Meet the Maker:
Tim Bullock, Scoundrel

Your approach to directing celebrates the alchemy of different perspectives coming together to create something unique, but it all begins with the idea. What’s the first thing you look for in a script?

I don’t tend to look for something in a script but rather react to it. I have a different motivation for doing a job each time, but the one common theme tends to be a feeling of “I HAVE to do this script”. I certainly got that when I read Hilux In a Pickle for the first time.

I guess if you were to post rationalize this response it would normally be the result of the script having a great single-minded idea or a rich conceit at the heart of it. And the product and the end line are a satisfying payoff to proceedings. I respond well to things that get a strong reaction from me on an initial read and I know will get a strong reaction from the audience. Whether that be a laugh or some tears. (I also like to scare people but there isn’t much of an avenue for that in advertising sadly.)

As a director, you’re renowned for comedy. Whose work do you turn to when you want a laugh?

I’m totally old school when it comes to comedy. I’m a huge fan of John Landis. My favourite film is An American Werewolf in London which I revisit regularly to remind me why I wanted to become a director. I love the tonal elasticity of it and how he plays the absurdity with straight faces. I’m also a massive John Hughes fan. I liked the way he could mix emotions while delivering something funny and he respected the intelligence of his audience. I also regularly rewatch Seinfeld, especially after I’ve watched true crime and need to wash away the grimness. I think I gravitate to the sense of nostalgia in these movies and shows too. There is something comforting about them and they provide an escape from the madness of the modern world.

You work across different regions – Scoundrel’s based in Australia, you’re on Rogue’s roster in the UK, and work in France and the States. Apart from regionalized humour, how does the creative and what clients are looking for differ between markets?

I can only speak to the work I do personally, but to me it seems that as great scripts and good budgets become rarer gems, universally the expectations are higher in terms of delivering great, well-crafted work.  A lot of clients have also become quite knowledgeable creatively, and weigh in on craft where they traditionally didn’t in the past. I think it might all be part of the pressure to deliver when you have the increasingly scarce opportunity to work on a special piece of film.

I think in smaller markets like NZ and Australia, there aren’t so many layers and the exposure budget-wise is lower, so the creative and the clients tend to be a bit braver. And that’s why we tend to punch above our weight, per capita.

What’s a piece of advice you were given when starting out that you still pass on to young directors?

I was never given this advice personally, but I picked it up from interviews with directors I admired: You should only do work that personally resonates with you and don’t be afraid to pass on scripts – even good ones – if you don’t feel they are right for you. To succeed, you really need to know the difference between an okay idea and a brilliant one. An okay director working on brilliant creative is always going to be far more successful than a brilliant director working on okay creative (unless the brilliant director has the opportunity and ability to completely rewrite the creative).

My advice to anyone – whether it be a director choosing scripts or person weighing up career options – is do what you love and feel passionate about. It comes out in your work, and it makes you feel good in the process.

What is Scoundrel’s approach to fostering emerging directing and producing talent?

We are always on the hunt for new and exciting talent and have been fortunate to have fostered emerging directors and producers throughout our 10-year journey. Tom Noakes is a particular example of someone who started with us on his way up and is now a force on the world stage. This has largely been due to his own exceptional talent and drive, but we’ve helped with short films and other projects and have supported his decisions to be hyper-discerning with his project choices.  We’ve genuinely strived to set up a supportive environment for directors to do the work they are passionate about rather than turning over to keep the lights on.

Our philosophy with young producers has always been hire clever, motivated people and “throw them in the deep end” and give them early opportunities to work on big, daunting projects with our senior directors. Of course, EPs Kate Gooden and Adrian Shapiro are always there in support if needed, but it fast tracks their development and keeps things exciting and rewarding for them. Tessa Simpson, who produced Hilux In a Pickle is just 27 and she nailed that very ambitious production. Charlie Taylor, who moved from being a creative at The Monkeys (now Droga 5 ANZ) to a producer has had similar success in a very short time. We’ve been really fortunate in that all of them have done swimmingly well and we’re proud of that.

What has the toughest job taught you – both as a director and production company owner?

Early on we had a job on where we threw everything into it creatively and financially, but the client was the agency’s sole source of business so they entertained all client concerns and demands, no matter how unreasonable they were. We pushed back creatively, and pointed out that not only were we not going to make any money by entertaining these issues, but we could also actually end up paying for the job. We won out – kind of – but ultimately no-one really appreciated the value for money they had got from working with us.

The ad was a big success, and we were very proud of it, but all the agency remembered was the pushback. It taught me going forward to be very wary of ‘all eggs in one basket’ agencies, and to test the waters in the pitch process to ensure there’s a strong sense of trust and collaboration between everyone. It also taught me that if you take on a job which has an unrealistic budget, the agency and client will quickly forget that it is unrealistic.

There’s a lot changing in the industry, what are some ways in which it might change for the better?

In Australia there has been a lot of fragmentation with large agencies consolidating and a lot of the more talented creatives splintering off to form their own micro-agencies. These agencies seem to be doing well, and I think stirring things up creatively will only make the environment more competitive and force the larger, more established  agencies to further up their creative game. Which is great for production!

I’m personally excited by A.I. rather than afraid of it. I do think it will affect jobs in the industry (particularly in post), but I also think it will supercharge the creative process. I think the successful directors of the future will be the ones who have a good grasp of how and when to use it and may even split their time between ‘directing’ and ‘prompting’.

I think humanity will always value things made by humans. I’m sure there are many clients who cannot wait to prompt a campaign themselves and cut out the creative agencies and production companies but ultimately in advertising, if an ad isn’t engaging or enjoyable, it won’t sell anything. I think there will be a lot of A.I. generated garbage flying around but I doubt A.I. will ever be a tastemaker. It’s definitely going to have a big impact though. It will be interesting to read this back in 5 years and see how correct or deluded I am.

Scoundrel