Hayley Morris recently teamed up with Mighty Oak, Jigsaw Productions and Prime Video & Amazon MGM Studios to create an underwater world for the docuseries OCTOPUS!. Constructing an ocean brimming with character and heart. The series blends live action with flawless stop-motion animation that comes together to create a sense of wonder and discovery. The story follows the eight armed protagonist Doris a Giant Pacific Octopus from babyhood to adulthood in a time spanning adventure.
When designing the puppet for Doris Hayley wanted her to resemble a real octopus but incorporate subtle human traits creating a sense of emotional connectivity with the audience. As per usual Hayley’s puppetry brings a tangibility to the character that translates onto the screen with Doris feeling complex and layered, with every movement pushing the narrative forward. With the surrounding ocean environment also made from the same love and care using a mixture of found objects and hand made materials.
Hayley on creating Doris – “I aimed for her surface to feel rich and tactile, realistic from a distance, yet on closer inspection reveal delicate details like lace and yarn that emphasized her handmade origins.”
Phoebe Waller-Bridge lends her voice to the series bringing her quick witted style of humour to the piece and actor Tracy Morgan makes an appearance which all comes together to tell a compelling informative and incredibly cinematic story of a deep sea alien that lives amongst us.
If you fancy a trip below the waves the show is now available to stream on Amazon Prime and if you want to see more of Hayley’s masterful work then please click here.
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.
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.
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.
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 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 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.
Marta Chierego joins NERD Productions roster as a pioneering director who seamlessly merges live-action with CGI. Her experimental techniques and refined aesthetic have attracted luxury, fashion, and automotive brands worldwide.
Her global perspective is shaped by life in Northern Italy, London, Geneva, New York, and Los Angeles. Marta’s experience across 40+ countries infuses her work with authentic human connection.
Join us as we explore Marta’s craft, inspirations, and vision for the future of storytelling.
Your work spans from technology docu-style films to branded content for spirits like Don Julio. How do you approach storytelling differently across these diverse topics, and what remains consistent in your narrative approach?
I’m naturally curious, so I always approach each project with a clean slate. It’s the best way to create something that truly connects with an audience since they’re coming to the story fresh, too. What’s consistent across all my work, whether it’s tech, spirits, or fashion – is recognising the human intent behind every brand or product. At the core, these are signals of passion, dreams, or purpose, and that universal human element is what I tap into as a foundation. From there, it’s about balancing precise storytelling with a cinematic edge to create something that not only resonates but sticks emotionally.
As a polyglot who has travelled from Mongolia’s yurts to megacities across multiple continents, how do these diverse cultural experiences shape your ability to connect with subjects from different backgrounds?
Traveling has always been my greatest teacher. Growing up in Italy and then living in cities like London, Geneva, New York, and Los Angeles expanded my understanding of the world. I’ve shot projects in over 35 countries, and that has given me a beautifully unique insight into how people view the world. These experiences have taught me that while surface details may vary, every story holds a shared humanity. My job is to find that connection and build from it, no matter where I am or who I’m filming.
Your work seems driven by a desire to uncover authentic human connections. In an era of increasing digital complexity and AI, how do you ensure the human element remains at the heart of the stories you tell?
I’m passionate about technology and firmly believe that, when used ethically, it can propel humanity to heights we couldn’t achieve on our own. The key lies in defining our collective values as a diverse, inclusive society built on mutual respect and equal rights. While the world faces significant challenges, I focus on the immense potential for positive change. Stories about sustainability, circular economic models, regenerative practices, ethical connectivity, and respect for individual privacy inspire me. I’m excited by tools and projects that can transform healthcare, education, and infrastructure for the better. There’s so much untapped potential, and I love collaborating with brands committed to human well-being and planetary stewardship.
What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
With all the talk about AI and technology, personal, authentic storytelling is becoming more central than ever. Many brands recognise that to resonate with their customer base, they must express thought leadership within the core values their brands represent. As a director, translating that into powerful human-led stories is incredibly rewarding. I also see great potential in the ethical use of new tools to expand the potential of how visual effects can be used to expand the limits of creativity.
What elements of a script set one apart from the other, and what sort of scripts get you excited to shoot?
I love it when a script hints at something visually ambitious and offers a chance to create iconic moments or push the boundaries of what’s expected. I’m drawn to scripts that evoke a visceral emotional response — something that feels personal yet universal. The story should immediately hit me at an emotional level and make me think, ‘How can I make this unforgettable for the audience?’
The best scripts provide a foundation but also invite me to bring something extra to the table. That creative back-and-forth is where the magic happens.
For you, what is the most important working relationship for a director to have when making an ad, and why?
It’s crucial to have a strong relationship with both the producer and the client. For me personally, having the right DP by my side is essential, it ensures I feel supported and empowered to deliver the full potential of my vision.
What is your favourite piece of work and why?
I love Unconditional because it flowed out of my subconscious and was shot on film. I also love AR Johwska because, with very few resources and some talented VFX collaborators, I was able to create something new that feels futuristic, elegant and organic.
And finally, since you are now a NERD, tell us a nerdy fact about yourself.
I taught myself English when I was in primary school because I wanted to play the same video games as my older brother. It was amazing because it exposed me to so many different registers — from LA ‘80s slang to RPG-style ancient English. Sitting by a computer screen with a dictionary in hand to figure out what was going on was magical.
Migration is more than just moving from one place to another, it’s an act of courage, transformation, and self-discovery. For many, it’s about seeking opportunity, safety, or a chance to thrive in ways that might not have been possible back home. For Kulay, the journey from the Philippines to the UK became the canvas for his creativity, shaping not only his life but also the stories he tells through his work.
Today, on the World Day for Migrants and Refugees, Kulay shares how the challenges, triumphs, and moments of introspection as a migrant have influenced his artistry. From navigating a new world to holding onto his culture and identity, his work captures the interconnectedness of human experience – a true reflection of his belief that art and migration both thrive on curiosity, courage, and compassion.
Can you share your journey from the Philippines to the United Kingdom? What motivated your decision to migrate?
I moved to the UK in 2015 to pursue my further studies at Central Saint Martins, UAL. But then opportunities and love found me in the journey, so I took it as a nod from the universe that I was in the right place at the right time and felt like this was the path I needed to follow where I could fulfil my calling and be my best self.
What were some of the biggest challenges you faced when you first arrived in the UK, and how did you overcome them?
To be 100% honest it is the financial side of things. I did not come from a wealthy family. I was on a scholarship but it only covered the uni fees so I had to provide for my living expenses. I came in only with £2000 not knowing how long it would last, or how would I even make it last. In my first few months here I tried to do this thing I call a “CV giveaway” for any opportunities I thought I could do but nothing came out of it.
Until I became more chilled with my approach, then the opportunities started to come. As much as I recognise the privileges that came with my choices, the journey has not been a walk in the park. Only when I managed to get to the other side did I realise that I can only do the best that I can and the difficult pill to swallow is to keep the faith and never surrender. If there’s anything that this experience has taught me is that sometimes the most painful and difficult part of trying is the one closest to a breakthrough.
How has your experience as a migrant influenced your sense of identity and belonging?
My experiences as a migrant allowed me to step back a bit and look at myself from a distance in a bigger picture. It is the image that reveals a lot about who I am, that I use as a moral compass in the many times I needed to fit in, blend in and shape-shift in order to assimilate. So in a way, my migrant experiences did not change my sense of identity but it reinforced who I really am and enriched who I could become.
What aspects of Filipino culture do you carry with you in your everyday life in the UK?
Of course the usual, the food, the humour, and our optimism. But my favourite I think is grit. Growing up in a catastrophe-prone part of the globe with very limited opportunities and basic resources, my inner power to push through and try and keep trying has empowered my confidence with my own abilities that I try to bring and show up with every day.
Have you encountered any misconceptions or stereotypes about Filipinos or migrants in general? How do you address them?
I think stereotypes are neither absolute good nor absolute bad, it depends on the context they are operating. But sure I have my fair share of them, looks in people’s eyes sometimes don’t need words when the colour of my skin gives it away. But I must say I am lucky that I never had any violent physical or verbal abuse because I have heard a lot of those horror stories. Plus I am based in London which is rather multicultural and more embracing of diversity. But whenever I get them, I address them with what I know and I know that kindness breeds kindness so that’s my choice of approach.
How has your perception of ‘home’ changed since moving to the UK?
My heart will always be Filipino but London is also ‘Home’ now. I guess the definition of home has now evolved into something that goes beyond geography. I think I do a lot of the creative work that I do now because in a way it is a doorway to access the fleeting and familiar feeling of home. So my perception of home is essentially still the same but now that my world has expanded, it has also expanded into something that cannot be reduced to a singular place and definition. Home now feels like not just a noun but a verb.
What support systems or communities have been most helpful to you as a migrant in a new country?
I have been so blessed to have found people who I shared common backgrounds back home with. My international cohorts from my MA have been constantly there since day dot until now. I met a lot of old Filipino friends who moved here to study and started new lives here as well. But ultimately my loving husband and my new family make a lot of these “migrant” things more bearable. So yeah the universe has been watching my back in that ‘Human Resources’ department that’s why I am so very grateful.
What are your thoughts on the importance of observing World Day for Migrants and Refugees, and how can we better support migrants and refugees around the world?
As human beings, we must see everybody as human beings. Coming from a culture where the concept of ‘Kapwa’ is at its core meaning others are extensions of ourselves or even looking at other people as our selves, empathy and compassion a paramount practices. Observing World Day for Migrants and Refugees annually is an opportunity to exchange stories and remind many of us of our privileges as well as to constantly treat everyone with respect and kindness.
Looking back, what has been the most rewarding aspect of your migration journey?
It is human nature to follow curiosity and search for places of safety, refuge, and survival. Each one of us has our unique story to tell about our personal migration journeys, but for myself moving away from home has always been about finding a place where I could express my most authentic self, do my best work, and at the same time look for my corner of the earth that would allow my inner creativity fly. It has been a spiritual adventure. So the most rewarding aspect must have been the journey itself where I learned a lot more about who I am and the fact that all humans are innately good.
What message would you like to share with those who may feel hesitant or fearful about migrating to a new country?
Prehistorically even before all the tectonic plates have decided to drastically move, migration has been a constant human business, so something is reassuring that it is in our collective history and DNA. Having said that, I don’t want to overgeneralise and say that it is for everybody because it may not be, for some it is a privilege and for many, it is inevitable for survival. I think the more important question that needs answering is to muster the confidence and the courage to listen to their inner compass to know when to move, where to go and most importantly why.
Animation brings stories to life, magically blending creativity and technical skill. In this series of interviews, we celebrate the artists who make the impossible seem real. One such artist is Rachael Olga Lloyd, an award-winning animation director specialising in stop-motion and puppetry. With a love for folklore, handcrafts, and storytelling, Rachael has a unique approach to her work that merges intricate detail with a heartfelt narrative.
We sat down with Rachael to chat about her journey into animation, which began with a spark of inspiration from the music video “Ready, Able” by Grizzly Bear. Her work, including her short films “Iktsuarpok” and “How to Count Sheep,” has garnered international recognition. Beyond her award-winning films, she’s collaborated with organisations like The Scouts and Fair Trials, creating meaningful and memorable animation projects. Through her creative process and personal experiences, Rachael offers insight into the world of stop-motion and the importance of self-exploration in artistic growth.
How did you fall in love with animation?
I have always been obsessed with art from as young as I can remember but never thought of animation till very late. Things like Wallace and Gromit never inspired me, it wasn’t until I first saw the Grizzly Bear music video “Ready Able” animated and directed by Allison Schulnik that I was suddenly like “Omg what is this? I want to do this! “
Tell us about the animation project that kickstarted your career?
My personal film Iktsuarpok, it was my first stop-motion film done to a higher standard and showcased a lot of things I wanted to explore more as an artist.
How would you describe your art style and what are your biggest inspirations that developed it?
I guess I would describe my art style as very tactile, handcrafted, stylised, and sensitive. Most of the characters portrayed in my work have a sensitivity about them or sadness.
From your perspective, what’s the key to animation that really lives?
For Stop Motion specifically, I think it’s embracing the materials you use in the film. What makes stop-motion different is that it’s physical so you should embrace that and celebrate the handmade nature of it and not use so much CGI that it’s no longer recognisable as stop-motion.
Show us your favourite or most impactful project that you’ve worked on – tell us, what is it that makes it special and what were the memorable moments or challenges?
I recently did a little video for the NHS, this stood out as it was the first time I made an informative video. It was a new and exciting approach to animation. The video is about chronic pain, it was a real challenge to communicate this complicated topic in a video but it’s probably the part I enjoyed most. It made me realise that I love communicating ideas, whether through images in my films, through teaching or any other way.
How does one figure out what kind of animation style or styles fits a particular story or project?
You need to understand the audience for the film and the feel or style that suits it. If it’s for an informative video for example then it needs to be broadly relatable and representative and overall very clear to easily communicate the information. If it’s a story or music video I tend to go through the story or song a lot in my head to feel and immerse myself in the emotions and then I set art to visualse a style that would suit those emotions.
What is your favourite piece of technology or software that you use and how does it help your creative process?
It’s a bit silly but my Pinterest. It’s just a simple online pinboard to store images but I have thousands of images, it’s like my online sketchbook. Whenever I see anything ever I save it to my Pinterest for future reference. For example, I have a character pin board with hundreds of images of character ideas so when I start a new project I go on that and search through to find inspiration. It saves me so much time as well.
Outside of the field of animation, what really inspires you?
Music, a lot of my personal work is massively inspired by music. When I listen to a song it helps to come up with ideas for films and characters.
I also find handcrafts inspiring, I have been to many places in South America and Scandinavia and brought back loads of handcrafts, weaving, sculptures etc, and decorated my flat liberally with them. I just love being surrounded by this kind of art it really inspires me.
What do you think are the misconceptions about animation throughout the industry?
That it’s mostly for children. Animation is an art form just like any other and is not restricted to only very young people.
What are the biggest changes to animation and challenges facing animators at the moment and what are your thoughts on them?
With the emergence of AI, I worry about the threat of work for artists due to issues with companies choosing AI over people due to cost-saving.
Any advice you would like to give to aspiring artists?
Take time for self-exploration and what inspires you, as self-exploration and an artist’s style are connected. As we age, we should evolve and so should our art.
Skittles has been dazzling fans with Pride-themed packaging since 2020, reinventing their classic design each year to amplify awareness and spread joy. This year, the vibrant new pack, crafted by NERD’s dynamic LGBTQIA+ talents Shay Hamias and Esther Lalanne, bursts with fun and energy to honour the LGBTQIA+ community.
NERD, an eclectic team of directors, illustrators, and photographers, is renowned for their creative flair and commitment to diversity across various platforms. Their recent collaboration with Skittles on the annual Pride pack is a testament to their shared mission of celebrating and uplifting the LGBTQIA+ community with exuberance and style.
For this project, Milana (NERDs Founder & EP) brought in visual artist Esther Lalanne, known for her dynamic style, to lead the design. Together with creative director Shay Hamias, Esther turned the Skittles rainbow into a lively scene inspired by Berlin’s Tempelhof Field. The design features hands, feet, and a single head, all engaged in different activities like roller skating, playing musical instruments, and forming a love heart with multiple hands. The design also includes an easel and a camera, symbolising creativity and capturing the moment. The vibe is confident and carefree, with the tagline: “When you find your community your colours shine.”
Esther shared that balancing diverse identities in the design was a delicate and intricate challenge. The final artwork brilliantly captures a supportive and creative community spirit, using vibrant elements that resonate with everyone. Instead of individual characters, the design weaves together symbols that celebrate unity and self-expression, keeping the essence of togetherness at its heart.
With Pride Month upon us, the limited-edition pack is now available to consumers, and Skittles has promised to donate $1 for every pack sold (up to $100K), as well as match donations up to $25k. These contributions will go to GLAAD, a non-profit LGBTQIA+ advocacy organisation that has partnered with Skittles for Pride Month every year for the last five years.
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.
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?
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.
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.”
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.
From stumbling upon a hidden door into the filmmaking world to working on some of the biggest feature films and winning awards, NERD’s director Peter S uncovers the secrets behind his remarkable journey. Join us for an enlightening Q&A as Peter shares intriguing insights about his craft, granting us a glimpse into the enchanting realm of VFX.
VFX is a true craft in the classic sense of the word. Where and why did you learn your craft?
Similar to cinematography, VFX is one of those disciplines that requires the encyclopaedic accumulation of knowledge and techniques. You never stop learning, but working at big shops like Weta, with the best in the business, really inspired me to dream big. Initially, I went into VFX because it was a sort of secret door into the filmmaking world. I just happen to have the right skill set, at the right time, and in no time at all, I was sitting beside the world’s biggest directors, studying their approach to storytelling.
There are two ends to the VFX spectrum – the invisible post and the big, glossy ‘VFX heavy’ shots. What are the challenges that come with each of those as a director?
The invisible shots require a good deal of humility and restraint. Every artist wants to be noticed for their work, but there are better ways to approach those shots. Instead, you have to just stick with the reference, and keep the overall purpose of the shot in mind. It’s a thankless job. The flashy stuff is really fun, but now ALL EYES are on your work so you better not drop the ball! Those are the shots that give you stomach ulcers in dailies. The potential to fail spectacularly is very real.
We imagine that one of the trickiest things with VFX is, time issues aside, deciding when a project is finished! How do you navigate that?
With commercials, usually, it’s done when the clock runs out, but on some projects, you are given a lot of time to nail it. And yes, sometimes you can be your own worst enemy, tinkering well past the apex of its potential. I just think that walking away from your work for a little while is the best way to get perspective. Go snowboarding, race go-karts, hike with your kids, anything works. As long as you earnestly disconnect for a little while, and then can return with a fresh pair of eyes.
Is there a piece of technology or software that’s particularly exciting to you in VFX? Why?
At first, I was a little spooked by the AI software that was coming out, but then I leaned into it on a few projects and realised that it can be a useful tool. Anyone who has spent a decent amount of time with AI knows you still need an operator guiding the creative process. It brings a few types of tasks, that have only really been available to the top-tier VFX studios, to everyone else. I’m excited because it levels the playing field a bit, and I can go toe-to-toe with the Titans of VFX!
How did you first get into the industry? What was your very first job in the industry and what were the biggest lessons that you learned at that time?
I had a terrifically lucky break when I applied to a little-known studio, called JAK Films, in Northern California. It turned out to be the secret art department that George Lucas was running out of Skywalker Ranch during the making of his Star Wars prequels. It wasn’t until years later that I fully appreciated what a mythic cathedral of storytelling that place was. George had a team of the top concepts in each field – Costume Design, Industrial Design, Creature Design, etc. I got to sit in a room with them every day and see first-hand how much magic you can create when you put egos aside and work to inspire the people around you.
What was your most recent exciting milestone in the industry, you were super proud of?
While I have won a few awards for some of my commercial work in the past, the award I received last year from the British Animation Awards for AirWick was a really special one. The film was such a simple, clever script that called for a poetic, zen-like approach. Everyone involved respected that calm approach to the crafting of it, and I believe it really shows in the final product. I think that little film will stand the test of time.
What is your favourite commercial/film of all time?
The work that blows me away year after year, is the stuff that I truly have no idea how they pulled off. Apocalypse Now, (based on one of my favourite books) still makes my head explode. It’s spellbinding in its ability to be a huge spectacle, and deep meditation, at the same time. A film like that will never be made again. Like all great art, it demanded the creator’s journey into madness in order to bring back something so special.
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.’
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.
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.
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.
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!
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.
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?
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!
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!
NERD Productions presents an empowering commercial film, Directed by Kyla Philander (them, they), for Facebook Lite exploring themes of motherhood, love and unbreakable bonds. The commercial showcases the Lite version of Facebook tailored for regions with low data usage and limited connectivity. The latest version of the social media platform enables family and friends to sow, nurture, and grow relationships no matter what!
Diversity & inclusion is at the heart of everything NERD does, so the film was shot across South Africa due to its offering of genuinely diverse communities. Kyla met with local people, filming their personal stories that reveal how Facebook Lite keeps them fully connected. This method was the only way to keep our film authentic. Kyla explains how themes of motherhood and love bring magic to the equation and how the strong human desire to be connected runs throughout the film.
Milana, the Executive Producer at NERD, elaborates: “This project touched a few people from the team personally. For me, it was important to find the right talent for our agency & brand, and I couldn’t imagine a better person for it, as Kyla wants to keep the story authentic and relatable.
During the early production stages, a province in South Africa was hit by intense flooding. Kyla explains: “It was something out of our control but also a reminder of how crucial communication platforms are for communities at all times.”
Milana added: “You have to love what you’re doing to be able to communicate these stories and take every challenge as an advantage. The agency was one of the most collaborative clients, easygoing and trusting. Everything just came together perfectly.”
Rather than an off-the-shelf library track, Kyla felt that the music should be bespoke and carefully crafted in synergy with the film’s visuals. “Something curated and made specifically for the project always elevates it and brings a real feeling of humanity into the work.”
Kyla added: “NERD Productions follows the path of diversity and inclusion in valuing and representing a vast range of carefully selected directors, illustrators and photographers. Milana and the NERD team champion the D&I space needed in our time.
It is so important and amazing at the same time when you can use your craft and talent to work on something like a story about under-represented communities. I am proud to say that Kyla was the person who directed this, someone who can dive deep into the brief and show real people as Kyla did.” added Milana
