This Brit is living in New York while working on spots, directing and playing dodgeball.
NAME: Rupert Cresswell
CAN YOU DESCRIBE YOUR COMPANY?
MPC has been one of the global leaders in VFX for nearly 50 years, with industry-leading facilities in London, Vancouver, Los Angeles, Bangalore, New York, Montréal, Shanghai, Amsterdam and Paris. Well-known for adding visuals for advertising, film and entertainment industries, some of our most famous projects include blockbuster movies such as The Jungle Book, The Martian, the Harry Potter franchise, the X-Men movies and the upcoming The Lion King, not to mention famous advertising campaigns for brands such as Samsung, BMW, Hennessy and Apple. I am based in New York.
WHAT’S YOUR JOB TITLE?
Creative Director (and Director)
WHAT DOES THAT ENTAIL?
Lots of things, depending on the project. I am repped by MPC to direct commercials, so my work often mixes live action with some form of visual effects or animation. I’m constantly pitching for jobs; if I am successful, I direct the subsequent shoot, then oversee a team of artists at MPC through the post process until delivery.
When I’m not directing, I work as a creative director, leading teams on animation and design projects within MPC. It’s mostly about zeroing in on a client’s needs and offering a creative solution. I critique large teams of artists’ work — sometimes up to 60 artists across our global network — ensuring a consistent creative vision. At MPC we are expected to keep the highest standards of work and make original contributions to the industry. It’s my job to make sure we do.
WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I feel like the lines between agency, production company and VFX studio can be blurred these days. In my job, I’m often called on for a wide range of disciplines such as writing the creative, directing actors, and even designing large-scale print and OOH (out of the home) advertising campaigns.
WHAT’S YOUR FAVORITE PART OF THE JOB?
There’s always a purity to the concepts at the pitch stage, which I tend to get really enthusiastic about, but the best bit is to get to travel to shoot. I’ve been super-lucky to film in some awesome places like the south of France, Montreal, Cape Town and the Atacama Desert in Chile.
Additionally, the industry is full of funny, cool, creative characters, and if you can take a beat to remind yourself of that, it’s always a blast working with them. The usual things can bother you, like stress and long hours; also, no one likes it when ideas with great potential get compromised. But more often than not, I’m thankful for what I get to do.
WHAT IS YOUR MOST PRODUCTIVE TIME OF THE DAY?
There’s a sweet spot in the morning after I’ve had some caffeine and before I get hungry for lunch — that’s when the heavy lifting happens.
HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I always knew I wanted to go to art school but never really knew what to do after that. It took years to figure out how to turn my interests into a career. There’s a lot to be said for stubbornly refusing to do something less interesting.
CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
I finished a big campaign for Timberland, which was a great experience. I worked directly with the client, first on the creative, then I directed the shoot in Montreal. I then I oversaw the post and the print campaign, which seemed to go up everywhere I went in the city. It was a huge technical and creative challenge, but great to be involved from the very start to the very end of the process.
I also worked on one of the first brand campaigns for the blockchain currency, VeChain. That was a huge VFX undertaking and lots of fun — we created a love letter to some classic sci-fi films like Star Wars and Blade Runner, which turned out pretty sweet.
In complete contrast, my most favorite recent experience was to work on the branding for the cult Hulu comedy Pen15. The show is so funny, it was a bit of a dream project. It was refreshing to go from such a large technical endeavor as Timberland with a big VFX team to working almost solo, and mostly just illustrating. There was something really cathartic about it. The job required me to spend most of the day doodling childish pictures — I got a real kick out of the puzzled faces around the office wondering if I’d had some kind of breakdown.
WHAT OTHER PROJECTS STAND OUT?
Some of my stuff won glittery awards, but I am super-proud that I made a short film, called Charlie Cloudhead, that got picked up by many festivals. I always wanted to try writing and directing narrative work, and I wanted something that could showcase more of my live-action direction.
It was an unusually personal film, which I still feel a little awkward about, but I am really proud that I put in the effort to make it. It was amazing to work with two fantastic actors (Paul Higgins and Daisy Haggard), and I’m still humbled by all the hard work a big team of people put in just for some kooky little idea that I dreamed up.
NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
The idea of no phone and no Internet gives me anxiety. Add to the horror by taking away AC during a New York summer and I’d be a weeping mess.
WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m pretty much addicted to scrolling through Instagram, but I’m lazy at posting stuff. Maybe it’ll become Myspace 2.0 and we’ll all laugh at all those folks with thousands of followers. Until then, it’s very useful for seeing inspiring new work out there.
I’m also a Brit living abroad in the US, so I’m rather masochistically glued to any news of the whole Brexit thing going down.
DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I do. Music is incredibly influential. Most of the time when I’m working on a project, it will be inspired by a song. It helps me create a mood for the film and I’ll listen to it repeatedly while I’m working on script or walking around thinking about it. For example, my short film was inspired by a song by Cate Le Bon.
My taste is pretty random to be honest. Recently I’ve been re-visiting Missy Elliott and checking out Rosalia, John Maus and the new Karen O stuff. I’m also a bit obsessed with an artist from Mali called Oumou Sangaré. I was introduced to her by a late-night Lyft driver recently, and she’s been helping set the mood for this Q&A right now.
I should add, I work in an open-plan studio and access to the Bluetooth speaker takes a certain restraint and responsibility to prevent arguments — I’m not necessarily the right guy for that. I usually try and turn the place into Horse Meat Disco.
WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I recently joined a dodgeball league. I had no idea how to play at first, and I’m actually very bad at it. I’m treating it as a personal challenge — learning to embrace being a laughable failure. I’m sure it’ll do me good.