Filmmaking and Connections with Brit Phelan

A multifaceted talent, Brit Phelan playfully captures relatable stories grounded in the human experience, often carrying a throughline of happiness.

Drawn to visual storytelling from a young age, Brit approaches each project with thoughtful curiosity and challenges conventional expectations. She has directed commercial campaigns for many notable brands, including Apple, State Farm, Captain Morgan, UGG, PUMA, McDonald’s and Men’s Wearhouse. Outside of commercial directing, she collaborates with brands, artists and organisations on film, TV and photography projects. She also spotlights people through portraiture, writing, and film via a photo and video archive at BeTheReal.com.

Brit got her start in the ad industry at Wieden+Kennedy, where she honed her signature style of blending intimate image, motion graphics, and visual effects for Nike projects. Well-versed in technology, she’s comfortable experimenting with different tools and approaches, but remains committed to building each project on a foundation of truth.

Brit sat down with LBB to discuss her upcoming film ‘Something Happened’, embracing new technologies on set, and the projects that have most influenced her and her work

Name: Brit Phelan

Location: New York, NY, and Paris, France

Repped by/in: Good Times, US

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

Brit> I’m in post on a narrative film called ‘Something Happened’, which I wrote, directed, and starred in. It follows a vigilante group called the Brooklyn Banshees, who are taking justice into their own hands.

The project began in a really hands-on way. While I was writing the script, I started building a superhero costume, which helped me see the world visually and shaped the story's tone, mixing live action with bold graphics and unexpected textures.

In March 2025, I launched a Kickstarter. Over 30 days, I texted everyone I knew, pitched strangers at every bar I could find in Brooklyn, and found every creative way I could to raise the money. We ended up at $50,000 and shot the project.

We’re in post now, which is the part of filmmaking I really love. It’s where the story starts to breathe. I recently went to a friend’s performance at Town Hall, celebrating worship music from around the world, and one South Asian group completely blew me away. That inspired me and some musician friends to create a distinct sound for the film, adding a new layer of storytelling and energy. I’m thrilled to share the finished project in early 2026.

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

Brit> Technology! It is finally giving filmmakers the tools we’ve always dreamed of. When I started, nobody really cared about DSLRs or editing on Premiere. Now I can shoot straight to the cloud, clean up audio that was once unusable, turn images into short videos, and experiment with AI to build whole new worlds.

I love how it lets me mix live action, graphics and unexpected textures, keeping the work playful and human while really letting the story and actors’ performances land. It opens up new opportunities to surprise audiences and make work that feels alive, not just shiny.

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

Brit> I’m drawn to scripts that leave space for real, honest performances, the kind that feel lived-in and human. I’ve spent years studying performance, and I still keep my tools sharp by taking classes at different acting schools around New York. Figuring out what makes someone feel believable on screen is endlessly fascinating.

Messaging is just as important. I love work that communicates emotions clearly and intentionally. The first film that hit me this way was ‘Life Is Beautiful’. I was eleven when I stumbled upon it on HBO and was completely blown away. Every laugh, every tear, every moment was crafted to make me feel exactly what the story wanted. Later, the 2010 ‘After Hours Athlete’ spot showed me that the same precision can happen in just seconds. Work that blends killer performances with messaging that lands is what really gets me stoked.

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

Brit> I work with index cards. A lot of them. I could use my notes app, but what’s the fun in that? When it comes to ideas in the development process, I like index cards. I start by breaking down the creative I’ve been sent, figuring out who we’re talking to, what hits, and what raises questions.

Then I dive into research, looking at the brand, the talent, and any early ideas that pop up. After meeting with the creative team, I dump everything back on the cards, shuffle, edit, and start building the story. Those cards follow me all the way through the pitch and into production. They keep the idea focused while letting it grow, and honestly, I’m not sure how I would do it without them.

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

Brit> It’s the whole team. Asking me to pick one is like asking who my favourite child is...If I had to pick one underrated area, though, it’s sound. You can fix a lot in post, but bad sound pulls you right out of it, and nothing makes me cringe more. Even with AI helping out these days, it can’t fix everything.

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?

Brit> I’m drawn to projects that are all about performance and story. Work that makes you feel something because the performances feel real and the story sticks with you. Bonus if we can add a layer of motion graphics and textures to heighten the emotion without taking away from the actors. I love stuff that feels human first and cinematic second, whether it’s funny, defiant, or quietly powerful. Two favorites that really stick out are Kim Gehrig’s ‘Dream Crazier’ for Nike, and Lance Accord’s Instagram ‘You Got This.’ That’s the kind of work I’m drawn to.

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

Brit> People sometimes assume authenticity comes from doing less. It doesn’t. It takes a set full of carefully chosen details, thoughtful casting, and attention to performance, and every element in the frame. Audiences can tell immediately if it’s not real, so creating authenticity takes work.

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

Brit> Absolutely, those collaborations are invaluable. Cost consultants force clarity, challenge priorities, and make sure every element on screen serves the idea. They’ve made me a stronger advocate for the creative.

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

Brit> On an indie shoot, we lost our location halfway through. The landlord realised how legit we looked and decided we were ‘too official,’ which could have shut us down and cost us two days. We paused for fifteen minutes, got everyone coffee, and figured out a plan.

My AD reshuffled the schedule, my DP scouted nearby options, and my producers started calling around. Half the crew kept shooting while the other half moved gear. By the end of the day, we’d found a new spot, an old Manhattan loft owned by an artist, and it was somehow better than the first. The furniture, the floors, the little quirks of the space added texture and history to the frames. That’s filmmaking, though. Things go wrong, you improvise, and sometimes the solution ends up being even more interesting than the plan.

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

Brit> It’s about staying in constant dialogue and really listening. Understanding what’s working, what isn’t, and what the brand is trying to achieve is key. Protecting the idea isn’t about being rigid; it’s about keeping the core intention clear while remaining open to feedback that actually strengthens it.

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?

Brit> More diversity means more stories, and that’s exactly why I make work. When I started, I didn’t see many worlds on screen that reflected my own. I create to build the kind of representation I wished I had growing up as a queer kid and the world I hope to see in the future. Filmmaking is all about connection, and including more voices lets more people see themselves on screen and feel less alone. That’s why I’m so passionate about what I do.

I’m all in on mentoring and creating space for emerging talent on set. One of my biggest dreams is to have a mentorship program on my film sets where people can learn every part of the craft and see how it all comes together.

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)?

Brit> Format is never an afterthought for me. I got my start at Wieden+Kennedy making social content while everyone else was obsessed with broadcast. Social wasn’t secondary to me; it was the work. That taught me how to think about storytelling across platforms and how each format can support the bigger campaign. Now I build format into the story from day one. It’s part of the idea, not something we figure out later in post.

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)?

Brit> I have a healthy relationship with technology. I like it, and honestly, it’s how I got my start in this industry. Right now, I’m working with an AI artist, blending live-action footage I shoot with environments they build. The fun part is the exchange, seeing how my work can get a little more surreal and how theirs can feel more human. The goal isn’t to wow people with spectacle. It’s to make something that feels emotionally real, even if you’re not exactly sure how it was made.

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

Brit> Powerade – This one is all about performance and connection. The mother-daughter dynamic drives everything, and I loved shaping each moment so that the relationship really hit on screen. It’s a reminder that great performances carry the heart of a story.

Puma – This ad shows my love for messaging that lands emotionally. It’s an anthem about what ‘normal’ means, and crafting that arc in the edit was incredibly satisfying. Every choice was made to make the audience feel that message.

White Claw – This one’s all about performance grounded in memory and experience. We wanted it to feel lived-in and familiar, so working closely with the cast and shaping the story through their moments made it feel real and fun.

adidas – Here, performance meets emotional clarity. Watching the athletes push themselves and inspire the next generation was incredible. The story is built to land universally and really shows how performance can carry a message.