Love Song’s soul-enriching search for new talent

Why is nurturing new talent such an integral part of Love Song's philosophy?

KB:  Both Daniel and I have achieved so much in our time in this industry. We have done the award-winning work, we have pushed the boundaries, but then what is next?

For us, this is soul-fulfilling work and a way to take everything we have experienced and help others now bring their dreams to fruition. It’s a tricky industry to navigate, and we saw so much talent going unnoticed, but with our support, they can be seen and make their voices heard. It has been incredibly rewarding to see these incredible creatives grow and build careers.

No matter how talented you are, we always want to make sure we are working with genuinely good people who want to collaborate with others without ego.

And for brands and agencies, you have a safety net with Love Song. We are there the entire time. Our EPs, Daniel and I, are always helping to push the creative and articulate our director's ideas.  It’s less scary to take a jump into the unknown with a new talent.

Along with directorial skill, what else do you look for when thinking of signing a director?

KB:  We look for a fresh perspective. Choices in talent, DPs, taste. When we evaluate reels, we always look for something that surprises and engages us. But no matter how talented you are, we always want to make sure we are working with genuinely good people who want to collaborate with others without ego. Nothing will hold back your career more than an inflated ego.

DW: Voice. Number one is ‘Do they have a voice?’ We also want a roster with good energy and a sense of humour.

(l-r) Kelly Bayett and Daniel Wolfe.

With such easy access to filmmaking technology now, has it become easier to find new  talent, or is it harder, due to the amount of filmmakers and platforms out there?

KB:  We generally find filmmakers through referrals and friends. People with excellent taste that we respect and are sending them to us because they know that we will take care of their friends and elevate their work and careers.

It’s a saturated market with more directors than work. So it’s hard.

DW: Yeah, like Kelly says, often people send us people and say, “They may be a good fit...” We watch short films, check the usual platforms and see if someone is shining.

Once a director has representation, do you think there are now more opportunities for  them to work, with the proliferation of platforms and demand for content?

KB: I don’t know if I believe that to be true. Representation doesn’t necessarily make it easy to work. There are factors in the world you cannot control. If you have a visually arresting director making darker content, and the world is falling apart, content will generally lean lighter, and it will be difficult to get the director work until the tides change.

DW: There are a lot of directors. So, cutting through is hard. It’s a saturated market with more directors than work. So it’s hard.

Main image and above: Love Song produced Elliott Power's YDA Gold Screen winning film for B&Q, The Voice.

We are living in unstable times, politically and environmentally, with young people facing increasing financial/ideological/social challenges. Do you think this is reflected in the type of work younger producers and directors are making?

KB:  There is less of a willingness to take on just any work. Some directors hold very strong values. I don’t know if it’s that it has to be more purposeful, but just that the brand’s values must align with theirs. We have directors that won’t work on gambling or the military. Each person’s POV is different, and we respect that.

So many directors who have been fortunate enough to win a YDA wear that proudly throughout their careers.

DW: Yeah, I think people are more aware and conscious of their choice of work. And often are saying something interesting in their personal work.

Do you think a producer's role in the creation of a commercial sometimes overlooked?

KB:  100% – producers are constantly undervalued. Nothing happens without them, and they get no glory. People take them for granted. It’s shameful. FWIW, I love producers. They make our world go round!

DW: Absolutely, it's almost impossible for a director to do good work without a good producer.