…on Creative Commission’s role in his current success
“Nick Clark reached out in 2014, and I was moved by the ambition and scope of the vision. It’s like Uber for commissioning, cutting through the noise to hear exactly what the artists and management teams want to see. Commissioners are a crucial part of the artistic process, and this super streamlined approach allows for the right creatives to be connected in an instant. [From a creative standpoint] you get to hear the track, see notes on the artists’ personal narrative and the campaign direction… then write up an idea and send it through.
"Creative Commission has helped me win a range of projects, from £2000-£20,000"
“Creative Commission helped me win a range of projects from £2000-£20,000. That might not be big, big jobs by Hollywood standards… yet. The growth of the site is phenomenal. It’s no-longer simply the jobs-between-jobs. As it grows, CC will be a disruptive player in the big leagues. It is definitely a resource for finding some of the most striking emerging artists.
“Back in the day, there were budgets of 100k for videos for new artists. Those days are long gone, yet the infrastructure still exists on the label side. So many mouths to feed, all needing to make a living. The CC community fosters a strong respect for the creatives… With so many voices in the room, you can start off pitching an orange…and end up making a pineapple.
“Creative Commission consolidates the process, meaning more of the investment ends up on the screen. Which is exactly what the artists need if their video is going to stand out.”
No artist wants to sacrifice the finished project for the sake of budget. Creative Commission means the don’t have to.
…on leaving your ego at the door
“I never pitch the same idea twice. Every song has a story — it’s creatively inefficacious to whore out the same concept for five different tracks for five different artists. Audiences are more sophisticated than ever, and they can absolutely detect when they’re being fleeced. Don’t cut corners.
“The focus needs to transition to a simple rule: everything should be for the artist. We’re just there to make the artist look as good as possible. That’s our job, nothing else.”
…on pimping your pitch to capture imagination
“I’d recommend anyone pitching should study the first page of great screenplays…Cool Hand Luke, The Prestige, The Limey, Apocalypse Now. The best convey ideas and worlds through quick, terse, smart, engaging language — economical writing hooks readers in. The pitch doesn’t need to be a blueprint, just the kernel of an idea which gets you excited. It can be as short as one sentence, if you’ve got the right sentence. Something like “A doomed romance between two surfers, captured from the point of view of a dying angel,” with the right imagery attached, can capture the imagination. Pick three photographs that show the essence of that world. I’d recommend using black and white shots — they’re really evocative and can fire the imagination even more.”
Our platform is still in its punk rock stage. We’re still waiting for our “Citizen Kane”… however Hiro Mushai’s work on Chet Fakers “Gold” is pure unadulterated genius
…on collaborating with artists
“Don’t be their friend. Don’t be a yes man. Hardest thing for a millennial to say is “no”, but you’ve got learn when and how to say it. Concentrate on the job of furthering their story and they’ll respect you as a fellow creator. Think about it, if you’ve got someone working with you who’s 100% focussed on making you look really fucking cool, then that’s just as a good as a friend isn’t it? Be professional and focus on the job.
“You want to talk to artists artist-to-artist, not artist-to-suit-to-artist. You know, if you’re working with Dr Dre, for example, you want to do right by him, not film twenty twerking girls being thrown through a door, or whatever it is that the manager wants or might be “fun” in the moment. Great managers understand that they are trained in one-thing (managing), and you as a filmmaker are trained in another.
“Take on board their ideas, of course. For some reason, every manager wants their artist to be hanging upside from a car holding a sword. Was fantastically cool the first time I saw it, now it’s a cliché. Why do so many of them want that? Where is that reference in popular culture? Maybe an 80’s movie? If anyone can answer that, I’ll buy them lunch at Silver Lake Ramen.”