Acclaimed director, Goh Iromoto, talks about his concepting process, scoring the emotional spot, and how directing the cathartic commercial enabled a proper goodbye.
Terrence Malick is as much known for his unconventional process as his unconventional style. Whether handing out reading lists instead of scripts, improvising scenes, or changing the entire direction of a film on the cutting room floor, Malick’s approach is anything but ordinary. When it comes to music, Malick could be considered more conventional. His films feature a blend of classical and contemporary music with original scores. But the way he weaves music through his ideas, characters, movement, editing, and subtext, brings a completely new dimension to these films.
Ian Pons Jewell isn’t someone to mince words. As you’ll see right from the beginning of our conversation, he’ll say exactly what’s on his mind, which also says a lot about his creative work. There’s not much in the way of compromise. He’s directed surrealist music videos and short films, and translated that style into commercials that are equally as surreal, for brands ranging from Nike and Audi to Apple and Xbox.
It’s easy to think of an ad’s soundtrack as something that enhances the emotional moments or simply fills out the rest of the edit, and sometimes that’s true. But, there are also times when the script is flipped, when music becomes the starting point, not the finish line.
It’s been 24 years since the last Bronco came off the line at Ford, so the iconic brand knew it needed to make a bold statement for the 2020 rerelease of its off-road workhorse. As their creative agency, Wieden+Kennedy’s internal team collaborated with Musicbed composer Ryan Taubert and Director Salomon Ligthelm to create a sound as epic as the campaign.
Whether it’s your first foray into content creation or you’re already on your way to having a sizable audience, there’s always something to learn from other YouTubers. It’s not easy to get those 1,000,000 followers, let alone trying to get there on your own.
Many of the filmmakers we’ve spoken to over the last year learned as they went, simply because YouTube wasn’t quite the media titan it is today. But none of them got where they are today without looking to others for help. And this is your advantage.