Peer Review: Jake Mavity

Who are three contemporaries that you admire, and why?

Charlotte Regan - she’s a storyteller who sometimes dips her toe into the world of ads and that really shows with her commercials. They’re packed full of heart and tenderness with really well-judged performances to boot. And her debut film Scrapper is a can of fizzy joy, begging to be downed / chugged in one.

And it was done the hard way; all in-camera in a single, beautifully choreographed shot with a huge amount of craft, illustrated by the excellent behind the scenes.

Ninian Doff - I remember seeing his Darwin Deez video at the UKMVA’s and being properly blown away. It is such a contained, clever idea (AKA financially achievable with a limited budget) and perfectly executed. But unfair to highlight one vid really, as all his work is a panoply of creativity and character.

Sara Dunlop - she’s made masses of lovely stuff but it was her Billboard spot for Sky that had a big impact on a younger me. On paper, the spot could’ve been repetitive but she found the magic and made something absolutely timeless. It still feels so captured and effortless. And cracking use of music too. 

Above: Trailer for Charlotte Regan's debut film Scrapper

Please share 3 pieces of work that exemplify great risk-taking and explain why? 

Bodyform - Womb Stories, directed by Nisha Ganatra felt (to my eyes at least) like a mould-breaking piece of work in a traditionally conservative sector. Rather than lazily trying to find a universal truth, Womb Stories dares to show a plurality of experience and really embraces the negative as well as the positive when exploring women’s journeys with their bodies.

Advertising has become addicted to unmotivated camera moves flying about the place in lieu of a brilliant idea, whilst Harold’s ads rely on the fundamentals of great writing and great execution.

Using mixed-media incredibly effectively, Ganatra and AMB BBDO have created something that is full of different and conflicting truths in all their messy and unique forms. I cried when I first watched it, although I was a bit over-worked and under-slept at the time…

Above: Ninian Doff's music video for Darwin Deez

B&Q - Flip, directed by Oscar Hudson is brave brand-wise but also in execution. My first job in the industry was running and PA’ing on B&Q shoots as staffers in branded aprons talked to camera about cheap lawnmowers, so I saw first hand how far B&Q had moved on creatively. 

Hudson and Uncommon have created an impressive, big-scale visual metaphor out of a poignant and charmingly-domestic story. And it was done the hard way; all in-camera in a single, beautifully choreographed shot with a huge amount of craft, illustrated by the excellent behind the scenes.

Working with actors and especially people performing for the first time is a true joy.

Twix - Camping, directed by Harold Einstein has got to be the only chocolate ad where I’m left thinking about a neck-snapping, decapitation as I chuckle away craving a Twix. Einstein’s ads are always super irreverent without trying too hard (which is really tricky to get right). Advertising has become addicted to unmotivated camera moves flying about the place in lieu of a brilliant idea, whilst Harold’s ads rely on the fundamentals of great writing and great execution.

What do you like most about the work that you do? 

Working with actors and especially people performing for the first time is a true joy. From the initial chemistry of a casting to developing a world from their character’s perspective is a fascinating and rewarding process. My most recent short film, Calico, stars a teenager (Malaysia Newland) with vitiligo all over her face and body. 

My ‘editor-head’ is constantly critiquing what I’m shooting and making sure I’ve got flexibility in the edit.

Malaysia had never acted before and was initially very self-conscious. We workshopped together (with the help of an amazing acting coach, Charlie Kemp) for 5 months. To see her blossom as an actor was incredibly special.

What was your journey to becoming a director? 

I was an editor initially, which was amazing as it really helped me develop my storytelling. Throughout the process, I’m shuffling, stress-testing and developing the storyboard in my head, to make sure it is working as hard as it can. The big positive from that is it allows me to be very decisive if something goes wrong on set or the client has a last minute wobble, as I know exactly what I do and don’t need. 

Patience and kindness are both really important for getting the best out of talented actors, hardworking crews and ambitious agencies.

My ‘editor-head’ is constantly critiquing what I’m shooting and making sure I’ve got flexibility in the edit, so I’m constantly looking to add more emotional depth and more visual texture. Because I do like to be adaptable when shooting, I like to bring the agency onboard early with this method of working, so together we can improvise a little extra magic and sparkle on the day.

What is the most valuable skill you’ve learned in your career, and why? 

Everyone can have good ideas, so take the time to listen to everybody and don’t shut people down. And be able to quickly recognise a good idea from merely a new or different idea.

I love intriguing films that rent a space in your brain long after the movie’s finished. 

What is one thing every director needs? 

Patience and kindness are both really important for getting the best out of talented actors, hardworking crews and ambitious agencies. Productions are stressful by their very nature and nurturing creativity can be as important as being creative yourself. But having a cup of tea on hand is also pretty essential.