California Raisins, MTV and Ms Dynamite: The Work That Made Ross Anderson
Ross Anderson is an award-winning executive producer and commercial director with over 15 years’ experience leading creative and production teams across music, advertising and entertainment. As commercial director at NaF+ Worldwide Services, he drives creative and commercial strategy across more than 100 markets, helping global brands and agencies deliver content that connects at scale.
Starting out at Universal Music, Ross helped shape some of the most influential music videos of the past two decades before founding creative content agency Nice&Polite, and taking it from start-up to IPO. Since then, he has advised some of the world’s most recognisable brands and agencies, bringing clarity, creativity and commercial focus to complex global productions.
A believer in creativity as both art and enterprise, Ross combines strategic vision with hands-on production experience. His approach centres on curiosity, collaboration and craft - building stories, partnerships and teams that move people and drive lasting impact.
Lately, he’s been most energised by work in the MENA region - new markets with bold ambition, where the creative conversation sits right between commerce and culture. That tension, when handled well, is where the real innovation happens.
Below Ross chats to LBB about his upcoming multi-part documentary series with Netflix and his thoughts on the most ambitious work coming out of the MENA region
LBB> The ad/music video from my childhood that stays with me…
Ross> The California Raisins’ 'I Heard It Through the Grapevine' commercial. There are many I could name, but this one is pure joy. You can’t imagine it being made in quite the same way today, which is part of the charm. It shows me how you can make a brand feel like pop culture rather than an advert.
LBB> The ad/music video/game/web platform that made me want to get into the industry…
Ross> I grew up glued to MTV back when it was all music videos, and I’d watch it religiously instead of going outside. I didn’t consciously set out to work in that industry but I just knew I was drawn to the combination of image, music and emotion. Looking back, that obsession was probably the foundation for everything that came later.
LBB> The creative work that I keep revisiting…
Ross> I rarely revisit things as I’m always looking for what’s next - but I carry moments with me. A lyric, a line of dialogue, or a particular scene from a movie. That said, I’ve probably seen every Pixar film a million times thanks to my kids. Thanks kids!
LBB> My first professional project…
Ross> The first music video I commissioned was for a London rap/grime group called More Fire Crew in an ice skating rink in Walthamstow. We had only signed three guys, didn’t realise there were about 30 in the crew and it didn’t go down well that they hadn’t been invited. I gave Lethal B my jumper and (if you’re reading this Bizzle) I’d like it back.
LBB> The piece of work that made me so angry that I vowed to never make anything like *that*…
Ross> I’ve seen plenty of things that didn’t land, but rather than anger, I mostly feel frustrated when the process gets in the way of good ideas. The moments where fear or indecision flatten something that could’ve been brilliant - that’s what I try to avoid.
LBB> The piece of work that still makes me jealous…
Ross> Michel Gondry’s 'Star Guitar' was hypnotic when I first saw it, though I probably didn’t fully appreciate how clever it was at the time. It showed how rhythm, structure and visual storytelling could merge into something bigger than the sum of its parts - an idea that’s still at the core of great filmmaking today.
LBB> The creative project that changed my career…
Ross> I’ve spent much of my career championing other people’s creative journeys - from early music videos for White Lies by Andreas Nilsson to asking Ray Kay to direct Cheryl Cole’s ‘Fight For This Love’. It’s been amazing to work with some of the greatest directors early in their careers like Daniel Wolfe, Sam Brown or Vincent Haycock amongst many other amazing talents who’ve since shaped culture in their own right.
My path has shifted over time - from music to advertising to branded content and now to long-form projects. Recently, overseeing the creative for the Riyadh Season boxing event in Times Square felt like a turning point. It proved that live events, storytelling and digital distribution can converge to reach billions within a day. Now, as we develop multi-part documentary work for Netflix, I might say that moment hasn’t happened yet, or rather is hopefully about to happen again.
LBB> The work that I’m proudest of…
Ross> I’ve been involved in thousands of projects and every time there’s a moment where I pinch myself that this is still my job. The one that sticks out though is ‘Father’, a music video for Ms Dynamite by Daniel Wolfe which has now probably fallen through the cracks of the floorboards at YouTube, but I remember feeling all the emotions when I saw the first cut and it made me cry. Which sounds ridiculous saying it now, but maybe that’s the one.
LBB> I was involved in this and it makes me cringe…
Ross> Probably this, to be honest. Reading back over it makes me wince a bit, but if you’re not slightly embarrassed by the things you’ve made or said along the way, you’ve probably stopped growing.
LBB> The recent project I was involved in that excited me the most…
Ross> Working with NaF+ Worldwide Services has meant leading projects across continents for brands and agencies operating on a global scale. Lately, I’ve been most energised by work in the MENA region - new markets with bold ambition, where the creative conversation sits right between commerce and culture. That tension, when handled well, is where the real innovation happens.
