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Tommy LaBuda joins Eleanor
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Eleanor has appointed its first dedicated US music-video representative, a major expansion for the production company and its international roster of filmmakers.
Eleanor has appointed Tommy LaBuda, one of music video's most influential director representatives, as its first dedicated US music-video representative, a major expansion for the award-winning global production company and its international roster of filmmakers.
For more than two decades, LaBuda has worked on instinct and intimacy, reading a room full of artists, labels, and creative partners and knowing precisely whose hand belongs in whose. That instinct sits behind some of contemporary music's most recognisable visual moments.
Consider the evidence. Hannah Lux Davis's thank u, next for Ariana Grande. Emil Nava's Rockstar for Post Malone. Christian Breslauer's Kill Bill for SZA. Three artists. Three distinct visions. Each one a song is handed an identity it gets to keep long after the screen goes dark.
LaBuda has spent a career making those introductions and then stepping back to watch them take. His influence runs through record labels, commissioners, and some of the most internationally recognized production companies in the business: London Alley, CANADA, Biscuit, Stink, and Merman.
What he does particularly well is notice. He finds the potential in a filmmaker before anyone has thought to name it, then knows how to feed it, matching ambition to opportunity several moves before the industry looks up from its drink.
A philosophy like that needs somewhere to live. It has found one.
Under its unmistakable crown, Eleanor keeps an international roster of fiercely individual filmmakers whose work moves between cinema, fashion, advertising, and entertainment. Each arrives speaking a creative language entirely their own: bold visual spectacle, surreal world-building, intimate storytelling, filmmaking with a current running through it.
None of it is accidental. Champion the unusual suspects. Nurture the relentlessly imaginative. Give extraordinary ideas the craft to become iconic films. Now that ambition goes deeper into the recording industry.
LaBuda arrives with the relationships already made and the map of the market in his head, joining a company built to work across disciplines. For Eleanor's filmmakers, it opens new rooms: artists to collaborate with, and formats that move between music video, branded entertainment, and commercial storytelling. A little alchemy. A lot of aftershocks.
The timing is no accident either. Across entertainment and advertising, the traditional commissioning structures are loosening their grip, leaving more room for artists, brands, and filmmakers to find one another directly.
LaBuda has lived through a transformation like this before and had a hand in shaping it. He knows what it takes to develop talent, choose the next move deliberately instead of fast and cultivate creative relationships that stand the test of time.
Eleanor recognizes its own instincts in that: an appetite for originality, and the nerve to try the approach nobody has tried yet. Together they intend to write the next chapter of music-video filmmaking, bringing a wider range of talent and capability to an industry hungry for a fresh perspective.
"Tommy has shaped the careers of some of the most influential directors in music, and he shares our belief in championing the unusual suspects," says Sophie Gold, President of Eleanor. "Having him represent Eleanor in the US opens a whole new lane for our roster, and I can't wait to see what we make together."
"There's real intention behind the roster Eleanor has built. You can see how thoughtfully it's been curated, and there's a great team and energy behind it. I've always loved working with directors who have a clear vision and helping them bring it to life. The industry is changing, and that gives us an opportunity to explore new ways of working, from music videos to commercial hybrids and beyond. I'm excited to build on what Eleanor is already doing and introduce that talent to a wider part of the industry," says LaBuda.
The seventh anniversary is still ahead of it. Eleanor has already built what most companies spend twenty years reaching for: offices on two continents, a roster others covet, awards that came early and kept coming, and a body of work that refuses to sit still in one form.
Music was always going to be next. The only question was who. Put a record in front of LaBuda before anyone has decided what it should look like, and he is already thinking of the one filmmaker who will find the image the song has been keeping to itself. That is the work. Nobody arrives here by accident. Picking them one at a time is the job LaBuda has been doing all along, from the other side of the phone.
Artists will notice. Commissioners will notice. The companies that have had this ground to themselves will notice first.
Under the crown, the volume is only going up.
