Director JO on the Power of Creative Restraint and Storytelling with Intention

For JO, “intention is what amps up ideas from something surface-level to something that resonates deeply.” Now signed to production company Psyop in the US, the Northern Irish director uses this philosophy to thoughtfully combine her graphic design and VFX skills with playful filmmaking and creative visual worldbuilding.

Opened to the visual arts by designers like Paula Scher and Saul Bass, JO first took her love for typography and motion graphics to the production world at The Mill, and has since forged a style that blends idiosyncratic live-action with bold imagery and a hearty helping of humour. She’s brought this approach to campaigns for Nissan, EA Sports, Visa, and Jammie Dodgers, directing talents like David Beckham, Jude Bellingham and Declan Rice.

Now looking to ‘land juicy projects in the US’ with Psyop, with an eye toward socially conscious films, she speaks with LBB’s Ben Conway about her career so far, and why crafting the perfect look is “not only about what you add, but also what you choose to leave out”.

LBB> You’ve got roots in VFX and design – where did that interest come from?

JO> It began in childhood. I was generally a creative kid, but I think it was largely influenced by family friends who were passionate about comics. They introduced me to Japanese manga and Studio Ghibli at a young age, which opened up an entire world of visual storytelling. I started drawing characters and making my own comic strips, fascinated by how imagery could be used to tell compelling stories. As I got older, my interests changed and that creative energy shifted toward film and music. Specifically album covers and film posters - which deepened my appreciation for design.

This passion naturally led me to explore graphic design and typography, eventually sparking an interest in motion graphics. I was drawn to work that felt bold and playful. Designers like Paula Scher stood out to me for her expressive use of typography and energetic compositions, while Saul Bass inspired me with his timeless, illustrative movie posters. I also found a lot of influence in the bold, punchy work of ILoveDust, who opened my eyes to how design can be dynamic, immersive, and extend far beyond the traditional 2D.

LBB> Where did you develop these skills? And then pivot them into directing?

JO> Largely through self-teaching, initially. While still at school, I learned Photoshop - with a cracked copy my uncle gave me on a CD - using any online tutorials I could hunt down. That kickstarted my interest in design, and I soon began creating basic graphics for bloggers and YouTubers in the platform’s early days. I was heavily inspired by the DIY content boom on YouTube and started shooting videos on my phone, then taught myself video editing software, cutting sketches, vlogs, and supercuts of my favourite shows.

I then studied graphic design at university, which gave me a lot of foundational skills for visual communication. Whilst studying, I attended as many design talks and lectures as I could, which helped broaden my perspective on the creative world and discover the latest software, technologies and techniques.

After university, I started my career as a graphic designer at a traditional branding agency in London. Over time, I became increasingly drawn to motion design and the intersection of graphic design and film, largely influenced by talks and exhibitions from creatives like Annie Atkins. That interest eventually led me to leave the branding world and join The Mill as a designer and creative researcher, where I gained firsthand exposure to the filmmaking process, from pitch through to post-production.

Being around directors and seeing how projects came together reignited my own passion for filmmaking. I began helping friends with production design, titles, and poster work in my spare time. The combination of these naturally evolved into exploring directing. My first directing project was a self-initiated and self-funded anti-plastics surf film titled ‘Turning Tides’, which I made with my good friend, Lucy Hawes, whilst at The Mill. The film ended up moving around eco and sports festivals winning a few awards along the way and helped give me the drive and exposure to begin to pivot into directing professionally.

LBB> You’ve previously spoken about using VFX and graphics with intention, not just for aesthetic purposes. What makes this distinction for you?

JO> For me, the distinction lies in the principle that VFX and graphics should always be in service of the story or creative idea. Intention is what amps up ideas from something surface-level to something that resonates deeply. With considered and intentional creative direction, world-building becomes more meaningful and graphics more integrated.

There is a classic theory that ‘good design’ is as much about what you choose to leave out, as what you include. My focus is always on understanding the brand or narrative world first, then integrating design and VFX in a visually engaging way that adds depth without distracting and feels true to each unique story.

Don’t get me wrong, of course aesthetics still matter to me. I put a lot of care into art direction and the overall visual language of my work, adding layers of context and narrative cues through design and production design details. But those choices only feel powerful when they’re intentional and rooted in the heart of the idea.

LBB> How do you ensure that design and VFX strategy is considered from the start of each project? Does this start with your treatment?

JO> Absolutely. For me, design and VFX strategy are considered from the very beginning. As I develop visual ideas for the script, I’m thinking in parallel about how art direction, visual effects and the narrative work together, so that every element feels cohesive and considered.

This is why my treatments are notoriously detailed. The goal during this phase is to build the clearest, most compelling blueprint possible for how all aspects from production to post will look and feel. I like to be pretty hands-on, drawing on my background in graphic design, editing, and VFX to create mockups, concept frames and mood films. As the job progresses, board-o-matics/animatics are also usually a part of my process; whatever helps to effectively communicate the tone and visual approach.

^{Above: JO's 'Drops' for SkyScanner}

LBB> Your trademark ‘elevated everyday’ style weaves VFX into the core of an idea, but you’ve also done pure live action shoots, like ‘New Hires’ for Nissan. What sort of projects attract you right now, and how do you know when VFX should take a back seat?

JO> Effective design and creative direction often come down to restraint. Again it’s that thinking that it’s not only about what you add, but also what you choose to leave out. You really have to absorb the brief and ask, ‘What genuinely serves this idea best?’.

For example, the Nissan ‘New Hires’ project - which I was drawn to for its playful charm and comedic script - was totally live action. This was an intentional decision as the tone and visual language was meant to be mockumentary-esque, inspired by shows like ‘The Office’. Adding VFX flourishes would have felt out of place and risked diluting the comedic tone. Instead, we elevated the world through thoughtful production design. Our ‘Nissan HQ’ garage was completely art directed and built from scratch by Sofia Sacomani and her team, which grounded the concept in a believable but heightened reality.

VFX is a powerful creative tool that I love to wield, but if the idea is best served by staying grounded in pure live action, that’s just as exciting to me if it has a great script - bonus points if it makes me laugh.

LBB> Speaking of laughter, how has your design and VFX background shaped your approach to comedy?

JO> Coming from a design and VFX background, I’ve developed skills like attention to detail, timing, storytelling, and creative problem-solving. Comedy often relies on rhythm, visual contrast, and unexpected juxtapositions, which are also key tools in VFX, especially when building surreal or heightened worlds.

In harmony with the dialogue, I like to approach comedy through visual world-building that instantly sets the tone - whether it's charming, absurd or satirical. Whether it’s developing characters whose looks immediately communicate something utterly unique about them, or crafting environments that heighten the absurdity of a situation to amplify the humour in the action or dialogue.

LBB> Do you have any exciting upcoming projects in the works?

JO> Right now, I’m particularly drawn to scripts with a playful or comedic edge, or ideas with room to explore - that might mean pushing visuals in a playful or surreal direction, or leaning into character-driven storytelling with a strong narrative tone - whether it’s comedic, heartfelt, or a bit offbeat.

I'm in the early stages of developing a passion project. It is a visually driven documentary with a comedic edge that explores how women are reimagining and redefining what it means to be ‘middle-aged’. The film celebrates those embracing boardsports as a powerful way to reclaim joy, wellness and connection, while navigating the complexities of midlife.

LBB> What are your current goals for the future - as a director, and a creative person more generally?

JO> I’m really keen to carve out time for some passion projects this year. I’d love to return to making socially conscious films – work that carries a strong message but is still visually engaging and creatively executed, much like my commercial work. Finding that balance between purpose and craft is something I’m really drawn to.

I’m also pushing myself to keep learning, both technically and creatively. I’m keen to get a few more music videos under my belt. Specifically briefs that allow for some fun, visually bold concepts so I can experiment with new camera techniques and equipment.

Another big goal is to land a juicy project in the US. I recently signed with Psyop, so I’m excited about the possibilities of some fun work that might open up across the pond soon and continuing to collaborate with their stellar teams.