Finding the Magic Within Scripts with Greg Hackett

Greg Hackett is a film director and founder of UK production company Spindle.

With a background in documentary, Greg's award-winning work spans commercials, original documentaries and branded content. He is best known for fusing cinematic visuals and authentic performances, often with a technical execution.

After his film about a friend attempting to cycle 100mph behind an Old Ford Zephyr went viral, this led him to working exclusively with The New York Times' Brand Studio, filming and directing over thirty branded films for the studio.

Greg has since gone on to direct many high-profile campaigns including ‘Hey Jude’, the adidas spot that became the heartbeat of England's Euro 2024 campaign; and been awarded at the British Arrows, Cannes Lions, Ciclope, Clios, Kinsale Sharks, YDA and 1.4 amongst others.

Greg sat down with LBB to discuss his latest and upcoming projects, the return of “old-school” scripts, and his commitment to on set mentoring.

Name: Greg Hackett

Location: London, UK

Repped by:

• Spindle (UK)

• Furlined (US)

• Spy (Canada)

Awards:

AICP Gold / One Show Gold / Clio Sports Gold / Clios Gold / UK MVAs Gold / 1.4 Awards Gold / Kinsale Sharks Gold / Cannes Young Director Award / Ciclope Gold / British Arrows Gold / Creative Circle Gold / Vimeo Staff Picks

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

Greg> I just released a spot for the Canadian market through Spy Films which I loved making. Great agency – Courage, based in Toronto. The spot focused on the Canadian obsession with hockey and the impact it has on the home.

Next up, I’ve just shot a spot for an American icon: Kingsford charcoal with FCB Chicago. It was a great creative team, and we made a film about how slowing down and taking a beat to BBQ with your closest people can be the perfect antidote to today’s hectic life.

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

Greg> I love that old-school scripts are being written again – films that keep you interested and guessing until the end line. Those were always my favourite ads growing up, and getting to make spots like Rona and Car-Pass on my reel has been really rewarding.

LBB> What elements of a script set one apart from another, and what sorts of scripts get you excited to shoot?

Greg> For me, the scripts that stand out are the ones with a genuinely unique idea and have something I can bring a real point of view to. An insight that feels fresh, or even just a spark of magic that gives you that feeling.

But beyond the idea, the quality of the writing matters enormously. I get excited when a writer clearly has a strong story sense and when they understand the core concept and what that’s ultimately going to mean for the film. You can feel it on the page when the structure is purposeful, when the beats land for a reason, and when the piece knows what it wants to say.

I’m also drawn to scripts that chase compelling, well-defined characters. Even in commercial work, character is what gives a piece emotional weight and memorability. And that counts for locations as characters, too. If I can sense who these people are, what they want, and how the world should feel around them, it becomes much easier to imagine the film.

And finally, I love when the tone aims for something a bit left-of-centre, not the familiar glossy commercial world, but something a bit more cinematic or atypical. When a script invites you to craft imagery that feels unexpected or pushes the edges of what advertising normally looks like, that’s where the fun begins.

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

Greg> Each treatment is different, but I’m always looking for my angle. What will separate my treatment from the others? If I can find that unique perspective, it sets the tone for everything else. I don’t tend to simply regenerate the script back to the agency.

LBB> If the script is for a brand or market you're unfamiliar with, how important is research? How do you approach it?

Greg> Super important. I want to make work that actually works, that’s not just a nice film for the sake of it, so understanding the brand matters. But again, the insight and the angle I’m bringing to it are the most important pieces of the puzzle.

LBB> For you, what is the most important working relationship a director should have when making an ad? Why?

Greg> I don’t think there’s just one. A director doing their job well is leading all the departments and getting the best out of everyone – from client through to colourist. BUT, if I had to pick one, my most fun is with the DP.

LBB> What type of work are you most passionate about? Any genre, subject matter, or style you’re particularly drawn to?

Greg> I’m a sucker for making films that feel truthful – whether that comes from the insight behind the idea or how it’s executed through casting, performance, photography, locations, or lighting. I like exploring. I do love to plan, but often I’ll throw the plan away once I see something better.

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

Greg> I came from making documentaries out of necessity – I made films about people around me as and by accident got into the industry – and that label stuck with me for a while. I feel like I’m finally breaking out of that now, and hopefully being seen as someone agencies and clients can collaborate with to make something unique and human.

LBB> Have you ever worked with a cost consultant? How have your experiences been?

Greg> Yes, a few times. In fact, on the last job for Kingsford we had one on set. They made us toe the line on spend, but they were very reasonable and really got behind the creative ambition of the project – so no complaints here.

LBB> What’s the craziest production problem you’ve faced – and how did you solve it?

Greg> Probably losing a submarine to multiple military drills and operations. We just had to wait that one out!

LBB> How do you balance being open and collaborative with the agency and client while still protecting the idea?

Greg> As directors, we need to articulate why we’re making certain decisions. Through calm communication you can bring people along on the journey. I’d much rather be close to the client and agency and work with them, rather than avoid them like some of the stories I’ve heard over the years.

LBB> What are your thoughts on bringing more diverse talent into production? Are you open to mentoring or apprenticeships on set?

Greg> Absolutely. I always have a shadowing director on set here in the UK, and Spindle runs the Open Studios event where we open our doors to young people looking to get into the industry once a quarter. I myself am from a working class regional background, so understand how hard breaking in can be.

LBB> Your work is now presented in so many formats – how much do you consider each one while making something?

Greg> Ultimately, we need to make stories compelling across whatever medium they appear in.

LBB> What’s your relationship with new technology? Do you incorporate future-facing tools like virtual production or AI?

Greg> I’m open to AI as a tool, but I’ll never be someone sitting behind a computer making whole films through AI. I’d rather go back to serving pizzas if that’s the case. Filmmaking for me has always been about finding the humanity in things – whether that’s solving problems with other people or capturing a human moment in performance. I’m just not that interested in the interface between computers and humans in that way.

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

Greg> ‘Rona’ – I love this piece because of the human truth at its core.

‘Car Pass’ – Again, the truth here: we’ve all put our cars through hell and back.

‘Hey Jude’ – As a lifelong England fan, how could I not jump at the chance to make this ad?

‘Hate’ – This film was the highlight of a very special summer for me.