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MAPP makes moving pictures. He makes them beautiful and he makes them funny, in that order. He loves his job, but what he really wants to do is write bios in the third person. 

MAPP (Steve Mapp) began his career as an art director and later creative director, developing a nontraditional approach to advertising at agencies including Crispin Porter + Bogusky, Leagas Delaney, Goodby Silverstein & Partners, and BSSP. He won numerous awards for his work with clients such as adidas, eBay, Ace Hardware, IKEA (Lamp), Netflix, and Priceline.

MAPP began directing with a spot for MINI called “Ahhhhhh!" and never looked back. Since then, he’s honed his filmmaking craft by tackling a wide variety of projects, all with a cinematic approach. His greatest passions are for visual storytelling, comedy dialogue, and cars – and he cannot resist a good period piece. He lives his best life near multiple bodies of water in California with his wife and something like two or possibly five kids, it’s a blur sometimes.

Name: MAPP 

Location: Berlin/Northern California 

Repped by/in: SOUP FILM in Germany! 

…and also FANCY (USA), Skin & Bones (Canada), 

Snapper (UK) and Palomina (Australia) 

Awards: Yep. 

��������> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

MAPP> The first thing I look for is – Wait a minute… These are the same questions as

Okay, no problem. Why don’t I ask the questions this time? And also answer them! Let’s get to the heart of some of our industry’s biggest mysteries. This will be fun…

MAPP> What’s your favourite soup? 

MAPP> I’m so glad you asked! I love tonkotsu ramen. My mom’s chicken noodle... clam chowder in a bread bowl? But SOUP also happens to be the name of my new production company partners in Berlin — SOUP FILM. So they’re my favourite soup.

MAPP> Who let the dogs out? 

MAPP> That’s a weird question, but I suppose I did this morning. We have a new chocolate Labrador puppy, his name is Mud. Wook at dat face! 

Fact is, everyone loves animals in commercials, including me. I’ve worked with cats, dogs, a falabella miniature horse, toddlers! Animals don’t scare me. Animal wranglers, however… they’re nuts. I once filmed a commercial featuring a squirrel and the trainer wore an orangutan in a backpack. The orangutan was not in the commercial. He was just there. 

In a recent project for Driveway, we needed a person shopping for a car on his smartphone while petting his cat while relaxing on the belly of ANOTHER, much larger cat. I’m a big fan of shooting as much in-camera as possible, so to achieve a lifelike effect (rather than using CG), we actually had three cats on set: two normal-sized cats and one ENORMOUS “cat” that was actually a giant, furry, “breathing” bean bag.

We filmed one of the real cats on green screen and then superimposed it onto the shot of our actor and other cat laying on the bean bag in post. Solving visual problems is MY happy place. 

MAPP> What’s in the box? What’s in the box?! 

MAPP> We know what was in that box. BUT… we never saw it. And it was better that way. Why? Because what we visualised and conjured up in our heads was far better than what any visual effects folks could have made.

Also, because what was in the box wasn’t what was important — it was Brad Pitt’s character in Se7en spiralling out of control. The lesson learned here is sometimes what you DON’T see is just as important as what you do. In our advertisements, by exercising restraint we can reveal only as much as we need and we use that tension to our advantage, both budgetarily and storytellingly! 

MAPP> Does a bear sh*t in the woods? 

MAPP> Yes, yes it does. But let’s be clear: a bear sh*ts wherever the hell it wants to, and you have to be prepared for that. This rule applies as much on set as anywhere. Best practice for any shoot is to expect the unexpected, leaving both time for unexpected setbacks and opportunities to occur (because not all surprises are bad! Just ask my first child). If I’ve learned one thing over the years, it’s that unscripted moments and moments devised on set are often where we find the gold. 

MAPP> Do you like scary movies? 

MAPP> Yes I do. Even though I largely direct comedic commercials, I actually do like scary movies! The original 'Texas Chainsaw Massacre' is a masterpiece. 

What makes a scary movie good is relatability. When you can see yourself in their shoes. When they bring you along for the ride in discovery. When you think about it, comedy is the same way. Good comedy, that is. Never overacted, always played straight. And like a good jump scare, you shouldn’t see a joke coming. 

I’ve brought my comedic sentiment to some horror-themed commercials, like this one I did for MINI. From the very loud casting session to the night shoot with even more screaming, this one was so much fun. 

In fact, I’ve created a whole comedy/horror subgenre! Over the years, I’ve done this kind of work for other brands like PlayStation, Rid-X, and even a movie homage series for PlayAlberta which includes this one inspired by the classic slasher, 'Scream'. 

MAPP> Funny how? Funny like a clown? 

MAPP> Everyone knows clowns are scary, not funny. So no, NOT like a clown.

Comedy is all about timing. 30 seconds, to be specific. It’s not a lot of time, and it’s not easy to do. That’s why not all great comedy feature directors are great commercial directors. 

I heard a quote by Super Bowl ad veteran Gerry Graf that I will most certainly butcher. “To make a good 30-second commercial, you have to write a great :15.” (Gerry, did I get that right?) Because you need to factor in timing. Time to deliver the joke, time to process. Maybe it’s a deadpan delivery, followed by a deadpan stare. Or maybe it’s a slow reveal that gets funnier and funnier. The fact is, if there was a mathematical equation for comedy, it would likely involve subtraction, not addition. Less equals more. Because that is when comedy multiplies! 

MAPP> I’m Ron Burgundy? 

MAPP> A line can be read a bunch of ways, and some are better than others. But one is always best. 

To make the most of comedy on set, my approach is to keep setups simple so we can spend more time filming our actors instead of waiting for Gary the Gaffer to rig up an 18k or a rim light. (But man, I do love a good rim light.) To ease the nerves of my friends in video village, I always start with the scripted lines before going off-piste. Let’s also be sure we have the best delivery for each media format – maybe there’s a take that works best for the :30 and another quicker version of that read for the :15. 

MAPP> What is the meaning of life?

MAPP> Hell if I know! I thought it was advertising. After all, what is that old Chinese proverb? 

Give a man a fish, he eats for a day. 

Teach a man to fish, he eats for a lifetime. 

Sell that man the new TunaBoss 2000 graphite rod, handcrafted and equipped with the finest stainless steel rollers and an EVA foam grip for non-slip and comfort… my family eats!! 

MAPP> Do you feel lucky? Well, do you, punk? 

MAPP> I do. Very much so. You see, not everyone gets to do what they love for a living. And I have had TWO careers that I’ve loved. I started my career as an art director and later creative director, developing a non-traditional approach to advertising at agencies including Crispin Porter + Bogusky, Leagas Delaney, Goodby Silverstein & Partners, and BSSP. And in doing so, and by working along the way with talented directors (Christopher Guest, Spike Jonze, Sam Mendes, Craig Gillespie, Tom Kuntz, Traktor), I feel fortunate to have basically attended a film school you simply can’t pay for.

I always stuck around behind the director’s monitor instead of hanging out in video village with my co-workers and clients. My old boss John Butler used to joke with me when I was headed out to a shoot, “I hope (insert director name) brought his MappBjörn for you!” (followed by a knowing giggle.) 

Sure, this business isn't easy and has its ups and downs. While often rewarding, it can also be extremely humbling. Especially, when you begin your new career just before a global pandemic. But as they (I’m not sure who exactly) say… what doesn’t kill you makes you stronger. Wanna see my 8-pack? 

MAPP> What’s love got to do with it? 

MAPP> Sometimes EVERYTHING! When you love what you do, you don’t mind the work and sweating the details. Here are a few more projects I’ve loved making: 

This one gets to the authentic and relatable feeling of a breakup. And it’s all played dead straight — the inescapable feeling of betrayal, the painful reality of growing apart, the melancholy reflection of the joy of what once was. It’s a very human rollercoaster of emotions. And if you’re sandwich… it just eats at you! Yes, that’s a wordplay. 

Some things are delicious. Some things are satisfying. And some things are deliciously satisfying… like directing this campaign for ALOHA. Visceral and unapologetic, this hyper-stylised piece is set to a timeless sounding track. Meaning it sounds old, but it’s not. And the lyrics were written by yours truly! 

MAPP> Should I stay or should I go now? 

MAPP> I should probably go now.