How Roy Raz Became Fluent in “the Language of Filmmaking”

For a young Roy Raz, film was everything. And despite everything else that might have changed over the years, that simple fact hasn’t. Whether it be through his commercial work for brands like Volkswagen, music videos for artists such as Todrick Hall and The Irrepressibles, or iconic collaborators like Dita Von Teese, Roy’s filmmaking vision has never stayed in one place. 

That restless artistic spirit is driven by a very pure passion for filmcraft, and informed by varied influences such as Stanley Kubrick and David Bowie. Above all else, his kaleidoscopic portfolio of work is serious about having fun - just like the director himself. 

In order to find out more about Roy and his singular approach to his craft, LBB caught up with the director… 

LBB> Roy, let’s start at the very beginning - what kind of a kid were you growing up, and at what point did you start to think about yourself as a filmmaker?

Roy> That’s an easy one! Ever since I can remember I was the nerdy little kid with the old Sony camera. I grew up in a small town, and whilst growing up my hobby was to wait in the VHS rental store for the new releases to arrive. Sometimes it would take hours and hours, but I wouldn’t leave until I’d found my prey!

Ever since I was around ten years old, I’ve been a part of this world. 

LBB> So what kind of creative work inspired you in your early years?

Roy> Kubrick. For me, everything started with him - and still to this day he inspires me in the kind of cinema I like.

Otherwise David Bowie, even though he was never a filmmaker, was a huge influence as his music, art, and life inspired me a lot.

LBB> Today, you’re an incredibly versatile director with experience in tabletop, choreography, humour, and magical set design. Is there a specific kind of project you love to take on, or do you love to embrace new and diverse ideas?

Roy> I’d say that music videos, which were always my first love, are still a field I enjoy digging into. The combination of sound and vision is a magical one for me. So much so that whenever I can do the same in commercials, whether they be tabletop, comedy, fashion or lifestyle, I feel at home. 

The more imagination I can bring to the table, the closer to home I feel - so I’m not one who thinks a director has to specify in a single field. I think a director should specify in their language, and then seek to portray it through different genres. 

LBB> Specifically when it comes to imaginative set design, it’s such a strong theme across your work. Where do you find your inspiration for this part of your role, and can you talk us through your process for putting these beautiful sets together?

Roy> I love art, imagery and anything that can tell a story in a visual way - hence the Kubrick inspirations!

I buy a lot of art books which I tend to pore over once a week - just going through the pages and sewing their ideas together with my own brain. Back home I have a club and a bar, where even the smallest conversation in the late night hours can inspire a visual . And as a cinema nerd- I watch a lot of music videos, commercials, movies, and TV series. It all gives me ideas and contributes to my process. 

Oh, and if all else fails, the occasional glass of wine is sure to help as well. 

LBB> From Todrick Hall to The Irrepressibles, you’ve been behind the lens on some incredible music videos. Looking back at your career to date, is there one project of which you’re most proud? If so, which is it and why?

Roy> I’d say the Irrepressibles music video you mention, not because I think it aged especially well but more because it has a special place for me. This video was truly ‘accidental’ and started my career

In a nutshell. Having finished University after four years of studying cinema I was certain I would immediately break into the “biz”. I was a very cocky little kid who knocked on producers’ office doors and simply asked them to hire me as a director and, much to my surprise, it didn’t happen. 

For many years I was working as a location manager, producer, PA , and more, but the golden ticket never came.

So after a few years had passed I kinda let go of the dream of becoming a director and opened a nightclub called PAG, which was (and still is 20 years later) a queer / art / nightlife event. I created the Irrepressible music video for that club, without asking permission to use the bands’ beautiful song first!

After years of trying to do the right thing to get into the biz, with this promotional video I just did what I wanted, my art, without any expectations. And to my surprise the video became viral and successful. Artists such as the late George Michael tweeted it, and the band made it to their official music video. Eventually this small art movie I did for my club became successful, and ignited my career. 

LBB> Do you find that PAG helps connect you to culture in a way that informs your filmmaking work?

Roy> I think so, yes. As I jump in-between fields and genres in my director’s life, I do the same with the nightlife scene. I strongly believe that in a creative field such as ours, you need to always keep searching, and to always be intrigued and ask questions. The club helps me with that - it keeps me feeling like that young kid in his small town with his old Sony camera.  

LBB> Looking to the future, is there a certain kind of project which you’d be especially interested in being part of?

Roy> I’d like to work on a feature film for the first time.

LBB> And finally, imagine you had a time machine and the ability to travel back and give your past self a piece of advice. What advice would you give, and why?

Roy> Young Roy, don’t watch movies so close to the screen. That’s how you end up with glasses from the age of two!