More exciting news from NERD Productions as we add the talents of the imaginative director Helen Ratner. Her unique and quirky body of work weaves between animation, motion design and art direction, using techniques such as rotoscoping, cel animation and collage. She creates surreal imagery that provides plenty of tantalising humour and whimsical energy, working on incredible projects for the likes of Nike, Instagram and Google as well as working for artists such as FKA Twigs, Steven Aoki and El Afna. Her work comes with a stunning colour pallet that feels like spending time on a tropical beach blending vibrancy and style perfectly.
“Every now and then you meet an artist and you instantly want to collaborate with them, their work fills you with so much inspiration and you get a buzz from just listening to them talk. Helen was one of those artists, her filmography and vivid imagination felt like a perfect fit for NERD and we cannot wait to show you more in the near future”- Founder & Producer of NERD Productions.” – Founder/Executive Creative Producer at NERD Productions
Helen on joining the NERD roster – “I’m so excited to be joining the team at NERD Productions Company! NERD has been on my radar for years and what initially drew me in was their clear passion for creativity with purpose. Their commitment to diversity, inclusion, and sustainability isn’t just talk, it feels deeply woven into everything they do. That kind of integrity really resonates with me and I’m thrilled to be part of a studio that champions talented artists, and cares about the impact their work makes.
What’s also exciting is the chance to collaborate with such a talented and diverse group of creatives. NERD’s energy feels fresh, open, and full of heart. I love how their approach to production feels like a shared journey instead of a solo mission. I’m looking forward to bringing my own experience into the mix, growing together, and creating work that’s not only visually exciting but also meaningful.”
In every walk of life and within any job role we all deal with challenges both internally and externally we often tell ourselves not to let our private lives interfere with our work-life, however is it really that black and white? With May being the month of Mental Health Awareness we wanted to have an open and honest conversation about how as individuals we find ways to balance our well-being with our work output. The advertising industry can be a savage and unpredictable environment with tight deadlines, days of endless calls and meetings that sometimes can feel like dead-ends rather than destinations. An emphasis on freelance work can sometimes add extra pressures of long-term stability and career growth, financing projects can become an upward struggle and sometimes the work days can be long, meaning spending less time with our families and friends.
There are no straight answers to this topic and we all do our best to find ways of finding that perfect balance between productivity and relaxation, knowing when to call it a day, knowing when we need to recharge our social battery. We all come from different walks of life, may it be culturally or financially, each of us dealing with our own insecurities or anxieties and as a society we like to pretend that we don’t. We’re programmed to think we have to be perfect all the time but sometimes the flaws are what make us succeed, it’s how we grow and learn.
Thankfully the conversation around mental health is becoming less taboo and more of an open dialogue and In this article we wanted to get involved in the conversation
THE ART OF TRYING NOT TO OVERTHINK – LOUIS HUDSON (WRITER AT NERD)
For me moving to London was the first daunting step into the creative and advertising industry. After staying in Leeds for both of my university degrees I finally decided to kiss goodbye to my affordable rent and family. My first attempt however was compromised by the global pandemic (just my luck) when the time did eventually come to move down. I had a little bit of PTSD from the pandemic. All that time stuck in lockdown, overthinking, would I be good enough, will I fit in. Imposter syndrome rearing its stupid annoying face. Which I think is a universal thing we all go through at some point in life but I think for me it was exemplified by the pandemic suddenly swapping working from home to attending multiple networking events and having to build up a new social life for myself provided a little bit of whiplash.
Coming from a traditional northern working class background I wondered whether or not I would fit in, whether my accent would be patronised or even understood and apart from the couple of occasions I’ve been mistaken for being Scottish I can confirm people can understand me just about…
For me I learnt that giving myself a schedule helped with the anxiety, even something as simple as going for a walk once a day or finding time to do a bit or personal admin would be a way for me to focus my mind. Post pandemic I’ll take myself to the cinema as much as possible because going to see a really depressing foreign romantic drama really makes me feel better about my life. I also write comedy, which is something I’ve continued to pursue since studying film at university. Since moving to London I attend London Comedy Writers and I’m always trying to get projects on the go, so it’s all very exciting but also gives me something to focus on outside of work hours that feels stimulating and creative.
BALANCING CREATIVITY AND PRESSURE – VIKTORIIA (MARKETING & PHOTOGRAPHY AT NERD)
Growing up, I always knew I was meant to do something creative – something that had a spark but also a slice of structure. I’ve always felt a strong drive to perform well in any role I take on, and with that comes pressure. When I moved to the UK, that pressure only intensified, it became about building a whole new life from the ground up. New friendships, new networks, and new opportunities.
Because social media is such a big part of what I do, there’s a constant expectation to be present. Whether it’s about posting the next big idea or simply showing up on people’s feeds, the pressure to stay relevant can be overwhelming. And while I sometimes get hit with that “who cares?” mindset, the reality is every single job or opportunity I’ve had has come from being online, from putting myself out there, from connections made through the digital world.
That’s the double-edged sword of it. While I owe a lot of my career to social media, my mental health often suffers because of it. Imposter syndrome creeps in, feeling like I’m not doing enough, even when I know I’m going above and beyond. Some days, depending on where I am in my cycle or just how much I’ve been carrying, I’ll cry it out. I’ll spiral into “I’m not good enough” thoughts and that’s when I really lean on my husband. He’s my anchor on those tough days. But then, just like that, I bounce back. The very next day I might feel like I can take on the world. I’ve also been incredibly lucky to work with people and clients who are genuinely supportive, and that kind of environment makes a huge difference. The same goes for my friends, just having someone who listens can lift the weight a little.
Being creative in the fast-paced, ever-evolving world means you’re always expected to innovate, stand out, inspire. It’s a lot. But I’ve learned that having a support system and grounding routines can help massively. For me, it’s simple things – going for a walk, spending time in nature, hiking up a mountain. Maybe that’s why I’ve gravitated towards hiking over the past two years, it gives me space to breathe and turns off my loud brain.
At the end of the day, it really is a journey. Some days feel weird, others feel heavy, but there’s always something to learn.
WHEN TO ASK FOR HELP – MARGAUX MADAMBA (SOCIAL MEDIA MARKETING AT NERD)
For years, I knew I was struggling with a mental health disorder but there were just so many things hindering me from seeking professional help. I thought if I just got to know myself more that maybe navigating work and life would be easier. I thought that I needed to accept myself more, to be kinder to myself, and to be more patient with myself. I read so many self-help books, listened to my mentors’ advice, and browsed through pages and pages of Reddit and Google threads. A lot of those things helped in their own ways — but it wasn’t enough.
Coming from a third world country, I knew it wouldn’t be easy to seek professional help for my internal struggles. I had assisted my younger sibling in the past with their own mental health problems and searching for psychiatrists, wards, or organizations that could help us was really difficult. We learned one thing that day: If we needed immediate help for our mental health, we were looking in the wrong places AND we were living in the wrong country. It was a very sad realization. Being the eldest daughter meant I’d have to be there every step of the way during my sibling’s own struggles. This was when I was educated deeper about how to properly seek professional help.
Five years after my sibling’s struggles, I finally got the courage to seek help for my own problems. Post-pandemic paved the way for telemedicine or telehealth apps which made it easy for me to book a psychiatrist or psychologist. It was at the age of 28 when I saw my first psychiatrist and was diagnosed with General Anxiety Disorder (GAD) and Post-Traumatic Stress Disorder (PTSD). I was prescribed medicine for my anxiety but after a few months, I felt like I was just an outsider watching my life happen before my eyes. The medicine wasn’t working – and that was okay. During this journey, I learned that there are many methods to seek help and not every method will work for an individual. I didn’t stop trying and experimenting. I looked for another psychiatrist who focused on talk therapy which gave me relief after just one session. I have felt more peace within myself ever since.
As creatives and freelancers, we’re used to working and moving independently. Throughout the years, I got used to working by myself and finding remedies in my own ways. It worked until it didn’t, and I wish I asked for help much sooner – I bet my 22-year-old self needed it a lot. If you’re reading this, I want you to know that it is okay to ask for help – ask for help when you’re afraid, ask for help even when you can’t afford it, ask for help even when you’re succeeding in life. It doesn’t matter where you are or who you are, it will always be the right time to ask for help.
VALUE OF PEOPLE IN OUR LIFE – MILANA KARAICA (FOUNDER/EXECUTIVE CREATIVE PRODUCER AT NERD)
I started in this industry very young – at the age of 17.Through the early years of my career, it didn’t matter to me that I didn’t see women and people like myself around me, as actually, I never really had before either.
Taking inspiration from wherever I could, I excelled in my roles and made my way to executive producer. There were bumps in the road of that journey that were not easy to overcome but when failure is not something you allow yourself to accept, you keep pushing harder with each setback. It wasn’t until I was in my early thirties – by which point I was running NERD Productions, a creative production company bringing diverse talent to our industry – that I started to feel extremely lonely as a female in a leadership role. NERD was my first baby, my family, and my passion, but I wanted a family at home too. Best of both worlds was the goal I wanted to achieve through some miracle it seemed.
With so much going on at all times and hours of the day it is hard to stop to catch a breath, let alone think about your mental health and wellbeing. I try to be practical, and find time to still show up for my young kids where and when needed while doing the same for my team and clients.
Sneaking in some alone time for a quick facial or getting my nails done is my time to simply do nothing. Allowing time with people I love… a coffee with my sister, a quick lunch with a friend, a little time with my forever cheerleader- my partner, even if it’s just a cinema date or a walk in the park. All these seemingly small things and times give me endless positive energy, time to reflect on the life we have built and things we still feel we want to pull off before we are ready to live the quiet life!
So, having said all that, in conclusion – we all need that one person in life or if we are lucky enough, a few of those gems, that will be your source of support, empowerment, inspiration or simply good vibes. This is what really matters and what helps keep me going when times are tough.
The hardest challenge for most directors is being able to stamp their own authenticity into a project, especially in the world of advertising and big brands. Which can sometimes provide strict creative briefs and tight deadlines that can sometimes limit the director’s distinctive voice to be heard through the noise. NERD director Kyla Philander has made a career of crafting relatable and grounded stories while also working with some of the biggest brands on the planet such as Google, Instagram and Volkswagen, to name but a few. Perfectly shaping worlds and narratives brimming with diversity and personality that shines on all screens.
So how does a director juggle working for huge brands, while telling stories that resonate with them and reflect their own identity and background? Well at the core of Kyla’s work it’s focussed on human relationships, tangible and relatable people going by their everyday life with natural performances and subtle but cinematic filmmaking techniques.
Kyla’s ‘Meta Facebook Lite Connected’’ commercial would be a prime example of her human approach to story crafting, the narrative follows various people at different stages of pregnancy and parenthood, capturing the mundane to the sublime, from contractions to the baby’s first steps. Relatable moments that the audience will resonate with on an emotional level, well also cleverly capturing the technology of Meta and how it can connect us, as the commercial showcases the various people using Meta to celebrate, communicate and to search for support.
Diversity and inclusion is another key ingredient in Kyla’s filmography that allows them to express universal stories from around the globe that reflect different aspects of society. Their Redbull Uncredited ‘The Origins of Afrobeat’ film invites the audience into the world of Afrobeats informing the viewer into the music genre’s origins from the streets of Lagos to Fela Kuti, while showing the importance of dance. Mixing cinematic shots with grounded talking heads. Capturing the spirit of afrobeats and the kinetic passion of the dancers, it’s informative and inspiring and brimming with love.
Klya’s work portrays people from different races, body types and gender but their work also captures places with the same attention to detail and care. Fully comfortable with shifting between documentary realism and large scale cinematic scope, they utilize every frame to paint a portrait of life. You get a sense of place and vibrancy that many other directors are unable to accomplish. Taking the opportunity to take us to places that aren’t often shown in advertising or film, for example their Google Station commercial takes is to the Western Cape of South Africa, Gugulethu a township with a population of 98,468, the entire piece feels like a love letter to the people who call it home.
Raised by mixed-race parents, Kyla was surrounded by different cultures and perspectives that shaped their curiosity for the world. Growing up in a loving and accepting environment, this is reflected in their filmography, showing great empathy and understanding of each other and the world we share.
To see more of Kyla’s outstanding body of work click here.
To quote Alfred Hitchcock “To make a great film, you need three things – the script, the script, and the script”. The script is the blueprint, the screenwriter is the architect in which worlds are built and shaped. Studying scriptwriting at Goldsmith, University of London writer-director Mono Ghose understands the importance of the script and has applied his skills as a writer into his skills behind the camera producing thought provoking stories.
We recently caught up with Mono to discuss his background in scriptwriting and how that transferred into his work as a director in commercials and a narrative designer in gaming.
How did your desire for storytelling start?
It started with my upbringing where story, films, sports and games were a central part of my life. I’ve always loved the way a good story can make people laugh, listen, and lean in. It’s a kind of magic that’s somehow both ancient and modern.
What was the most valuable skill you gained from studying scriptwriting at Goldsmith?
Learning to kill my darlings. At Goldsmiths, I learned that writing isn’t precious; it’s a process of brutal, loving revision. Also, coffee. I definitely mastered the art of surviving on cheap coffee.
Do you follow a strict structure as a writer or does it depend on the project?
It depends. Sometimes you need a solid structure to keep the chaos at bay, like putting up invisible walls for your ideas. Other times, you have to let the project breathe — wander off the path. In short: structure is important, but flexibility keeps the work human.
Do you think your skills as a writer gives you an advantage as a director?
Absolutely. When you understand the bones of the story, you can direct with real intention — not just pointing a camera at things and hoping for the best. You can focus on the truth and follow the emotional core of the scene, whether that’s the actor, setting or object.
What type of stories are you personally drawn to?
I’m a sucker for stories about imperfect people trying (and often failing) to do the right thing. Anything that mixes heart, humour, and a little bit of chaos feels true to life for me. I guess I’m drawn to the beautiful chaos of being human — the flaws, the funny bits, the occasional existential meltdown.
What’s the major difference between creating a narrative for commercial work versus designing narrative for video games and are there any other mediums you would love to craft stories in?
Commercial work, you have seconds to make someone care, connect, and remember you. Video games are more like being a tour guide in a city you secretly built — players want freedom, but you still need to lead them to find the good stuff. As for other mediums, I’ve produced a podcast series recently on sports and books but I’d love to do a film or narrative driven podcast series — there’s something magical about a voice in your ear painting entire worlds you can’t see.
In the latest “Get to Know” article Louis caught up with visionary filmmaker Marta Chierego to delve into her stunning and global spanning filmography. Her work is a rich tapestry that perfectly balances ambitious and sophisticated cinematic language with stories that feel handcrafted and intimate, which is no easy feat to pull off even for the most seasoned of filmmakers. So let’s all gather around the metaphorical campfire as we explore together what makes Marta’s distinctive brand of storytelling so special and how her craft was shaped and molded over the years by the people who inspired her.
Let’s rewind back to a young Marta, did you always have the goal to be a filmmaker or was it something that you came into at a later stage in life?
I fell in love with cinema at a very young age. Some of my earliest memories are of Star Wars and 2001: A Space Odyssey – even Twin Peaks, although I realise that’s not great publicity for my mom . And while I grew up appreciating many art forms, I watched films relentlessly and probably obsessively more than anything. I remember the experience of watching a film and ‘knowing’ that the camerawork was good, but not understanding why yet. Initially, I wanted to be an actor, so I immersed myself in theater programs all through high school. But when I moved to London at 19, I realised that what truly fascinated me was what happened behind the camera. Since traditional film school wasn’t an option financially, I enrolled in a hands-on program and started working on film sets, taking on as many roles as possible to understand the mechanics of filmmaking. That experience serves me to this day, as it gave me a deep appreciation for every department on set and a firsthand understanding of why every role matters. So, in a way, cinema has always been with me. The path evolved, but the passion never changed.
It’s funny when we first spoke I had the imagery of Terrence Malick imprinted into my mind as a visual reference for your own work, which is someone you ended up mentioning as a source of inspiration. Could you tell us a bit more about how his work influenced or informed your own filmmaking?
I was so touched to hear you say that my work reminds you of Malick. He’s had such a profound impact on the art of filmmaking, there’s truly no one like him. I still remember watching The Thin Red Line in theaters when it first came out and being completely transfixed by his style. What makes Malick so special, in my view, is his ability to create a cinematic experience that feels both poetic and immersive. His films evoke a sense of awe, an emotion I’ve explored in my own work. I’ve come to realize that awe has a profound effect on us; it enhances creativity, deepens gratitude and awakens something fundamental in our sense of being alive. We throw around the word ‘awesome’ so casually that we sometimes forget its true meaning. Regardless of one’s spiritual beliefs, his films have a way of connecting you to something greater, something beyond yourself. You don’t have to believe in anything specific – you just feel it. Which again is something that I seek to express with my work. A sense of presence, and an exploration of what some call the ‘Great Mystery’.
Terrence Malick’s poetic approach to filmmaking blends wild landscapes with intimate human moments.
Marta beautifully captures the same sense of poetic scale and human interaction in the stunning ‘unconditional’ a film in which grand vistas collide with compassionate close ups.
Inspiration is a shapeshifter that can present itself in many different forms and sometimes at inconvenient times. Where do you often find inspiration when you find yourself searching for new ideas?
Creativity isn’t a linear skill. It has its own rhythm and you have to allow space for ideas and inspiration to find you. I love Julia Cameron’s invitation to regularly take yourself on artist dates. I consider a day well spent when it involves looking at paintings, visual art, listening to music, watching films and documentaries, as well as reading. I miss observing people more, as so much of our life has become digital. My approach to inspiration is both eclectic and voracious; I absorb a wide range of influences, but I can also hyper-focus and dive deeply into a single topic. For a long time, I thought I was being lazy or undisciplined if I didn’t immediately put pen to paper when trying to generate ideas. Over the years, I’ve come to realise that my creative process involves an essential marination stage, oscillating between expansive curiosity and intense focus and letting thoughts percolate until they begin to take shape. Sometimes they emerge as fragments, other times as fully formed concepts and eventually, they start to constellate into something meaningful that I can start building on. It’s a process and I’ve found that movement plays a key role in it. Being outdoors, walking, dancing, yoga, even singing – all of these somehow help shift ideas between the body and mind, allowing them to develop in a more complete form.
We see a lot of big brand commercials that can oftentimes feel like bloated product placements but people feel front and center of your stories. Could you tell me more about your process?
For me, the starting point is always the universal human experience. Whether it’s a beverage, a car, or a software, there’s human passion and intention at the core of every product. So I flip the script, I start with the human story and let that naturally guide how the product or brand fits into the narrative.
Of course, in a highly competitive market, brands want to stand out and a lot of work goes into that. But at the end of the day, what truly makes people remember a brand isn’t just the product – it’s whether they felt something when they experienced the story behind it.
I also think that modern marketing has really evolved into aligning a brand to the core values of the audience it’s trying to reach. So for instance, a brand might get behind a story that shows thought leadership within a space they know is of interest to their customer base. I love working on those kinds of briefs as they give you the highest chance to tell a story that feels rich and authentic.
Some directors are more confident behind the camera and others are more comfortable directing the actors but in the world of commercials, time is limited so how do you make sure you’re getting the best from the talent?
I wish I were Dr. Manhattan, so I could be ubiquitous 😀. Until then, my approach to commercial shoots is all about preparation. I make sure every shot and camera movement is well thought out in advance so we can achieve the most ambitious visuals. When working with actors, I try to keep things relaxed and open, as well as giving them precise and tangible direction in terms of the emotion or tone I’m looking for. Actors have a special place in my heart, probably because of my experiences on stage when I was younger. Everyone’s role is valuable on set and I think actors specifically gift us their vulnerability so that we can feel something. So I try to honor that and I’m really proud that many of the actors I’ve worked with have specifically reached out to tell me how much they enjoyed the experience. Making art is not easy and we often have to pressure each other to get there, so knowing that people like working with me is the highest praise.
You’ve lived many lives and have called many different places home since leaving Italy, do you think this has influenced you as a storyteller?
Absolutely. I’m grateful to have lived and traveled extensively around the world. It’s shaped the way I see humanity. To me, diversity isn’t about blending everything into a single, homogenous norm. It’s about embracing the richness of our differences, while at the same time looking for the common thread that defines our shared human experience. As a storyteller, my international life journey allows me to take multiple perspectives into account, recognizing that no single viewpoint tells the whole story. It’s also given me a deep appreciation for cultural nuance, an understanding of the subtle details that make a place, a community, or a tradition unique. Whether it’s the way people communicate, the rhythm of a city, or the values that shape a particular region, I bring that awareness into my work through a genuine and deep sense of curiosity.
Burnout can happen to the best of us so how do you remain focused and engaged?
That’s a great question for our times. We move through different seasons in life and I think the key is to develop a healthy relationship with yourself, so you can pursue your ambitions from a place of love rather than conflict. Being an artist is a vocation and I’ve shaped my life around its demands. For me right now, it means staying grounded, sharp and soft all at once. Ambition requires focus and courage, but I also believe it needs heart and compassion — because at the end of the day, our best work is measured not just by what we create, but by the impact we leave on those around us. Having healthy routines is essential for me, and that includes being mindful of what I feed my mind as well as my body. Digital culture has seeped into every aspect of our lives, often leaving us feeling disconnected, alienated and lacking empathy. I think it’s more important than ever to make a conscious choice to remain anchored in the real world, as our brains, bodies and souls cannot function properly without it.
Working in advertising and filmmaking in general can often be about compromising so how do you work with restrictions?
Sometimes constraints can actually fuel creativity rather than hinder it. Instead of focusing on what I can’t do, I ask myself, What’s the smartest, most inventive way to make this work? Being a professional means knowing how to clearly communicate your vision and knowing how to strike a balance between protecting the integrity of an idea and embracing the realities of production. The better you can articulate the value of an idea, the easier it is to align with clients and collaborators to meet its needs. It helps me to remember that when a client hires me, they’re placing their trust and often their own professional stakes in my hands. They bring with them not just their hopes, but also their fears. I remind myself that the people I’m working with have their own pressures and responsibilities and part of my job is to make sure they feel like they are part of the journey, while still pushing for the strongest creative outcome.
Marta’s output across commercial, documentary and branded content makes for an outstanding body of work, with each project made with the same level of professionalism and passion. We can’t wait to share more of her work with everyone in the future.
Until then click here to see more of Marta’s stellar work.
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.
We are beyond excited to introduce Karolina to our ever-growing talent roster. Karolina is an innovative filmmaker known for blending live action with analogue animation, creating a unique and textured visual style. We are excited to showcase her talent along with a strong commitment to authentic representation and inclusivity in the film and advertising industry.
We sat down with Karolina to chat through her career, favourite work and inspiration!
Your approach to blending live action with analogue animation is truly unique. Could you share a specific project where this technique particularly challenged or inspired you creatively?
Definitely! Last year, I worked on a project that involved collaborating with a group of year 9 students from Riverside School in Barking. They had written a poem and a beautiful soundtrack, and with the help of the producer and DOP, had shot a lot of footage themselves. They had taken selfies, filmed their friends playing basketball, and recorded videos from music class. I wanted to showcase their creativity through the film, and analogue animation felt perfect to bring it all together. There was such a variety of mediums—Super 8, digital, disposable camera pictures, iPhone pictures—and this lent itself really well to the collage element of the film. To tie them together visually, I printed the footage frame by frame, drew directly on top of it, and scanned it back in to create a texture that ran throughout the film. It was really rewarding working in this way because I could draw from what the kids had already created, and this meant their personalities really came through in the film.
Representation in the film and advertising industry is a pressing issue. How do you navigate the complexities of ensuring diverse voices are not just included but authentically portrayed in your work, and what impact do you hope this has on your audience?
A very important question! Personally, if I’m working on a project where I’m telling someone else’s lived experience, it’s crucial for me to have a constant back and forth with the subject to make sure they feel heard and that what they see reflected back at them feels like a true representation. I’m quite passionate about this topic—I’m Hungarian, and I was really sad to hear when Hungary passed a law suppressing LGBTQIA+ representation in the media. People NEED to see themselves onscreen to know there are others like them and that there are opportunities for them too.
In terms of impact, I’m hoping for a change towards a more inclusive future where we don’t have to search far and wide for diverse talent because they’ll be right in front of us. It’s no secret that, at the moment, the industry is very white and male-dominated, making it difficult to find crew outside of that realm. I’m working on my first short film, and I wanted to make sure it had a fully female and non-binary crew so I could expand my network of talented women and non-binary folk—they’re out there and they want to be found but are often overlooked.
Working with a range of clients from Netflix to Lovehoney must offer diverse creative challenges. Can you tell us about a project where you had to push the boundaries of your style to meet a client’s vision, and how this experience shaped your artistic approach moving forward?
Working on The Crown mini-documentary for Netflix was a creative challenge for me because it required an elegant, refined design to fit with the style of the series. My work is usually colourful and a bit chaotic, so I had to find a balance between honouring the tasteful aesthetic that the show is renowned for while making sure my style was still present. It was an honour to work with Netflix on this project, and I learned a lot about the immense amount of work and attention to detail that went into making the show.
Your films often evoke nostalgia and have a tangible, textural quality that resonates deeply with audiences. How do you tap into this emotional connection while also ensuring your work feels fresh and relevant in today’s media landscape?
I think analogue techniques are more important and relevant today than ever before. The creative industry is fighting a battle with AI, and I’m personally quite worried about it growing to a point where humans are no longer needed to create! At the moment, though, AI animation is easily recognizable and is not yet able to recreate the look and feel of analogue media. I love that analogue techniques come with imperfections and unpredictability, which makes them more human and gives them a depth that AI content doesn’t have. So, I guess for me, to keep my work fresh, I’m looking backward to more old-school methods instead of forward.
And to finish off, tell us a NERDy fact about yourself
I LOVE going to the cinema and getting all the cinema deals – at one point last year I had a cinema deal for every day of the week. I’m also quite obsessed with Letterboxd, the movie rating app – I log all the films I watch and rate them too.
Today, join us for a conversation with Hayley Morris, the director behind the captivating stop-motion animation for MTV’s “How to Triumph Like a Girl.” Hayley shares behind-the-scenes insights and gives a glimpse into her creative process. We delve into her experience of navigating her first project as a new mother, adding a deeply personal layer to her artistic journey. Finally, we explore what Hayley has been passionately pursuing since then.
I was contacted by MTV to create a film for Women’s History Month through their “SEE ME, HEAR ME, KNOW ME” campaign. Their goal is to support underrepresented creatives by commissioning and paying for their creative concepts, providing funding for production, and by turning over their social and linear platforms to artists so the world can hear and see their unique voice and vision.
It’s rare to create a project with such creative freedom and the support to make it happen. When brainstorming, I knew I wanted to create visuals for poetry. I researched many poets and writing and came across a poem titled “How to Triumph Like a Girl” by Ada Limón. I loved how it felt empowering and that’s the feeling I wanted to convey to the viewer. The MTV team contacted Ada and was able to license her poem for this piece. Once we had the go-ahead I knew I wanted to speak with other women and get their perspectives and interpretations of the poem along the way. During my storyboarding process, I spoke with colleagues, family and friends and wrote down many notes. Then I took their insights and my feelings and tried to translate them visually to Ada’s words. Working with the MTV team was so much fun. They were so kind, supportive and gave me really valuable feedback when I asked. This project won GOLD in the Fully Animated Piece category for the Telly Awards and was the 2023 Promax North America Awards Silver winner in Motion Graphics.
Do you remember any specific life or creative lesson/s from this project?
This was the first big project I did after having my daughter. It had a different weight to it, and I think I brought this new perspective to the animation. I also had to lean on my mother and mother-in-law to help with my daughter while I dedicated time to the whole production process. The whole film and the behind-the-scenes of how it was made were possible through the help of other women. I suppose this project opened my eyes to how my creative process has changed since becoming a mom.
I can no longer stay up until 4 am animating. I had to create a different schedule and lean on a lot of women and my husband for help. I was always resisting asking for help in a stubborn lone wolf kind of way. Now, I know it’s essential to get things done and to create good work. I had a fellow teaching colleague create a 2d animated sequence for one section that I translated into paper and worked with a compositor to compile my elements together in the final scene. It opened my eyes to the possibility of future collaborations and how to pull in other people in many ways, whether it’s in small ways like the brainstorming process or full-on collaboration.
How different was your style then compared to your style now?
I have been working on paper for a while. I love it as a medium for its endless possibilities as well as its constraints. For this project, I wanted to limit myself to watercolour paper and replacements. I discovered I loved the texture of the paper when it slightly wrinkled and went with that look throughout the piece.
I feel like my style is always evolving and I’m always trying new things for every project… but I like to keep the same sensibilities when it comes to attention to detail, colour, symbolic representation, texture etc. Right now I’m venturing away from paper and exploring working with clay. I’m loving it! Right now, I’m creating a 1-minute animation that will be displayed on the Daniels & Fischer Tower in downtown Denver, Co. I’m excited to see my animation on this scale and how this can open my work to be shown in different contexts.
We are absolutely delighted to introduce Manos to our continuously expanding talent roster. With his remarkable portfolio featuring delectable food photography, captivating portraits brimming with purpose, and the mesmerising landscapes of the Mediterranean, Manos brings a unique creative flair to our team. In an exclusive interview, we had the pleasure of discussing Manos’ portfolio, his award-winning image for the Portrait for Humanity, and the diverse array of influences that shape his distinctive style.
Your portfolio reflects a deep appreciation for light, composition, and the intricacies of imagery. Could you share a moment that sparked your fascination with these elements and ultimately led you to pursue photography as a career?
Creative expression comes from diverse parenthood. So many things in one’s life, many of them unconscious, contribute to one’s style. I suppose growing up in Greece, being familiar with strong light and shadows plays a role. Warm sun, reflections, the softness of the evening. These kinds of things. Working with great people as an assistant is also quite formative. Observing art plays its role, I suppose, as does literature. One resonates subconsciously with certain elements, with certain techniques. I believe in observing the world closely and photography is pretty much the profession to follow if you are like that and a horrid draughtsman at the same time.
Honey
Your food photography is described as natural yet inviting, every shot we look at just gives us that ‘yum’ feeling. How do you approach each food shoot to ensure the dishes not only look appealing but also tell a compelling story?
What’s important is to understand the food itself and what the shot is for. It’s like a portrait really, where you have to connect with the person at some level and convey something. I need to know what the food is about, where it comes from, and what traditions it’s connected with.
Then comes the technical part. Chat with the team if this is part of a production. Which bits need to be highlighted, how this particular food reacts with light and colour? And in the end, one has to have a story going. Where are we, where is this dish supposed to be, whose place is this? Even if it’s just a white background where the food is placed, it should bear the soul of the people involved in preparing it.
Twelve by Tessa Kirosmediterranean food Greece Gouna and Horta-Greens
Your Mediterranean cultural roots shine through in the textures, shadows, and colours of your work. How do you incorporate your cultural influences into your photography, and how do you believe it sets your style apart in the industry?
I believe that one’s style has to be true to oneself to have some significance. I’m equally fascinated by the South as I am by the northern crisp sunlight or the shadows of an object lit through a window on a gloomy day. Maybe having lived in Germany and the UK, being originally from Greece. I somehow came to understand and appreciate the southern narrative elements better and learn how to combine them with the northern ones. That might be one thing. And the other might be that I don’t particularly care for stereotypes and try to avoid them. Removing elements usually works better than adding.
‘Karpouzenia’ preparation and watermelon juice
Winning the Portrait of Humanity award and being shortlisted for prestigious awards like the Pink Lady Food Photographer of the Year demonstrate the recognition your work has received. Can you tell us a backstory of your Portrait of Humanity winning image?
Oh, I love this image. The great thing about living in London is that you rub shoulders with all those cultures, all those different people. The shot was made in Stamford Hill, where most of the Jewish Orthodox community lives. I was working on a book about Jewish kosher cuisine at the time and Purim was going on, a religious celebration similar to carnival. People get totally bonkers there during the festival. It’s a wonderful thing to observe and interestingly not many Londoners know about it. I was roaming the streets, camera in hand and these kids were just coming out of their place to join the festivities. I took a shot, then they noticed me and as they gave me a shy smile I managed another two shots. One of them made the Portrait of Humanity competition. A lovely moment.
Winner of Portrait of Humanity exhibition British Journal of PhotographyWinner of Portrait of Humanity exhibition British Journal of Photography
And to finish off, tell us a NERDy fact about yourself 🙂
Here’s two: I love Superbad. When I edit photos I listen to weird, modular, glitch music. Or Frank Zappa’s mad guitar riffs.
Catching up with Amanda, we took a peek into her creative journey and explored her sources of inspiration, her favourite work, and found out she really is a true NERD!
What has been the most exhilarating source of inspiration shaping your bold and playful style in illustration, and how has it evolved throughout your career?
I have always drawn from my own life and interests. I enjoy drawing the things I love, things I think would be clever, my surroundings, things inspired by memories, current happenings, or things I wish existed. Inspiration can really come from anywhere at any time. I have taken pictures of trash in the street because I liked how the colours looked together.
I think it’s very natural for an artist to continuously grow, and at the same time hone in on what makes them consistently and uniquely themselves. Over time, my style evolved naturally. I pretty much use the same base formula when I make new work, but expand it by tweaking things here and there. I just do what feels right to me at the time.
Could you share with us a memorable project where you offered a clever creative angle to a concept, and how did you approach the process to achieve it?
Vice had me come up with some unique banners for each of the astrological signs for their horoscope section. This concept was inspired by a big corkboard I had in my childhood bedroom that had a bunch of my stuff stuck to it. (photos, drawings, stickers, tickets, small toys, crafts, trinkets, etc)
The creative process for this was very involved, but also very fun since they really let me run wild with this idea. I worked closely with an astrologer to come up with specific items to fill each sign’s ‘cork board’. Putting these together was meticulous since each item had a specific purpose behind it, which I still think is really cool when I look back on it.
As both an illustrator and a professor at the School of Visual Arts, how do you balance your creative pursuits with teaching and mentoring aspiring artists?
You have to make time for the things that are important to you. Both creating artwork and teaching are very rewarding to me. With my art, I do my own thing, and I guide each of my students to do their own thing, too.
I remember what it was like and how it felt when I was a student at SVA, I learned so much while I was there. And over the years, my career experiences and personal work have taught me things, too. I’m grateful to be at a point where I can pass my knowledge and help young artists blossom. Even as someone who now teaches others, my learning and development are constant.
And finally, tell us a NERDy fact about yourself 🙂
I definitely have a bunch of niche interests, but some of my more ‘nerdy’ ones revolve around Japanese media. I have a few different old video game systems still plugged in. I never gave up playing games like Katamari Damacy and Dance Dance Revolution. I also still take care of Tamagotchi. I read manga and watch a lot of anime, too. ✌️
