The Directors: Kate Cox
Kate Cox graduated from Nottingham Trent University with a first class hons in fine art and went on to work as assistant art director in film and TV, before moving to London to hone her photographic eye by assisting editorial and portrait photographers.
In 2017, Kate began directing her own scripts. Her work often tackles the complex, current and distinctly human subject matters that are too often underrepresented on screen. Being drawn to ideas of gender, the female experience and sexuality, Kate’s storytelling is both tender and bold, refusing to shy from the emotionally knotty and sensitive themes at its core.
Her first short, 'VERT' (2019) starring Nikki Amuka-Bird, Nick Frost and Olivia Vinall, won the SXSW Vimeo Staff Pick award and went on to be featured on Amazon Prime. 'VERT' explores identity through a V.R device that shows the characters their "ideal self".
Kate is currently working on her own feature script 'BAMBINA', a sibling coming of age drama set in expat Spain in the mid nineties.
Name: Kate Cox
Location: London
Repped by/in: NJA
Awards: SXSW Short Film Vimeo Staff Pick
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Kate> The possibility for exciting and diverse casting, world building and real emotional response from the audience. Charity commercials do this well but it would be great to see more brands getting more real in their briefs. I love working in dance or movement where possible, and after the feature film I feel confident with using VFX and stunts.
LBB> How do you approach creating a treatment for a spot?
Kate> There should always room in a brief to create an exciting narrative; be it through movement, story or visual approach. I tend to think big and out of the box and then reel it in as much as I have to to stand a chance!
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?
Kate> I think now, more than ever, it’s important to research and make sure that the brand is aligned with your identity as a director. For me substance is more important than style and I’d struggle to get behind a brand I don’t support.
That’s not to say it isn’t exciting when a brand has had a shake up and you can tell from the brief that they are trying to move in the right direction ethically.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Kate> It’s always a collaboration and I like that we’re in this together feeling. On set, I gravitate towards camera, spending lunchtimes gassing about old and new films, what’s possible on the day and how we can push it further.
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?
Kate> I think my work is quite physical: I like to think about how actors / people move in space and how that can be wielded for a more emotional or impactful story.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Kate> Because of my short, 'VERT'- that I’m sci-fi! Haha! I think of myself as genre / drama leaning, always on the lookout for a soulful story. In 'VERT', it was about using VR as a means to communicate something deeply personal for Nick Frost's character Jeff. And the beauty in VR being a potential space to aid in us communication.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Kate> Probably celebrity schedules or the weather changing at the last minute and having to move the whole shoot around, it takes a good relationship with a great 1st AD to problem-solve on the fly. I usually have ten more scenes I would have liked to shoot so if it means we can shoot one of them, it’s a bonus.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Kate> I’ve learnt to trust my instincts, so long as I’m being true to them I’m open to discussions. If you have to kill too many darlings the essence of the story is lost, so I tend to gently fight for every one of them.
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?
Kate> It’s kind of a no brainer isn’t it, diversity and representation across all departments from the top down. I love the idea of having the new generation of filmmakers shadow me on set, I’m trying to go that route in TV at the moment. It’s nice to be sponge-like again.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?
Kate> The main film is always my priority, but there’s something to be said for the way socials can create hype around a film. I come from a photography background so I love looking at scenes as still images and if there’s room for alternative cut, then it can be quite fun to explore different directions in the edit.
LBB> 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)?
Kate> I’m more National Geographic than AI monthly, but there is now cross-over and I think that’s interesting. How technology and AI can be used to benefit humanity and provide creative solutions. So long as it’s not replacing or taking the jobs of skilled, talented artists.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Kate> Durex
'VERT'
Nowness - 'Unboxing'
QOTS
