Scott Drucker: “There’s So Much Character In What’s Left Unsaid”

Scott Drucker isn’t an easy filmmaker to pin down - and that’s just the way he likes it. The director first came to prominence when his thesis film, ‘Between the Harvest’, played across 20 film festivals including Oscar qualifiers in Australia and Sweden. That short told the story of the Olive Ridley sea turtle, a species whose eggs were legally and systematically harvested off the coast of Costa Rica. 

Whilst Scott has since gone on to dabble across many different genres and formats, that same strand of thoughtful and unique filmmaking has remained ever-present across his work. Whether it be communicating with striking imagery for ‘The Orange Door Project’ or exploring transformative tech with Google, Scott is a director who can be relied upon to surprise. 

As part of the team at Suneeva, he now finds himself looking to the future for his next great project. To find out what makes him tick, and hear why shyness is no barrier to a successful career in film, LBB’s Adam Bennett spoke to Scott. 

Above: ‘Between The Harvest’ tells the affecting story of the only legal harvest of the endangered Olive Ridley sea turtle egg.

LBB> Scott, let’s start right at the beginning - what kind of a kid were you growing up, and when did you first start thinking about yourself as a filmmaker?

Scott> I was never that precocious child with a camera always in-hand. I was an emotional kid in need of a creative outlet, which I never truly found until later in life. 

Having said that, I do think it is in my genes. Our family has a history of artists who fell into more traditional career paths when they had families. My grandfather was a drummer in a Jazz band, and my father was an illustrator. But they both ended up in the family business (Gemology), a path my father knew I was ultimately never going to follow. 

I loved writing and photography in high school, and that has never left me. I was inspired by skateboard films such as "Drive: My Life in Skateboarding", but I was also the president of a social action club on campus, so it was a strange mix of passions. Since I didn't know what to do with it all, film school was a great choice for me. In that regard, it wasn't until after a year of USC's MFA program that I actually started to think of myself as a filmmaker. I'm still finding my voice, but the seed was planted at least - and being surrounded by such talent really solidified that mentality of being a filmmaker. 

Above: The story of pro skater Mike Vallely, immortalised in the acclaimed documentary ‘Drive: My Life In Skateboarding’, was a big early influence on Scott. 

LBB> I’m struck by a quote from Chris Marker you have shared on your website. “I took the measure of the unbearable vanity of the West, that has never ceased to privilege being over non-being, what is spoken to what is left unsaid”. What does it mean to ‘privilege being over non-being’?

Scott> This is a reminder to myself to value non-being and what's unspoken, which is ironically placed on a website that is all about existing as a singular entity with a strong voice (I know). Because I think we often lose humility in the process of distinguishing ourselves as ‘unique’, or ‘better than’. We’re a society essentially built upon the notion of being and then classifying it - the "unbearable vanity of the West." 

LBB> And, as a filmmaker, is there any way in which you can help us shift focus from ‘what is spoken’ towards things which are more often ‘left unsaid’?

Scott> What is left unsaid is where you'll find character. The more noise there is, the more I'm interested in people who just exist and are doing something for the love of it. There are incredibly eloquent writers or interviews that capture so much emotion, don't get me wrong, we remember them so well. But I love those beats where the camera lingers and the director allows for silence. There's so much humanity in those frames. 

I remember interviewing a woman in Belgrade who was displaced from the war and had not seen her family since. The interview had ended and we just sat with her, for what felt like minutes, as she processed history. She then moved to the balcony and we just kept filming, quietly from a distance. There was a human connection, in spite of the camera (or possibly because of the camera). And not a word was spoken. The silence gave us a chance to build empathy. It doesn't always work in a :15 commercial, but perhaps that's the moment you share before capturing the emotional sound bite. 

LBB> Having been born in Chicago, you’ve since moved to Toronto. For anyone in Europe reading this, how would you articulate the cultural differences - particularly within our industry - between the US and Canada?

Scott> I find that the world is dividing itself more by ideology than by region. You can have a lot more in common with someone in Europe than you can with your own neighbor. In terms of the industry, because of the parity between the two markets - the U.S. and Canada - there are going to be more similarities than differences. I hear that big crews in L.A. can be more transactional in their approach to the work (a bit more old-school perhaps) but I find as crew sizes grow, that's also the case in Canada. 

It's hard to keep it intimate, that idealised version of everyone being on board for the creative, when it's a one-day commercial job with a massive crew. That's why I try to keep my teams smaller. Personally, I value character over technical ability when I choose my crews, so whether I am in Canada or the U.S. I find myself surrounded by some really great people. 

LBB> Your documentary ‘Who Is Arthur Chu?’ offers a fascinating look into the life and mind of someone who, amongst other things, was villainised online. Is there anything you learned from making that documentary which has influenced your own online behaviour?

Scott> Filming that documentary almost entirely shaped my modern relationship with social media (perhaps to the detriment of my career at times). There's a great line from Arthur's mother when Arthur starts to lose perspective, where she states, "sometimes I think he is too busy. Too busy doing a lot of things he thinks are important. But sometimes after many years you go back and it might not be that important after all".

I think back on all my time on social media and how little of that activity I actually remember (which drives my approach to commercial filmmaking as well: there has to be a story or a character we connect with, or it just washes over you). Scrolling on social media is a lot like the tide, constantly erasing footprints. The legacy is ephemeral. And I'm not so sure we're leaving our mark or making any real strides.

Above: ‘Who Is Arther Chu’, directed by Scott, charts the story of the activist Arther Chu. Chu first rose to fame following an astonishing eleven-game winning streak on the iconic gameshow Jeapardy!, during which time he attracted controversy for his unique playing style. 

LBB> Looking back through your commercial work, there’s a big range from light-hearted comedic tones to stuff which is epic and impactful. Is there a kind of challenge you especially prefer to take on when it comes to commercials, or are you happy to pursue a versatile approach?

Scott> I see this as a compliment. Historically, you're pigeon-holed into one genre or even sub-genres (i.e. deadpan comedy vs. slapstick). But in reality, you can take a good storyteller and have them bring life to any creative. 

Above: Scott’s comedy chops were on display in his work for BMO, starring basketballer Giannis Antetokounmpo. 

I do prefer working with real people, whether that's a comedy spot with an NBA MVP (BMO), or a documentary on gambling addiction (Ontario Lottery and Gaming). But sometimes I see briefs that call for real people and in reality actors might be a better fit. So, I'm really looking to do what's best for the creative. For example, there's a version of The Orange Door Project that includes casting real people, but I thought it was more impactful without. At any rate, I hope to be considered for a wide variety of creative moving forward and to blend the genres whenever there's a chance. I think it makes for stronger work. 

Above: Scott’s work with Ontario Lottery and Gaming delves into, amongst other topics, the concept of addiction. 

LBB> From your Instagram, I see you have something of a penchant for environmental photography. What drives that within you, and does dabbling in that photography have any kind of impact on your approach to filmmaking?

Scott> I’d never noticed this until now! I think in part, it's because I do work with people for a majority of my work (both in front of and behind the camera). So when I get a chance, I love to escape the city and just be in nature, slowing down time a bit. And that's probably when I feel most inspired to take photos. 

Above: Scott’s eye for a great scene extents to beautiful imagery on his Instagram account. 

I think I may actually be a bit shy at the end of the day too, so while I admire street photographers who approach strangers randomly and capture these beautiful portraits, I'll usually only do that if I know the person first or have been working with them on a documentary. It's not something I seek out on the weekends. However, I do want to incorporate more of this kind of imagery (environmental or not) in my work moving forward. I feel like I just haven't had the chance based on the briefs I get or the projects I'm working on. 

But considering how much I'm inspired by photography in general, I know that will be more a part of my work moving forward. 

LBB> Finally, if you could go back in time and offer your younger self one piece of advice at the start of your career, what would it be and why?

Scott> Create more of what you love along the way (especially now with the access we all have to cameras). Prioritising paid work should come first, but you can always make time. I kept waiting on grants for these large projects, when in reality I should have shifted my approach to making smaller scale short docs as a one-person-band type. Or take one hour a week to work on a script. It will get done. Create the type of work you want to be making later on in life now. And be patient. I wish a wiser-me could go back in time and just remind myself to relax and be more patient. You might not get your dream project until you’re 60. And that's okay, too. It's something I keep reminding myself of now.