The Directors: Cole Paviour
Cole Paviour’s unique style blends heightened cinematic visuals with powerful sensory experiences. Whether experimenting with cymatics for Sony or creating a first of it’s kind water experiment for Gatorade, Cole is always ahead of the curve.
Cole has also demonstrated a talent for narrative driven content after writing and directing three spots for HSBC’s #IsPossible campaign, each cinematically stylised around the featured talent – including Jamal Edwards, MBE.
Cole has shot content and commercials for Mazda, Delta Airlines, RSPCA, De’Longhi and Betfair, among others.
Name: Cole Paviour
Location: London
Repped by/in: UNIT9
Awards: Cannes Lions, Shorty Awards, One Show Awards, LIA Awards, Andy Awards, Clio Awards, FWA Awards, D&AD Awards, Webby Awards
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Cole> I have a short comedy horror about two ladies in a care home fighting over magical mint humbugs that may or may not be haunted by 'The Humbug'—a creature with an anus-like suckering mouth.
It was a delight to shoot, and I had the opportunity to work with an incredible team: my regular DP and production designer, alongside a talented costume designer, creature designer, prosthetic make-up artist, and creature actor, as well as two wonderful older actresses. I absolutely love the magic of filmmaking and seeing all these disciplines come together—it was a truly rewarding experience.
I'm also preparing two more shorts that I'll be shooting back-to-back in a few weeks. One features a four foot talking cotton bud hand-puppet, crafted by the fantastic team at Arch Model Studios (AMS), who have been incredibly supportive. It's a story about a guy bullied by his cotton bud into giving himself an 'eargasm', which, naturally, ends in blood, pus, and tears.
The other film focuses on a meek, civilised bloke trying to have a romantic night in with his unruly mannequin lover. He painstakingly cooks a beautiful meal, but as soon as he serves it, her plate is destroyed, food splatters everywhere. Then she moves on to the wine, and things really go downhill.
We're currently casting, so if anyone has a mannequin or sex doll, please get in touch—unused, of course. I like to read Chuck Palahniuk, not live it!
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Cole> What excites me most in advertising right now is the shift towards the surreal and absurd - something I think we can thank social media and the hyperactive, attention-chasing culture for. Ads have become louder and more unconventional, which I love. It's bolder, more daring, and allows creative work to really get under people’s skin. In an era where attention is currency, the worst thing an ad can be is generic.
Brands and agencies that steer into surrealism are finding ways to challenge audiences, to make them stop and think - or at least be intrigued for more than two seconds. It’s all about creating something that sticks.
To flip the script, what doesn't excite me is the expectation of more while shrinking the means to achieve it - creative by committee or data-driven decision-making often equals death by a thousand compromises. I hope we see more brave, risky ideas paired with, as always, strong storytelling. That’s what ultimately makes people connect.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Cole> For me, a standout script is like a solid foundation – it has well-thought-out storytelling, no contradictions, and fosters trust and collaboration between everyone involved. When it comes to ideas, there's nothing quite like seeing something simple and clever that perfectly nails a tagline or call to action –it’s that moment of clarity that really gets me excited.
As a director, I often end up playing 'bad cop' – the logic police – because once I take on a project, I have to shepherd the idea through production, like Jon Snow leading the Wildlings beyond the Wall. If there are cracks in the foundation – hidden contradictions or mixed messages – they’ll only get worse when we move from script to screen. Suddenly, I’m trying to translate an idea that’s at odds with itself, and the whole thing becomes compromised.
Too often, I find myself pointing out the elephant in the room once it’s supposedly too late to change anything, which can make me look like a pain in the arse. But the truth is, I just want to help the agency and client make the best possible work - something that nails their ambitions and intentions.
Specificity is another big one for me. If you’ll allow me to soapbox for a moment – the idea that making something generic will appeal to the widest audience is a complete fallacy. People connect to the quirks, the unique details – they see themselves in those idiosyncrasies, not in some broad, beige character designed to please everyone. There’s universality in the specifics, and that’s what makes something stick. I’d love for that to be more widely embraced, instead of relying on data spreadsheets to guide storytelling.
LBB> How do you approach creating a treatment for a spot?
Cole> Ideally, I have 48 hours to let the idea marinate. I want to fully absorb the intention behind the spot and let those initial thoughts germinate into visual ideas. It’s like planting seeds—I need a little time for the creative sprouts to start pushing through the soil.
Then, I dive into research mode. I pull hundreds of images, often filling my digital walls with visuals that start talking to each other. I like to see them interact—sometimes they elevate the core ideas, and sometimes they spark completely new ones. It’s like eavesdropping on a conversation between strangers at a party; you never know what connections will emerge.
Once I've built that visual language, I move on to the words. More often than not, I design the treatment myself. I find it essential because, given the compressed timeframe, it allows me to organically create an aesthetic and design style that defines the project from the start. It’s about growing the project holistically—words, visuals, and mood—all nurtured together to present a cohesive, compelling vision.
LBB> 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?
Cole> Sometimes, you have to weigh your moral compass against a paycheck. As freelancers and business owners, that’s never easy. But I like to think we all have ideals we stick to—I certainly do, and I’ve felt the cost of that. Thankfully, it’s only reinforced those beliefs.
Beyond that, when I do decide to take on a project, it’s crucial for me to understand the strategic and contextual side of the ad, especially if it’s a brand or market I’m unfamiliar with. I need to know the lay of the land before I start building anything on it. Otherwise you’re in danger of trying to cook a dish without knowing what the ingredients are - which is the perfect recipe for a shit sandwich.
When I take on a project for a brand I don’t have a big affinity with, I immerse myself in research. I want to understand the brand's DNA: what it stands for, its voice, and how it wants to be seen by the world. I'll go deep into the brand’s history, recent campaigns, and, most importantly, its audience. Understanding the audience's needs, motivations, and behaviours is key to making the creative resonate.
I’ll also dive into the market itself. It’s about getting a sense of the cultural and social context in which the ad will exist. For example, if I’m working with a product in a country I’m less familiar with, I’ll look at the kind of humour that resonates there, the social trends, and what’s likely to make people lean in—or scroll past.
The goal is to get under the skin of the brand and audience enough that I can tell a story that truly speaks to them. I want to make something that feels authentic and relevant, not just a one-size-fits-all approach.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Cole> From the production side, having great executive producers who can help shape ideas with insight into the client, brand, and market is invaluable. They’re the ones who make sure that what we’re doing fits within the bigger picture, and their experience and perspective can save a lot of headaches down the line.
From the agency side, it’s obviously the creative talent. You’re a team, and that means creating a space where you can build on each other's ideas, challenge the thinking, and work together to wrestle these damn pigs until they’re in their pens. It takes trust, honesty, and a good dose of humility to get through it and still be able to high-five each other at the end. And with a bit of luck, you foster enough love to want to strip off, jump into the mud, and do it all over again.
LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Cole> I'm pushing to do more comedy—surreal, absurd, and ideally a bit gross! I love work that leans into the bizarre, the unexpected, and isn’t afraid to make people laugh and squirm at the same time. There’s something about finding humour in the strange that just speaks to me.
I also love projects that align with my personal beliefs, ones that can elevate the ugly and superficial business of selling things by giving it some real meaning. Injecting a bit of purpose into the madness feels like a win.
That said, if you need a really great razor to trim your nethers without any unfortunate nicks, I'll dive in head first. I’m all about protecting the nethers. No shame in bringing some care and attention to the important things in life!
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Cole> A common misconception about me is that I'm just a 'technical director'—someone who handles highly technical executions or projects that combine different technologies. This probably comes from being signed with UNIT9, which is well-known for its expertise in those areas. And while I do love diving into a complex technical challenge, it’s not the only thing I’m interested in or capable of.
More broadly, there’s a tendency in advertising to pigeonhole directors based on past projects—clients often want, "the same, but different". It’s understandable, but it can be limiting.
That’s why I’m currently having a creative spurt of weird and gross short films—to showcase more strings to my bow. I want to move beyond the technical and show that I can do comedy, absurdity, and even the downright weird. It’s about taking the serious, technical filmmaker label and adding a little lovable douchebag flair, which is far more natural to me anyway.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Cole> For a Gatorade spot I shot, the brief was to create the first moving humanoid figure made entirely out of water. I spent a week conceptualising different approaches, combining various technologies, until I landed on a live-action animation using motion control tech, which required us to fabricate a 3D water printer for stop-motion.
The real madness was executing the entire fabrication and shoot within eleven weeks—something that would typically take two and a half years of R&D. Not having a single usable shot until the end of day two of our week-long shoot led to some of the most intense squeaky-bum time I've ever experienced... outside of Torture Garden, of course.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Cole> It’s definitely a challenge, especially since it’s not your idea to begin with, but you have to take complete ownership of it. You need to fight for it and make sure it takes the right shape. A lot of directing is about holding onto a simple, clear vision for the project, and protecting that vision from getting diluted—sometimes even protecting the client from themselves, as strange as that sounds.
It’s about being an ambassador for the idea, a guardian of its core essence, while also being the first audience member. You have to see it from the outside and judge whether it’s still connecting. It’s a constant balancing act between being open to collaboration and fresh ideas from the agency and brand, and knowing when to stand firm to keep the concept intact.
Ultimately, I find that transparency and trust are key. If I can communicate why certain elements need to be protected and where we can afford to explore, it makes the whole process much more of a partnership. It’s not about saying 'no' for the sake of it—it’s about making sure the final piece is something everyone is proud of, something that works.
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Cole> Absolutely. Opening up the production world to a more diverse pool of talent is essential. The gatekeeping in this industry, whether intentional or not, remains extreme.
The industry also has a deep-rooted problem with misogyny and classism. I had to fight to get here, but I recognise that even my struggles were made easier by being male and white. Growing up with parents who were self-employed and often skint gave me some insight into hardship, but I know it’s still been a stroll in the park compared to what many others face.
That’s why I believe in making room for more voices—diversity is not just about fairness, it makes for a richer, more interesting industry. We literally see in contrast, and the more contrast we have in our stories, the better off we all are.
And yes, I’m definitely open to mentoring and having apprentices on set. It’s not about making grand, sweeping changes overnight, but about giving people a chance and breaking down some of those barriers. If I can help someone get a foot in the door and maybe skip some of the typical hurdles, then why not? The more varied voices we have, the better the work gets—and the better the workplace gets too.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working?
Cole> Social deliverables being the primary focus is nothing new—these days, social is often the dominant deliverable, and we have to keep that in mind for every shoot. As much as it pains my filmmaker soul (and let's be real, a lot of us are here for the love of the medium), I’ve come to embrace it. Social media is its own beast, and there’s nothing wrong with the creative challenge of aspect ratios—sometimes, you’ve just got to think outside the (square) box.
The real nightmare is when everything has to be everything: the 'every format deliverable' nonsense. Shooting for every format is like asking an artist to paint a masterpiece on a horizontal canvas, then crop it vertically, then chop it into a square—because, you know, Instagram. It’s objectively a bit silly. You end up with a jack-of-all-trades and master-of-none situation.
Instead, I love when a client knows exactly what they want—"We're shooting this for 9x16." Perfect! Let's design it, shoot it, and make it the absolute best 9x16 content we can make. Pick a pony, ride it to the finish line, and let’s make it great. That’s where the magic happens—when you commit to a vision and make it work brilliantly for the intended format. And when you ride ponies.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Cole> Tools are great, but they can't replace us. We’re in an industry that often gets swept up in novelty as a selling point or a way to differentiate for clients. I get it—everyone loves a shiny new toy. But storytelling is as old as time, and it’s the greatest technology we have as a species. Arguably, it’s what defines us. Storytelling is about relationships, and if there isn’t a relationship, there aren’t any stakes. I’d implore creatives to adopt this as a mantra.
All it takes is a person, a camera, and a few actors to tell a story about a lonely man at Christmas that can put all the millions being spent on advertising to shame. It's about human connection—something that all the fancy tech in the world can't fabricate. Social media might be the great distraction, but we have an ethical responsibility not to just enrich tech oligarchs with 'time on site' metrics for the sake of metrics.
If the work goes viral, it should be because it genuinely connects with people. And that connection happens when we present relationships that are recognisable, meaningful, and real. So yes, I incorporate new technologies when they serve the story, but I always keep in mind that tech is the tool—not the storyteller.
LBB> Which pieces of your work do you feel show what you do best – and why?
Cole> HPZ8 Fury - The Drop
This was a crazy high-stakes stunt I conceived and pitched to the agency/client. We dropped a cutting-edge HP workstation out of the back of a plane at 14,000 feet—with its operator sitting at the desk! It was an adrenaline-fueled day, shooting in the same unregulated desert airspace where Delta teams practise HALO jumps.
Senokot - Get Back On Track
This was a fun, simple idea—a woman turning to stone overnight as a visual metaphor for constipation. I loved the magical realism of it, and we brought it to life using a mix of CG, practical effects, and high-speed photography to make the transformation both striking and relatable.
This was an epic challenge, combining technologies and pushing the envelope of what’s possible. We conceptualised and fabricated a 3D water printer for live-action stop-motion, and it was a masterclass in problem-solving (and breaking our minds on the regular). It shows my ability to handle highly technical projects while still making something visually compelling.
Royal British Legion - Rethink Remembrance
A simple case study in changing storytelling with a small but significant element. The original ad aired without the character turning at the end, and while I fought tooth and nail for that moment, I didn’t win. Still, for a short ad, it packs a meaningful punch and captures the power of subtle storytelling decisions.
One of the first ads I directed (and also wrote). I still have no idea how I was allowed to make this because it’s weird and creepy in the best possible way. It’s very much of its time, but I think the messaging still works well—using an unsettling vibe to get across an important point. It's a great example of my love for the surreal and my willingness to take creative risks.
