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Inside the Directing Mind of Charley Stadler

10/09/2024
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天美棋牌鈥檚 Tar谩 McKerr speaks to the newly-signed Great Guns director, to get a deeper insight into the prolific director and his creative process

When you鈥檝e carved out a career for yourself that spans over 400 commercials, having directed some of the most recognisable global campaigns, it鈥檚 easy to become complacent. But for Charley Stadler, complacency has never been an option. 200 international directing awards later, and with a reputation for being one of the most versatile filmmakers in the business, Charley tells me he still gets excited every day he goes on set. 鈥淭his profession is definitely my life鈥檚 destiny.鈥 

Charley is the kind of director who thrives in the environments that others might shy away from, especially when it comes to the pressure-cooker that is advertising. He鈥檚 been the force behind campaigns for brands like Microsoft, Heineken, Vodafone, and McDonald鈥檚, as well as working with A-listers ranging from football stars like Thomas Muller and Marco Reuss; not to mention the Hollywood heavyweights like Gary Oldman and Sharon Stone.


Escaping Boxes

Charley鈥檚 career started not in film, but rather in photography; a discipline that still informs much of his visual style today. He had made a name for himself shooting musicians like Metallica鈥檚 James Hetfield, but soon realised that sticking to one style just wasn鈥檛 for him. 鈥淭he industry likes to pigeonhole directors,鈥 he says, reflecting on the early days, 鈥渂ut I promised myself I鈥檇 never get stuck in one specific style again.鈥 The desire to break free from categorisation has shaped the diversity of his portfolio, which includes everything from slapstick comedy to gritty, dramatic narratives. 

It鈥檚 this refusal to conform that keeps Charley excited about his work. For him, the ability to switch between genres is what makes directing such a joy. He says it's a form of creative freedom that not all directors get to experience. 鈥淭alented directors are able to jump genres more easily than one might imagine,鈥 he tells me. Genre cross-pollination is something that some can find confusing, but Charley believes it鈥檚 vital to staying relevant in an industry that often prioritises formulas over innovation. 


The Sky is the Limit

As a medium, commercials are known for their constraints 鈥 time, budget, and brand guidelines can all work to stifle creativity. Yet, Charley has made a career out of turning these limitations into strengths. 鈥淭o create an outstanding storytelling commercial in 30 seconds is more difficult than to shoot an entire movie,鈥 he says, quoting a recent conversation with a features producer. He believes ads are a sprint compared to the marathon on feature filmmaking, but the need for precision is what makes them so satisfying.

鈥淭here鈥檚 something unnatural about how fast my brain gets into a brand鈥檚 DNA,鈥 Charley explains. He likens it to an almost metaphysical process: 鈥淚 guess the universe talks to me, and I mainly say 鈥榯hank you鈥 back.鈥 Whatever the method, it seems to be working. His campaigns appear to not only capture the essence of the brand, but often define it, leaving an impact that endures far beyond the commercial duration. 

One of the most interesting developments in Charley鈥檚 recent work has been his journey into virtual production. He was among the first directors to shoot at Europe's advanced Hyperbowl studio 鈥 a virtual production space that allows filmmakers to create immersive worlds without the logistical headaches of location shoots. While initially sceptical, he quickly spotted the potential. 鈥淭he sky really is the limit,鈥 he says. 鈥淚f your brain likes to create new worlds, this is the tool for sure.鈥 It鈥檚 not without its challenges, though. 鈥淵ou just need to learn how to use it the right way,鈥 he says. 鈥淥therwise it can look awful鈥 It鈥檚 a tool that, when used correctly, opens up endless creative possibilities.鈥 But, even with all this cutting edge technology, he still admits he wouldn鈥檛 mind shooting on a white sandy beach for a change. 


The Child Creates

Charley has been saying for a long time that 鈥淭he child creates鈥. The rest is almost technical in his view. But the key to avoiding stagnation is all about spontaneity and encouragement. It鈥檚 a philosophy he extends to his entire team, telling me, 鈥淚t鈥檚 a people business. The more excited you can keep everyone, the better the outcome.鈥 

For someone with such a varied portfolio, choosing a favourite project is difficult 鈥 Charley points to a five-minute Christmas ad he directed for a Russian bank in 2018 as a standout. The film was shot over six days in Moscow and the Caucasian mountains, taking a unique approach to the typical holiday narrative. Instead of focussing on products or branding, the ad conveyed a simple, heartfelt message: love your children. 鈥淲e imagined a very different Santa Claus,鈥 he says. The result was a viral hit, sparking psychological congresses and even landing a cover story in The Sun.

Despite its success the ad caused controversy in Russia, leading the bank's owner to pull it off the air. But the impact had already been made 鈥 the bank rose from ninth to sixth in the country, and other brands followed with their own unconventional takes on Santa Claus. For Charley, this project exemplifies the very kind of disruptive work he strives to create. 鈥淕oing against the grain creates more attention, and more revenue for the brand,鈥 he tells me. 

Charley鈥檚 dream project is any one that allows him to stretch his full creative potential, but it鈥檚 often tempered by the realities of this kind of work. 鈥淭here鈥檚 often a degree of control that holds back the ideas from shining as brightly as they could,鈥 he admits. Still, he approaches every project with the same enthusiasm regardless. 鈥淓very project has its own magic. It鈥檚 a really fun job.鈥 


Let's Play

The most recent success came with the BRLO 鈥楧rink Naked鈥 campaign. Created in only ten days, the ad generated over 1 billion impressions and was a finalist at several international awards shows, also snagging a Cannes Lion. It鈥檚 a reminder of why he loves what he does. 鈥淚t made everyone who saw it smile. That鈥檚 all I ever want,鈥 Charley says. 

Whether it鈥檚 working on high-stakes commercials for global brands or experimenting with new tech, Charley鈥檚 process remains the same: push boundaries, engage the team, and never settle. Speaking to his recent signing with Great Guns he tells me 鈥渋t鈥檚 been a while since I鈥檝e had representation in the UK and the US. And I couldn鈥檛 be more excited.鈥 For Charley, the playground of filmmaking really has no limits.

Credits
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