomes for the environment, well-being, and cost savings. Address specific concerns and objections, collaborating to find common ground and align solutions with their goals.

Sustainable production is a collective effort requiring patience, empathy, and effective communication. By connecting with people personally, demonstrating the tangible benefits, and addressing their concerns, you can inspire and motivate your clients and colleagues to embrace sustainable production practices and positively impact the world around us.

The Art of Production: Maria, Head of Business and Talent in Europe

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Introducing Maria, our Head of Business and Talent (Europe), who offers a glimpse into her life in the production industry. From navigating the challenges of getting started to managing difficult relationships and being the calming force,  Maria has seen it all. Having discovered her love for production in London 14 years ago, she never looked back and knew this was the path for her.

We recently caught up with Maria to gain valuable insights into relationship building in production. Her answers to some of the most pressing questions are sure to provide the invaluable knowledge & truths you’ve been seeking!

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How did you first get involved in the production and what appealed to you about it?

It first started 14 years ago, when I was an office manager in a post-production company while I lived in London. Later on, when I moved to Madrid it became very natural to start as a talent rep as I already knew the industry and its peculiar jargon.

What about your personality, skills and experience make this position such a great fit?

Besides the general knowledge that this industry needs, I believe it’s crucial to possess an empathetic personality to grasp the needs of clients/brands. Luckily, I naturally possess this trait 🙂

What piece of advice would you give to someone just starting their career in production?

To avoid getting overly caught up in the tumultuous nature of this industry, I would recommend not spending all of your energy on it. Instead, prioritise engaging in enjoyable and creative endeavours while also selectively choosing meaningful projects to take part in, as they will help make your journey more manageable.

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Thinking back to some of the most challenging experiences you’ve had in your career, what do you think tends to lie at the heart of the more tense or difficult client? 

Well,  there’s been a few, the worst one involved a poor relationship between the agency and the client, making the entire process much more excruciating than it should have been. I think taking the time to get to know each other, and building trust and respect would help hugely!

And what are the keys to building a productive and good relationship?

Being sympathetic to other people’s situations. Never take things personally, when someone does something wrong, even if you feel it was directed at you, they usually have their own struggles.

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What’s your view on disagreement and emotion – is there a place for it and if not, why not? If so, why – and what does productive disagreement look like?

There’s always a place for disagreement, otherwise, there wouldn’t be a place for productive conversation. It is important to put everyone’s needs and limits on the table to have a better process and better end result. 

These days, agencies and production companies do so much beyond traditional campaigns. As a producer or account manager/sales manager you do so much to put all the pieces together – and that complexity can often be mirrored on the client stakeholder side too.
What’s the key to navigating (and helping the client navigate) that complexity?

As an account/business development manager, the key is to truly listen to everyone’s needs. Paying attention to all creative and practical opinions will help find a balance within all of them and integrate them into a funnel to materialise the best out of it.

What recent projects are you proudest of and why? What was challenging about these projects from a sales/production perspective and how did you address those challenges? What was so satisfying about working on these projects?  

It was a huge campaign for Facebook and the production process was complex. The process was painful but in the end, the campaign was a huge success 😉  It was incredibly rewarding to see all of our efforts come to fruition and to know that we had played a significant role in achieving our client’s goals.

NERD’s Hayley Morris on sustainability in animation

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In a world of computer-generated everything, there are still a few of us who are holding on tight to the traditional and truly handcrafted ways of bringing stop-motion and mixed-media films to life. It’s a bit like being part of a secret society, except our secret handshake involves a glue gun and some felt.

Hayley: ‘For me, there’s nothing quite like the satisfaction of creating something truly unique with my own two hands. I love experimenting with all kinds of physical materials – from paper and fabric to fibres, found objects, and even the occasional pinecone (yes, you read that right!).

But, as with most good things, there’s a downside. When you’re working with real stuff, you’re also generating real waste. After years of working on commercial productions, seeing all those non-biodegradable materials being tossed in the bin at the end of the day was a real bummer.

That’s why I’ve made it my mission to think about the materials I choose to use and encourage others to do the same. By making sustainability a key part of my creative process, I’m always looking for ways to repurpose and reuse materials wherever I can. It’s a bit like a game of “How many different things can I make out of this one roll of paper towels?” (Spoiler alert: the answer is usually a lot.)

But here’s the thing: being environmentally conscious doesn’t have to be a drag. In fact, it’s made my work even more fun and challenging. I’m constantly pushing myself to develop creative solutions for every project, and I’ve discovered all kinds of new techniques and approaches along the way.’

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So, how do I do this in stop-motion animation?

I have a stash of reusable materials for every project. My advice to the animation industry is to integrate sustainability into each project from the start. We should recycle, conserve energy, and repurpose waste. Every project is a puzzle that requires its own sustainable solutions. As artists, it’s our responsibility to be environmentally conscious. Here are some ways I apply this mindset: I use my collection of recycled materials, and when I buy new items, I choose eco-friendly options.

Repurpose

Repurposing objects is not a new concept in animation or human experience. As children, we often use everyday items to create our own imaginative worlds, such as a pile of leaves becoming a castle and a stick becoming Excalibur. As animators, we have the opportunity to continue this sustainable projection of imagination and build worlds that inspire creativity.

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Renowned animators such as the Brothers Quay and Jan Svankmajer also repurpose everyday objects, imbuing them with emotional resonance. They transform the contents of our kitchen drawers into a cacophonous consumer or coat old doll heads with a chilling patina of menace. By using familiar objects, viewers can transition in and out of the illusion, recognizing and reinterpreting them. Animators direct an intimate dance with the object, creating a powerful alchemy that can make audiences fall in love with a puppet made from forks.

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In the music video “Bounce Bounce” for Hilary Hahn and Hauschka, I repurposed forgotten objects found in Brooklyn flea markets and antique stores. A vintage scarf became a fleet of crabs, a doily transformed into a starfish-like creature, sink strainers were used for sea anemones, and even a discarded toy piano became a reef for sea snails and ocean plants. By giving new life to these objects, I created a whimsical and unforgettable display of creativity.

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Waste Not Want Not

Too often we dismiss it as a problem that’s out of sight, out of mind. We toss our trash into bins and watch as it’s whisked away by garbage trucks, never stopping to consider the bigger picture. But what if we approached waste in a different way?

When I was working with Explosions in the Sky on their music video for “The Ecstatics,” we wanted to explore the concept of mental clarity and the layering of thoughts. To achieve this, we used transparent materials like plastic, glass, thin paper, and light projections. But where did we find these materials? In rubbish bins, of course!

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By collecting plastic bottles and other waste materials, we were able to repurpose them into breathing lungs and organic forms. We even used reused glass shards to create custom glass-blown shapes. And to top it off, we used antiquated plastic overhead projector sheets to create an etched 2D animation for the finale. By giving new life to materials that would have otherwise ended up in a landfill, we were able to create a thought-provoking and visually stunning music video.

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While imaginative repurposing and recycling offer endless possibilities, sometimes embracing material constraint can lead to even more creative solutions.

Imagine creating an entire universe from a single sheet of paper. It may seem daunting, but with the right approach, it’s possible. By embracing the limitations of a single material, we can push the boundaries of our creativity and explore its full potential.

Instead of overwhelming ourselves with endless possibilities, let’s focus on the beauty of simplicity. Let’s take a single sheet of paper and see how far we can stretch its life. Can we create intricate origami designs? Can we use it as a canvas for stunning artwork? Can we fold it into beautiful paper airplanes that soar through the sky?

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Working with Sustainable Brands

If we want to create a more sustainable future for animation, we need to start by collaborating with conscious brands and inspiring others to make eco-friendly choices. One example of this is a commercial for Charlie Banana that was particularly special to me, especially as I was pregnant at the time. Even if I wasn’t working on this project, I would have chosen cloth diapers for my baby because of my commitment to sustainability and my understanding of the impact of products on the environment.

In bringing this film to life, we wanted to showcase the beauty of paper and how it can be seamlessly combined with digital compositing and hand-drawn elements. I made sure to source recycled paper to reduce the project’s environmental impact. But the sustainability efforts didn’t stop there! I saved all the paper scraps from the cutout puppets and props and plan to turn them into new paper, using my skills in papermaking that I learned in a class a few years ago. I love how this process can transform discarded scraps into beautiful, usable paper, even using fibers like old denim jeans!

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Charlie Banana TVC

These inspiring sustainable films demonstrate the incredible versatility of stop-motion animation when done mindfully. As a proud member of NERD team, who shares a passion for sustainability, I am thrilled to see more organisations like AdGreen leading the way in sustainable production practices. It is essential that we take responsibility for the environmental impact of our creative endeavours and strive to make positive changes for future generations.

I believe that as creators, we have a unique opportunity to inspire change through our work. By rethinking our processes and the materials we use, we can create compelling, environmentally-friendly films that make a positive impact. Though it can be a challenge at times, there are countless ways to craft sustainably and make a difference. Let’s all do our part to build a more sustainable future for our planet!

‘Marguerite’: A whimsical blend of stop-motion and hand-drawn animation by Hayley Morris

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Hayley Morris walks us through the process of creating her newest personal short film ‘Marguerite’, and the many lessons, reflections and experiences it brought.

Why ‘Marguerite’?

I started working on “Marguerite” in 2017. Jamie Caliri reached out to see if I wanted to make a promo for a version of the new Dragonframe software based on a drawing I had done of a 1920’s style woman. As we started working on it, it evolved into a new piece, and we decided to ditch the idea of it being a promo and have it be a very short film instead. We worked on it, on and off for the past few years in between our projects and life events (pandemic, baby, new home and more).

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My inspiration for the film is an amalgamation of many things. My dad passed away in 2014. He was a musician and guitarist and we really bonded over music. I had been wanting to make a short film inspired by him that wasn’t directly a film about him. That same year, I went to Paris for a show I was in with other stop-motion artists. I fell in love with the feeling of the streets at night and hearing the city’s sounds. When brainstorming ideas, I was listening to a lot of Django Reinhardt and had been making drawings with references to 1920s Paris. In my research, I was drawn to the photographs of Brassai and his night scenes of solitary figures in shadow. I did a series of drawings inspired by the characters in these scenes. One of them was a large drawing of a woman that I turned into the main character of Marguerite.

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Stylistically, I wanted to explore how I could create a 3D stop-motion puppet that looked hand drawn. I created drawn textures for the face, hair and clothes that I then cut out and sculpted for dimension out of paper. I then crafted a story and scene around her inspired by Django-style music and references to my childhood.

Your description of this film gives us a feeling it was a self-exploratory journey for you as a director and storyteller too. What did you learn about yourself in the making of this short film?

Yes. I’ve mainly been focusing on commissioned work, so it was really refreshing to create something personal and experiment with concepts and techniques I had been wanting to explore. I think it’s important as an artist to always create something for yourself. In these projects that don’t have a deadline or expectations, you can take your time to flesh out the new ways of making. There are many things I learned: I loved crafting the puppet and exploring the style of the film. I love the mix of materials and the simplified shapes I used for the characters and props – these are gestures I would love to push more in a future project. 

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I also loved the collaborative process and working with such incredible artists. I’m used to being kind of a lone wolf in my projects and tackling every aspect of a project on my own. It was a good learning experience for me to let go a bit and see how a collaborative process could work. So, I’d say my biggest lesson was learning to trust. After this project, I realised that doing everything on my own isn’t necessary and a project can take on unexpected vitality when other artists are supporting your vision.

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I’m on the East Coast and Jamie and Anthony are on the West Coast. It was fun to see how we could make it work long-distance. We managed to create the storyboards, references, puppet, guitar/guitarist and other props back home and shipped them over to California. Then Jamie and a small team created the sets and shot them in his studio. I went out to California for about 2 weeks, crafted some more buildings, and animated the guitarist playing the guitar.

Then, I did all the 2d animation including the smoke at home and Jamie composited and edited it together. I really enjoyed this way of working. I think since the pandemic, it has become the norm. You don’t necessarily have to be in the same place to work with other artists you admire. Now, I live in the woods in Vermont and do all my projects this way. It’s great!

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You mentioned Dragonframe software, was this particularly new to you or something you wanted to try for a long time?

Dragonframe is a stop motion animation software that has changed the stop motion art form. It came out when I started working professionally in 2008. Before there were other systems that were not as intuitive to use and as complex as Dragon. Now with a DSLR camera and Dragon, you can instantly capture and see the animation you are shooting, control all of the exposure settings in Dragon without ever having to touch your camera, connect motion control and DMX lighting systems, break down audio lip syncs etc. There are so many features and it’s the best program for working in stop motion. So, I was very familiar with working in it. I was really excited to collaborate with Jamie who is the co-creator of Dragon.

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Now that the whole world can enjoy ‘Marguerite’, what is next for Hayley?

Thanks! I’m dabbling with some new concepts. I have a 2-year-old daughter, so children’s programming is becoming an avenue I’d love to explore. I’d also love to create an opening or ending title sequence for a film or tv show.

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Hayley Morris: Bringing colour and light to Vote Early campaign for MTV

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Early bird gets the worm or in this case – how to get young people to vote? New captivating and immersive stop-motion animation from NERD’s Director Haylely Morris for MTV. 

The campaign focused on translating important messages and highlighting some of the main issues US citizens are facing at the moment. We were mesmerised by Hayley’s imagination on how to carefully translate such important issues to young public through art. Our team grabbed Hayley to chat all things NERDy about this film.


We love the idea of such a short yet powerful message, how did you come to this?

MTV’s campaign mission was to get young people out and vote for the Midterm elections in the US on Vote Early Day. The midterms usually don’t have a large turnout like a general election, so we wanted to create something that told the message in a clear and memorable way. We brainstormed so many ideas, and in the end, we landed on the concept of “Early bird gets the worm”. There are so many issues facing the country, but we decided to focus on Reproductive Rights, Gun Violence, Inflation, Racial Justice and Mental Health Care. Voting early tends to be easier and since there was the worry of voter suppression on actual election day, the importance of translating this in a digestible message was high.

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Birds often symbolise infinite possibilities, renewal, eternity, and the transition between life and death, what is the meaning of the lovely bird in this spot?

The bird was chosen mainly as a symbol for the early bird concept and how you can bring the issues you care about to the ballot box to make a difference with your vote. The bird itself is crafted out of an election ballot and it plucks the issues (worms) out of the ground to fly them to the ballot box.

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Being a stop-motion director you must be good at a few different handcrafts. Origami seems to have a particular place in this spot, is this something that you enjoyed long before starting your career or is it a skill you needed to acquire for the profession?

I love working with paper and have been manipulating paper through stop motion for a long time. In each project, I always try to do something new and see how I can push it in a different way. For this one, I really wanted to push the transformative quality of paper by having the election ballot fold up into the bird. I wanted the final bird to be very simple, but highlight the elements of the ballot that are important to read. The belly of the bird displays ‘ELECTION’ and the wings and tail says ‘For US Congress’ and ‘For Governor’ with the candidate’s checkboxes. 

I usually like to create a lot of my work in camera, but here I wanted to explore compositing more. I shot all of the elements on a green screen and mocked up the final scene for the compositing. Seeing it all come together was a lot of fun.

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Your work is always so colourful and brings joy to every topic you cover, is it something you aim for in every project?

Thank you! The paper itself is always so inspiring. I love going to the art store to look and feel all of the papers available for their colours and textures. I try to craft sustainably where ever possible so I also enjoy searching through my materials and seeing what I can re-purpose and give a new lease of life to!

For this one, MTV wanted the colours to be close to their end frames which had blue, yellow and pinkish orange. I tried to bring those colours into all of the backgrounds so that the transition from the paper scenes to the digital end cards wouldn’t be too jarring. It also helped make the white bird pop against the colourful backgrounds. It was so entertaining to explore what the underground scenes with the worms would look like, so I found some really beautiful Lokte paper in brown and maroon tones that were a nice contrast to the vibrant above-ground scenes.

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For fellow directors and animators, do you have any advice on how to make serious and important topics more fun through handcraft?

I would say it is a lot of brainstorming and just getting all of your ideas out. We probably went through 10 or so concepts before landing on this one. You have to dig deep into all of the ideas and then pluck out what the central themes you really want to focus on are. 20 seconds is not a long time to try and pack in big ideas, so you have to think of symbols and visuals for what you need to say in the most concise way. When it came down to sifting through our concepts, we wanted to stress how voting early is easier and focus on the issues at hand. The bird is a vehicle for change by taking the worms with the issues to the ballot box as the sun rises.

Many of our rights are on the line, like reproductive rights and the right to choose, and issues like gun violence just keep happening. There have been 604 mass shootings in the US in the year 2022. Inflation is making life unlivable and Mental Health Care is not affordable or accessible to a lot of people that need it. Racial Justice has so many layers but is tied to elections and voter suppression within communities of colour.

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Hayley Morris: Bringing Colour And Light To Vote Early Campaign For Mtv 74 - Nerd Blog

Hand-made animation also brings a human touch into the visuals that help to support the human issues we’re trying to address. Even if the viewer doesn’t realize these images are actual paper, there is something playful and relatable to the election ballot folding up and turning into a bird. When you go to cast your vote you are filling out little circles on a physical piece of paper and actually putting that paper into a box/or mailing it in an envelope. 

There is a visceral connection between the paper and the act of voting itself. So for me, making this whole spot out of paper felt very appropriate in supporting the overall idea and concept.

Check out Hayley’s profile for more here.

The Work behind Rudy: a film by Shona Auerbach

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Amidst busy working days for Shona, we managed to grab her and tell us a little bit about one of her most recent creations – Rudy.

Rudy is an award-winning coming-of-age drama set in the heart of rural England. It follows the emotional journey of a teenage girl who finds herself being tested by her relationship with her father and responsibility for her younger siblings. She feels increasingly pushed out when her home gets opened up to a paying guest. Through a newfound friendship with a boy from Coventry, she discovers fun, freedom and autonomy.

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“Rudy” is a film that centres on love and loss, youth and innocence, holding on and moving on. What inspired you to create this film and pursue these themes?

The initial story was triggered by me losing my dad and also losing a friend who left a teenage daughter. The months after this I would drive past a house in the countryside every week, I started creating a story about a girl who lived in that house, dealing with her own loss and trying to find some kind of reconciliation with her own feelings, whilst also trying to get on with life. 

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You collaborated with Akira Kosemura on the musical composition for the film. How did you two meet and what was it like working so closely with one another?

My son loved his music and suggested I ask Akira if he would give me permission to use one of his tracks or even possibly compose a track for the film.  I got in touch with him and after seeing the film, he loved it so much that he offered to compose all of the original soundtracks.  I was bowled over, his music is so wonderful and I loved working with him.  Because of the time difference to Japan, he would compose in his day and send over the tracks and I would put them into the edit and feedback, and although we were a long way from each other we worked really well together. 

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The visual style of “Rudy” looks beautifully natural and nostalgic, somewhat akin to Sean Baker’s aesthetic. What led you to choose this style?

Graeme was the cinematographer on Rudy and I was originally both a photographer and cinematographer before I started to direct.  Both of us are drawn to visual storytelling.  We didn’t have much in the way of budget or crew so we had to be inventive, improvise with camera moves and often embrace what light we were given. We chose particular times of the day to shoot, when the light was right, and so operated in a more organic way.

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Most of the production was done locally and with minimal crew, do you always approach your work this way?

Over the years I have had the good fortune to work on projects with decent budgets, which in turn has allowed me to have bigger crews.  However, I often think it is because Graeme and I originally came from film school, that if there is no budget, we slip quite comfortably back into shooting in a simpler way. Rudy had a minimal crew because of the lack of financial resources. Some may see this as a limitation, however, in many ways it was very liberating because it allowed us to be very light on our feet and getting what we needed in simpler ways.

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What were some of the hurdles and challenges you faced while putting all the pieces in place for this production? 

The main difficulty was the lack of money to throw at situations to help resolve them. 
We knew from the outset that this was going to be a labour of love film, and once we accepted that we did not have funding to make things go quickly, we embraced the fact that we had to make it at the pace we could afford.  We managed to get over most hurdles, finding inventive ways of shooting and we were given a lot of generous support from lovely people along the way.

The New New Business: NERD Productions PART 1

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Meet a few of NERD’s Talent & New Biz team – Lydia Kaufman, Maria Leal and Lorena Perez!

They are responsible for discovering new talent, executing NERD’s new business strategy and pitching to our agency & brand partners across the globe. Let’s dive deep into how they work their magic and help make NERD what it is today!

What was your first new business win?

ML: My first win was with a lovely team from an agency in Spain around 12 years ago. While it was my first ever project and I got a little stressed, everything went swimmingly and to this day the team from that agency are good friends!

LP: It was around 12 years ago when I was working on breaking into the Spanish market. It was a job for the local government in Barcelona and my first ever win! I remember how frighteningly exciting it was, and even though I felt a little anxious I soon realised that everything was going fine and there was really nothing to worry about.

LK: My first ever business win was on a job for Sony with the team from Saatchi and a directing duo called Si & Ad. It was my first job in the industry, and it was their first job too – overall very exciting and a great start to doing what I love!

What was the best piece of advice you got early on? 

Everyone: Do your best, be honest and never give up! Persistence is key.

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How has the business of ‘selling’ in the creative industry changed since you started?

ML: Budgets used to be bigger and the projects were less fast-paced. Nowadays we have to work quicker and with fewer resources but in a way that’s had the added bonus of making us even more creative than before 😉 

LP: We are presented with plenty of new opportunities as businesses adapt to the needs of the market – a bigger online presence with new platforms like TikTok and other forms of social media. Working from home in a way has made things easier as you can connect with just about anyone from around the world. 

LK: The main change happened with the rise of digital- these days we can just send a link with a showreel! When I was starting out one had to visit all agencies in person, find a TV to show the work and make sure everything is in working order.


How do you usually find new talent, is there a secret NERD recipe to it?

LP: I always think about creativity, diversity, passion and innovation. We need to be at the top of the game if we want to do well in the market!

LK: There is no secret recipe for finding new talent. I always look at various publications, socials, and awards, as well as just explore new work from everywhere. I also like to look into different festivals where up and coming directors usually come from.

ML: When I think about NERD’s talent, I think about freshness, a very open and receptive mind, bold and adventurous creativity, and of course a huge dose of professionalism and heaps of team spirit.

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What are your thoughts about the process of pitching that the industry largely runs on?

ML: I think pitching is ok as it’s a way of communicating creatively with the agency and the client, sharing with them how we see their “baby” materialised. 

LP: Clients are trusting us with their brands and they want to make sure we will take care of them. NERD’s approach is bespoke and carefully crafted for each creative brief we receive. 

LK: I always thought that every company pitching for something should get a fee out of it – it’s people’s time, money, effort and I have always said that. However, we all know – you’ve got to be in it to win it!

How do you tailor your approach according to the kind of person or business you’re approaching?

ML: You always need to adapt your approach – either creatively, economically or even technically. It’s a kind of psychological test and an opportunity for you to learn and grow. 

LP: I do some research on the client, the work they have done and then I choose to present what is the best for them. Then you adapt and learn to prepare for the next round. The main advantage we have is the sheer volume of visual styles and approaches for almost everything.

LK: Research and tailoring for each specific brand – every time, all the time!

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New business can often mean hearing ‘no’ a lot and quite a bit of rejection – how do you keep motivated?

ML: Never take things personally. Motivation comes from being with a team and trying to bounce ideas between each other. I also find it good to do explore things outside of my professional life which helps me to remain passionate about all aspects of life. 

LP: Always be positive and take the learning opportunities – always keep the relationships with the client open and continue to pitch to them. It all works, as well as the importance of understanding that there are so many reasons for not moving forward and you should not take it personally.

LK: There is always a risk of rejection, worth remembering that it is a numbers game and the good will come.

How important is the alignment between the talent and client in your opinion?

ML: It’s absolutely key, talent and client should be completely aligned! There should always be a dose of differing opinions, as this is a sane way of evolving a super creative project, though, they should always have a sense of alignment between them.

LP: If the client and talent are not aligned the project could be in jeopardy. The talent will advise the best way of achieving the results but the client needs to agree on the concepts. Teamwork makes dream work!

LK: It is vital! We have nothing without the alignment between the talent and client, the best work is created by having a perfect match.

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The advertising and marketing industry often blurs the line between personal and professional friendships and relationships… does this make it easier or more difficult and delicate for you?

ML: If you act and work with honesty and integrity it can’t be difficult. 

LP: You need to learn how to separate the personal and professional. Always be transparent and honest so you don’t generate false expectations. 

LK: If you are friendly and can build good relationships it makes it all easier. It is always nice to know someone more personally rather than keeping it strictly professional.

NERD is known for its diverse and inclusive roster, what goes into matching the talent and client briefs ensuring you make just the right pairing?

ML: There’s a delicate balance to be struck when it comes to finding the right talent for a brief. There should be a combination of the right styles and techniques, but also there are specific briefs that require shared values and ways of seeing life – that’s when finding the perfect pair make all the sparks fly!

LP: The important thing is to really understand who is the right talent for the brief – and having diversity in the team helps bring very different ideas and perspectives.

LK: It is all about understanding what the client really wants and what their brief is about. To have the best pairing, I look at the personalities and their creative brains. A lot of it is also about gut feel – when I see a script I always have some directors pop up in my head as I am going through the brief.

In your view, what’s the key to winning projects?

ML: I think the key is trust. Your clients always need to feel that they are in good hands.

LP: The clients always need to know that we have the right solution for them and that we will do anything we can to make it work! 

LK: Remaining professional, being honest, approachable and knowing that you are going to give it your 100%.

What’s your advice for anyone who’s not necessarily come up as a salesperson who’s now expected to sell or win new business as part of their role?

Everyone: Truly believe in what you are selling and try your best!

The Black Cop: a villain, a victim and a hero. 5 Questions we asked Director Cherish Oteka

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Exploring the complexities of identity, authority and community with Cherish Oteka, director and producer of BAFTA-nominated “The Black Cop: a villain, a victim and a hero.

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NERD: Gamal’s story is about the complex challenges that ethnic minorities sadly have to face to this day. How did you come to know Gamal’s story, and when did you realise that this was something that everybody needed to hear?

Cherish: I first heard about G when I attended a workshop for LGBTQ+ people of colour. During the workshop there was a breakout session to discuss role models within the community and G’s name came up. While I didn’t actually know the details of his story at the time, I reached out to him to generally make contact. G and I built a friendship from there and along the way he shared details of the challenging parts of his journey. He was keen on sharing his story in the hopes that it could help and inspire other people. I knew that this was an important story of overcoming self-hatred and that is a universal journey that could connect with audiences.

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NERD: Gamal is proud of who he is and has taken ownership of himself, his past and his identity – all of which he now uses to help better the lives of others. How has his story impacted you personally, and what impact do you think it will have on others?

Cherish: I hope the impact of hearing G’s story will be the same for others as it was for me. While G’s story is shocking and triggering in parts, making the film and meditating on these themes have been healing for me. His story provided an opportunity for me to reflect on pivotal moments I’ve had with my identity and the impact they have had on me. I think everyone can relate to being told directly or indirectly that there are parts of who they are that aren’t good enough. The intention behind this film is to make conscious what is largely unconscious when it comes to self-hatred.

NERD: Race and gender identity are common themes in your work. How do you tell stories to people who have so few touchpoints with the issues facing minorities?

Cherish: Identity as a whole is an area that I am interested in and we all have a sense of self. My approach to storytelling is to tell specific stories in universal ways. In that way, whether someone can directly relate to the struggles of marginalised communities or not is less relevant. It’s ultimately about the emotions that drive our collective experience of humanity and those feelings transcend race, sexuality, class, gender etc.

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NERD: There’s a clear exploration of identity, as well as a rallying cry for equality and inclusion. Why did you choose to centre the story of an individual rather than a group of people?

Cherish: G’s story alone touches so many important moments in recent British history. From the Black communities’ resistance of oppressive policing, to the push for LGBTQIA+ equality and the aftermath of the West African ‘farming’ phenomenon, where white families took care of Black children outside the remit of local authorities. There were so many important touchpoints in his story alone that allowed us to speak to several bigger societal issues. Because of this, I didn’t feel like we needed more voices to tell this story. Some of my favourite films are ones that tell big, complicated and nuanced stories through one persons’ perspective and that is what I sought to do with The Black Cop.

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NERD: Gamal’s story is inspiring but heart-breaking. Do you have a message for all the young people of colour out there who are silently internalising many of the same conflicts that Gamal faced growing up?

When we think of racism or any other form of bigotry we think of the big events and give little attention to the daily subtle comments and actions that can negatively impact self-esteem. I want us to acknowledge those events, the impact they have and begin or continue a journey of healing.

Want to see more from Cherish? Tap here.

NERD’s Director Rafa Cortés on the power of printing and how to find the best ideas.

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Rafa dives deep into the thoughts on how to find the best possible ideas, why he needs to print the scripts and what it takes to be a guy from ‘now’,

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

Scripts choose me! People who get in touch with me usually already know what I can do for their projects. That’s why I don’t usually get scripts that could be difficult for me to end up shooting. I feel lucky because this saves the agencies, my producers and me a lot of time used in unnecessary pitches. The scripts that catch my attention the most are those where I can really tell a little story and provoke emotions to the audience.

How do you approach creating a treatment for a spot?

First and foremost, I print everything. I need to see a script on paper so I can draw on it, move things around. On the first day I never try to do anything with it, I just go away from my desk and spend some time with my family to let my mind relax trying to keep the project in the back of my head till the ideas start appearing by themselves. After that, I try to imagine what points of the treatment will help me explain what I would do with it. Mechanic typing comes then, I let everything I have flow naturally into the treatment.

What I don’t do is to start the process looking for references. It might be an ego thing, but I let my mind come to something on its own, look within myself. I, of course, can come to it naturally, although it might have already been created and it is perfectly normal. I do need references anyway, no matter how much I dislike it, because I need to find a way for the agencies and the clients to visualise my proposals. Although, I still think it is good to come up with something on your own first.

Nenuco – Regalo

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? 

In my commercial work, I’m there to help sell a product/service, and to associate the companies and their brands to certain feelings or ideas. We always need to distinguish the brand from their competitors, how they’re different and how we can show it in the best possible and more effective way. There’s always a moment when I need to do some research, market research and also ask the agency/client some questions to help me understand where they are at and what they are looking for.  The best way to get a genuine, interesting spot, is to make bespoke work. 

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

I think the most important is trust and collaboration, with everyone – producer, creative team, management, crew, etc. An important part of my job is to help solve their problems, read between the lines, and come up with the best ideas!

La Quiniela 70 Aniversario (Trio)

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

Fiction, storytelling, recreation of reality and anything that involves testimonials. Errol Morris is a director I look up to and I often think that I would feel at home facing a lot of the testimonial and commercials projects he has masterfully crafted. 

What misconception about you or your work do you most often encounter and why is it wrong?

One of my biggest frustrations is when people think there’s no script or mise en scene behind my work, that everything happened for real. My ability to make something that is fake seem very real is what I am also known for. But it is sometimes difficult to imagine that kind of work for people who haven’t been following the process. They usually think I am lucky with getting a lot of real stories, told by ‘real’ people, when in fact, there’s a lot of hard work in writing scripts, casting actors and all other things. I’m mostly about fiction!

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

It was one of my personal projects, a feature film. I had a scene with one very complicated and strong actor. He had to wear a gorilla mask, you can imagine, as an actor it might be quite frustrating. Then he got really angry because of something I didn’t really understand. He is German and he started shouting in German, so what I had to deal with was a person wearing a gorilla mask, shouting in the language no one understood and I was the person in charge, who had to fix everything. What did I do? I went up to him and said “Wait a minute, do you realise I have a gorilla shouting at me in a foreign language in the middle of a set, can you help me solve this?”. After a deep pause, he smiled, we both laughed and the conflict was resolved.

La Quiniela – El Grito

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

In the commercial world, I really fight for finding the best possible idea that works for both me and my clients. The client knows the brand, I know filmmaking, and we create harmony of those things together.

What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

I tend to be open to anything that makes me see the world from new different angles, I like meeting new people and hearing different and sometimes controversial ideas. I have different friends, I have worked with different people and I am very happy that I am able to learn from people who come from a different background than I do.

Although, I do not specifically look for anything but my doors are always open!

I mentored quite a few people who are now directors and actors. I wish I had more guys like me when I started, a mentor who would advise and help. This is essentially why I am mentoring everyone who comes to me and needs my help.

How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time? 

I wanted to think that this pandemic would make us better than we were, same with the economic crisis. I tend to be optimistic and I have learned a few things myself.

Working from home has certainly made us appreciate our loved ones more, as well as the change in work ethic. For me, it was no new working from home, I live in Mallorca and I do most of my work from there, so I was trained to work from home for years 😀

Your work is now presented in so many different formats – to what extent do you keep each in mind while you’re working? 

It depends on every project, sometimes you need to put more effort in one of the formats and create others to support the main point of the campaign.

Depending on the format you shoot it, you always need to remember those extras to make it work across all platforms.

VW Polo – Pelota

What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

I am a guy from ‘now’. As soon as something new comes out, I will be one of the first people to try it out. I was one of the first guys in Spain who started shooting with a RedOne camera, when people were afraid of digital video, and will be happy to continue to incorporate new technologies in my work as soon as they come.

With new technologies, we should always keep ourselves at the top of the game. For me, it is applying my unique ideas to this new technology, it gives you the advantage over others and I would suggest everyone to do the same.

See more from Rafa here.