Capturing a Slice of Real Life with Andy Saunders

Andy Saunders’ journey has taken an unexpected and inspiring path – from flying planes to becoming an award-winning commercials director. His versatility across genres has resulted in an impressive and diverse body of work, encompassing humour, beauty, performance, and honest, compelling storytelling. Despite the range, his work is united by a signature style that reflects both his deep passion and remarkable talent – no matter the brief.

Food became a defining genre for Andy, one that truly showcases his exceptional eye for detail. Whether it’s a drip, a drop, a fold or a slice, he navigates the technical demands and subtle nuances of food filmmaking with ease, consistently bringing beautiful, mouth-watering visuals to life on screen.

Born in Yorkshire, Andy began his career in stills photography. It was there he honed his sharp visual instinct and discovered a love for storytelling through the lens, which naturally transitioned into the world of television.

In addition to directing, Andy is also an accomplished storyboard artist and colourist, often grading his own work to maintain complete creative control and consistency across each project.

His commercial credits include work for major brands such as BBC, Bentley Motors, Co-op, Ragu, Versace, DHL, and Nestlé. He has also directed award-winning campaigns for Asda and Aldi. Andy has just finished writing his first comedy series and is hoping to get it into production next year.

Andy spoke with LBB about his upcoming Christmas projects, the double edged sword that is integrating AI into productions, and why he has found it to be a useful tool for his treatments.

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Andy>I’ve just started shooting a national Christmas campaign for a UK food retailer. I have a bit of a thing about working with food, I love it - what’s in the food, how it's made, how it moves, how and where you eat it or who you share it with. It can be as tricky as hell but get it right and it’s so rewarding.

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Andy> AI is obviously on everyone's lips right now. On every set there’s invariably someone showing you something, ‘Have you seen this, it’s incredible, it’s not real, it’s all AI.’

Or is AI about to kill our industry? It’s a double edged sword.

I’ve embraced it, more out of curiosity because I wanted to know what it’s capable of and whether it will be taking my job sometime soon! On the first point, it is amazing. I can create treatments with far more freedom, I can visualise the image and create mood boards far more easily, all of which help sell my vision into the agency.

It’s inspired me to start on a couple of personal projects with moving images, learning how to speak AI and really just to see how far I can take it. It’s a process I’ve never had access to before and creatively it really has no boundaries. So what will happen in the next 12 months, five years? I see my role as director evolving significantly with the integration of AI. As I said, while AI brings new tools and efficiencies, the core responsibilities of a director; creative vision, storytelling, and human connection, remain essential. But really. Who knows!

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

Andy> That’s a big question. It usually comes down to voice and clarity of vision. Many scripts can have a competent story but the ones that really stand out are the ones where the dialogue has rhythm and the world feels lived-in and the characters aren’t just archetypes. I also love it when a script makes bold choices, whether in structure, perspective, or theme, instead of trying to just play it safe. I just wish there were more scripts like that out there!

As for the kind of scripts that excite me, I look out for the ones that create a strong emotional response, whether that’s tension, wonder, or even discomfort. I like when the script leaves room for collaboration, that’s really important to me actually. Also places where the visuals, performances, or pacing can elevate what’s already on the page. Scripts that take risks, surprise me and give me something to wrestle with creatively, are the ones that really excite me.

LBB> How do you approach creating a treatment for a spot?

Andy> I start by getting clear on the core message, what the brand wants the audience to feel, remember, or do. Even in 30 or 60 seconds, you need a story that resonates, whether that’s humour, aspiration, or pure visual impact.

Once I’ve got that foundation, I translate it into a visual language. I’ll outline tone, colour palette (I’m big on the colour palette), shooting style, which can be even the detail of lens choice, pacing, and performance style, so that the client can see not just what the spot is saying, but how it will feel. Music and sound design are obviously key, as they can carry as much weight as the visuals in creating emotion and can often be overlooked.

Finally, I like to make the treatment as immersive as possible. That means strong imagery, as I mentioned earlier, AI has really helped me refine that, concise writing and a flow that tells a story on its own. Ultimately, the goal is for the client to finish reading it and already feel like they’ve seen the commercial in their head.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Andy>As a TV commercials director, I’d say the most important working relationship I have is with the agency creative team.

Commercials are not purely film, they’re brand storytelling compressed into seconds. The creative director is the guardian of the brand voice, the campaign idea and the client’s objectives. My job is to take that vision and translate it into something cinematic, emotionally engaging and memorable. If we’re aligned, if there’s mutual trust and a strong back-and-forth, we can elevate the concept beyond what’s on the page.

Of course I rely heavily on my DP, production designer and editor but if I don’t have a clear, open channel with the creatives, the project risks veering off from what the brand actually needs. When that relationship is strong, it allows me to push creatively while still delivering exactly what the client is after.

LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?

Andy> I’ve mentioned my love affair with food already but I genuinely just love a script that stands out, something brave and different. I’m especially drawn to spots that balance strong visual style with a human heartbeat, whether it’s humour, inspiration or a slice of real life.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Andy> It’s really important for me to understand the brand and its market, especially if I’m not already familiar with it. At the end of the day, my job isn’t just to make something visually striking, it’s to tell the brand’s story in a way that resonates with its audience. If I don’t the work risks looking great but missing the mark.

My process usually starts by looking at the brand and its tone of voice, whether that’s through research, or conversations with the creative team. That context helps me make creative decisions; about casting, tone, pacing, and visuals, that feel authentic and on-message, while still bringing a fresh, cinematic perspective.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Andy> Production just think that I want to spend loads of money on unnecessary things.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

Andy> I’ve never worked directly with cost consultants, but I experience their influence on productions. I just need to work with it, explain my creative choices, find compromises if necessary and make sure the idea doesn’t get watered down, which is my biggest concern. I have to keep the vision intact, while still being realistic about the budget.

LBB>What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Andy> Trying to get three elephants to stand together and look like they’re in conversation with each other. We didn’t solve it. Elephants will do only what they want to do.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Andy> For me, it always starts with protecting the core idea. That’s my north star as a director. Collaboration with the agency and client is crucial, they can bring valuable insights and perspectives but it has to happen within the framework of serving that central vision. I always try to be open, listening and creating space for dialogue but also being decisive. At the end of the day, the work is strongest when it has a clear point of view. My role is to make sure every choice we make contributes to that, so the final piece resonates with impact rather than compromise.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Andy> I think it’s super important to open up the production world to a wider mix of people. Different backgrounds bring fresh perspectives and that only makes the work stronger and more interesting.

I’d definitely be open to mentoring or having apprentices on set, I’m surprised it doesn’t happen already, money I guess. I know how much of a difference it can make to have someone show you the ropes, I’d love to help create that kind of access for others.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Andy> I’m always aware the work’s going to potentially end up everywhere: TV, socials, vertical, little six second snippets, even muted autoplay. It’s a compositional nightmare. I don’t overthink it while I’m shooting. If there’s a particular composition where I know there’ll be an issue, I’ll just flag it. You can't accommodate every format, there has to be compromise down the line.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

Andy> I get excited if there’s something out there that enables a creative vision to be realised more quickly or more easily. That’s the bottom line for me. If it can help bring an idea to life or make my life easier, then I’m all in. I’m wary of getting sucked into ‘hype,’ using new for new’s sake, or following a trend, I need to see how tech works and then how it can work for me. It's about making the right choices.

LBB> Which pieces of your work do you feel show what you do best – and why?

Andy> Jacksons of Yorkshire - I love this spot, simply because it encompasses what I think I do best. Food, performance, lifestyle and a nod to comedy. Oh, and there’s also the fact it was all shot in God's own country; Yorkshire.

Ragu - This is up there as one of my favs just because of the way it looks. It’s one of those jobs where everything came together just beautifully.

Silentnight - Bold, simple and to the point. I loved the simple narrative in this spot and with bold styling and a simply great performance, this is one that always sits in my top spots.

Food Showreel - Not a single spot, more a visual scrapbook of food stories I’ve helped bring to life – not tied to a single spot, but a flavourful journey through projects I’ve poured my heart into.