The Directors: Nick Spooner

Nick Spooner is an award-winning director of commercials, short films, branded content and other things, and is represented by Backyard. Born in Boston and professionally trained in LA and NY, Nick got his start in the film business acting in commercials and has been directing comedy campaigns since they were shot on film. He has also worn the hats of creative director, copywriter, and art director for commercials, short films, promos, animation, digital content, radio, print and outdoor advertising, and even writes maddeningly catchy jingles.

Nick spent time after high school working on the crew side of film production, was President of the Harvard Lampoon, entered advertising as a creative at Ogilvy, wrote, produced and directed at Comedy Central, and once fronted an NYC-based humorcore band. His dark comedy short, “The Call of Charlie” played at 88 festivals in 12 countries, earning 45 awards including multiple wins for Best Director, Best Short and Best Special Effects. He is currently in production on his next project, a stop-motion animated film.

Nick’s cartoons regularly appear in The American Bystander, which Newsweek called “America’s last great humor magazine”, and The New York Times hailed as “essential reading for comedy nerds".

Name: Nick Spooner

Location: East Coast

Repped by/in: Backyard

Awards: Yes

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Nick> Every project excites me. I love what I do and it’s the only thing I’m good at doing. With comedy scripts, what usually makes something stand out is – obviously – originality. Also, a client’s willingness to push boundaries and try new ideas to make a good idea even better.

LBB> How do you approach creating a treatment for a spot?

Nick> First, I listen carefully to the recording of the call several times so I get inside the creative’s point of view. I then research the product extensively, especially any previous spots they’ve done. Then I take long walks and think about how I can “plus” the work in any way possible. I write every word of the treatment so I’m completely immersed in the puzzle we then all get to put together. 

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Nick> The agency creatives. Because it’s their idea that I’m being tasked with helping to make as funny, clear and successful as I can.

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?

Nick> Comedy. In whatever form it takes.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Nick> That I’m short. In fact, I’m 6’2”, which technically makes me “tall”.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

Nick> Of course. I mean, not personally, but my producers do on almost every bid. They’re the worst thing that’s ever happened to our business.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Nick> I did one of Tide’s most successful (and oft-imitated) spots ever. It involved a little girl who refused to wear anything but her favorite princess dress. During wardrobe, I proposed a cone-shaped hat (called a “hennin”) and wand which I thought made her outfit even more, err…princessy. The client immediately shot them down, citing an infamous, previous campaign-cancelling consumer letter complaining about how these items in another commercial of theirs suggested “witchcraft”. No lie. A single letter killed a multi-million-dollar campaign. So, we ditched the wand and went with a tiara. Point is, every single problem has a solution. It’s no big deal.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Nick> From the moment a job awards, I team up with the creatives. My primary job is to use all of my experience to help them bring their concepts to life. They know their client a lot better than I do, so – apart from clearly communicating what we’re doing at every step – I defer to the agency where that relationship is concerned.

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?

Nick> Is this a new concept? I’ve been doing all of that for over 25 years.

LBB> How do you feel the pandemic is going to influence the way you work into the longer term?Have you picked up new habits that you feel will stick around for a long time?

Nick> I actually really like the incorporation of video conferencing. It’s a much more personal, effective way of connecting with the creatives than a phone call. As for new habits, well, I’ll never fly again without wearing a mask. I hate getting sick.

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)?

Nick> Regardless of the platform, format or length, there’s absolutely no difference in how I approach visual storytelling. The technical disparities are just a minor formality. Every single job I commit to doing I treat like a Super Bowl campaign, regardless of budget. Otherwise, you’re telling everyone it’s ok to half-ass something just because of where it will be watched. That’s never ok.

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)?

Nick> I’m always game for whatever tech and tools a job calls for, especially if they improve efficiency and maximize performance time. For me, stagecraft – or real-time-rendering with digital backgrounds – is the most exciting thing to happen in production in the last few years. That being said, a lot of comedy spots happen in familiar, analogue locations. And that’s great, too. 

LBB> Which pieces of work do you feel really show off what you do best – and why?

Nick> Most of my favorite spots (and those I posted) are the ones that evolved and improved throughout production by way of exploration, collaboration and improvisation. Those are the most satisfying projects to work on, because they’re the direct result of everyone involved having the right attitude. We’re making comedy spots; relax. Enjoy yourself. Laugh. Try things. Make mistakes. Fix them. You’re in good hands. Rigidity or an unwillingness to realize this whole thing is supposed to be fun never makes anything better.