NAME: Nick Spooner
COMPANY: Brooklyn-based Prism
CAN YOU DESCRIBE YOUR COMPANY?
Prism is a production company and creative studio, with the ability to tell brand-building stories across the full spectrum of disciplines. From traditional commercial and branded content to emerging technologies, interactive live experiences and installations.
WHAT’S YOUR JOB TITLE?
WHAT DOES THAT ENTAIL?
I basically make product-driven stories to help cheer up sad consumers. Whatever the ratio, format or platform.
WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
That the Director’s Guild doesn’t supply us with personalized monocles and jodhpurs!
It’s far less glamorous than you might think. There’s a ton of work – on spec – that’s required to just win a job in the first place. If you do get the gig, every project then requires an intense focus and attention to detail, with an increasingly short amount of time for production. And a large part of that time is spent accommodating many different opinions, personalities and expectations, all in the interest of making an effective, funny commercial.
Directors are not alone in the process of making content of any kind, and I think that’s where some encounter difficulties, when they aren’t comfortable with the necessary, collaborative side of the business. You might be a great director, but if you can’t handle the “people” aspect of making commercials, you won’t last very long. But that’s just my take on it. Maybe I’m doing it wrong.
WHAT’S YOUR FAVORITE PART OF THE JOB?
My favorite part of the job is when a take cracks up the crew. That’s when you know you’ve got something good.
WHAT’S YOUR LEAST FAVORITE?
About 15 minutes after wrap, when the afterglow begins to subside.
IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I’d probably be a P.A. trying to figure out how to get this job.
WHY DID YOU CHOOSE THIS PROFESSION?
I acted in local commercials as a kid, and everyone on the set seemed to be having a good time. I pretty much knew then that I wanted in.
WHAT WAS IT ABOUT DIRECTING THAT ATTRACTED YOU?
The personalized monocles and jodhpurs. Imagine my disappointment when neither were forthcoming.
WHAT IS IT ABOUT DIRECTING THAT CONTINUES TO KEEP YOU INTERESTED?
Every job presents a new creative and production puzzle, and I love solving them. For me, being on the set – especially when working with actors — provides a performance-based adrenaline rush that’s like playing onstage in a hardcore band, or acting in a live theatrical performance (both of which I’ve done). It’s addictive.
HOW DO YOU PICK THE PEOPLE YOU WORK WITH ON A PARTICULAR PROJECT?
That is actually both the best and worst part of the business. If you’ve been doing it a while, you accumulate a roster of great talent — actors, DPs, production designers, casting directors, grips, gaffers, stylists and so on — who you value as professionals and like as people.
The downside is you can’t hire everyone on every job, which can lead to a lot of people having The Sadz. It’s a bummer. And then there are always new folks you want to work with. But if it’s any consolation, the same exact thing happens to directors with agencies.
Every project starts with getting the right DP on board, and his or her go-to keys. Depending upon what city or country we’re in, I then have my favorite crewmembers and production people I like to work with — having shared production experience with crew always saves time and energy on the set. I always work with the same few line producers — they know what I like and don’t like, and I think the ones I work with are the best in the business. As for actors, I prefer to work with new people on every shoot to keep things fresh — recurring ensemble casts for every project only works if you’re Christopher Guest.
CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I did a fun campaign for CarGurus that’s been airing like crazy, and a recent North Carolina Lottery spot, which is a parody of Home Shopping Network programs — that one was especially fun because it’s presented in a distinctly “non-commercial” form, as if we accidentally switched channels. It’s very odd. Both projects had great casts, which always makes for a fun shoot.
WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
Usually, I say the one that just wrapped but in general I take a lot of pride in making funny commercials that successfully do what they’re supposed to do: sell a product or promote a brand.
I did a Tide commercial (Princess Dress) that was supposed to run for one cycle more than five years ago, and it’s still airing all over the place. It just won’t go away. And there is the CarGurus campaign I did that helped the company launch Boston’s first tech IPO of 2017 – I don’t understand what any of that means, but I’ve been told it’s a big deal.
Non-commercially, I did a dark comedy based on H.P. Lovecraft’s Cthulhu Mythos, which has played in 84 festivals around the world and won more than 40 awards. That’s been pleasantly humblebraggy. Last year I directed my first short film called The Call of Charlie.
NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
Netflix, my laptop, and my robot spouse.
WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Wait…I’m allowed to do that?