Oliver Marshall Never Wants To Lose Ability To "DIY My Way Out of A Problem"

Name: Oliver Marshall
Location: Melbourne
Repped by/in: HAPPY.film
Awards: AMI finalist

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

Oliver> Scripts are essentially words to communicate ideas. If I latch onto a script, it’s often because of a certain character, emotion, or punchline; a collection of ideas that when combined create a visceral feeling. For me a good script goes beyond, 'here’s our product, please buy it’, it becomes entertainment. People want to be entertained, not advertised to. When the idea is entertaining, that’s when I get really excited.

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

Oliver> I like to dig deep for inspiration, see what is relevant and what has come before. Then I like to put myself in the client and agency’s shoes. Where are they coming from and what would be their ideal outcome?

Once I have an overview, I play with all the elements, all the possibilities. The characters, wardrobe, blocking, sound, cameras, props, locations. This is a unique time where I’m able to freely explore without external pressure or additional voices. Because once I put the treatment in front of everyone, it becomes open for interpretation -- which is great! It will continue to evolve, but the treatment is where you get to test the validity of the core idea and how it will play out. Once it’s on paper, the strengths and weaknesses of the concept, from idea to execution, are plain to see.

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?

Oliver> It is important for me to understand the market and the product we are selling; however, the client knows their brand better than anyone, and the agency brings their brand to life with their creative ideas. Where I come in is understanding what excites an audience about the brand and turning that passion into a story that connects with them.

My obsession isn’t with the specifics of a product, though those details matter when communicating its value. My obsession is with helping an audience see that value of the product in their own lives, and shaping the story that makes it real for them. I’ve worked on campaigns for brands I’d never encountered before, yet by immersing myself in the world, I’ve uncovered stories that audiences care about. For example, I recently directed a documentary on a professional e-sports player. I began knowing nothing about e-sports, but I recognised an underdog story waiting to be told. By getting close to the people involved, I learnt enough to tell their story with authenticity and energy, and that’s what I aim to do for every brand.

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

Oliver> Probably the catering people to be honest; I’m often trying to nab the leftovers at the end of a shoot day to feed my starving family who spend their lives suffering from my lucrative career choice.

In all seriousness, I don’t believe there is any one relationship that takes priority over all the rest. Everyone involved in the process plays an important role and a bad relationship with any one person can sour the final result. The whole industry is about relationship building and everyone involved will only give you as much as they think you deserve. If you treat people with kindness and respect and put in effort to maintain that relationship they will reciprocate that effort.

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

Oliver> Big budgets... But if money wasn’t the thing I’d spend my days making ads full of dry Australian humour. I love the sharp, quick wit of our humour and how it cuts through with audiences in such a distinctively Australian way.

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

Oliver> My biggest hurdle has always been the label of ‘content creator’ and being grouped in with a one-man-band style of quick content. This style of content got me the recognition to get my foot in the door, but as my skillset evolves beyond that I struggle to shake that label that got me to where I am today. First world problems, I guess.

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

Oliver> Nothing springs to mind for this, all our productions run flawlessly! Touch wood.

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

Oliver> Filmmaking is a team sport. That doesn’t change when you’re making a commercial. The agency and client bring the brand knowledge and the strategy, and my role is to make sure the creative idea holds together on screen. Collaboration is essential, but so is protecting the core of the idea. If the story gets diluted by too many competing voices, it stops resonating. My job is to welcome input, shape it, and still keep the heart of the idea intact so it connects with an audience

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?

Oliver> One of the core reasons I am able to build momentum as a director is thanks to my mentor Miles Murphy, not just for the skills I pick up from him but the advocacy he does around supporting me as a director. I cannot imagine how hard it must be getting your foot in the door without that type of support. So yes I would love to see the gates open further to allow more people to be involved and fresh ideas to surface. I hope one day I’m in a position to offer that to the next generation.

LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?

Oliver> The pandemic brought with it a new world of digital platforms to share stories, most notably a massive growth for platforms like YouTube. I think a lot of filmmakers gave YouTube and social media a crack during the pandemic, some phased out but a lot of serious talent stuck around. I really believe there will be a significant wave of filmmakers whose origin story began with YouTube, the Racka brothers who made 'Talk To Me' are the first real example, but I am convinced there will be many more.

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)?

Oliver> It is important to understand the platforms for delivery otherwise you are retrofitting ideas into spaces they don’t necessarily belong. For my recent NHVR spots we had rigged an expensive camera sideways as it was fully crafted for a TikTok audience that needed high-end post production effects applied to it. I like to imagine a director from the 90s teleporting to our set and seeing our camera sideways; what a trip that would be.

I think audiences are becoming more accustomed to seeing 16:9 on Instagram and 9:16 played on YouTube. So I believe just creating for the target platform and figuring the rest out later is a good way to be.

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)?

Oliver> I’m Gen Z, so I am all over tech. However, my rule of thumb (inspired by Guillermo del Toro) is, 'We only use CGI when we’ve reached the limit of the physical.' I’ll do as much as I can through my skills and abilities and once that limit is reached then I’ll incorporate the necessary tools, [including] AI or other tech, to achieve the desired result. I want as much of the result to come from my decision making and I never want to lose that ability to DIY my way out of a problem.

I feel like too much reliance on tech and AI tools reduces critical thinking and creativity. The process of creativity is all about exploration. When you become two result orientated which modern technology, particularly AI tends to be, you can miss out on the very thing that makes work great in the first place.

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

Oliver> I am really proud of the NHVR spot I did recently for Khemistry. It is a milestone as it feels like an ‘Oliver project’. As I keep evolving I want to further develop my clear and distinct voice so when a brief comes up agencies and clients are thinking ‘This has Oliver’s name written all over it’.

I would be very happy doing more projects like NHVR. I was given so much liberty to play, I got to cast my friend Ben who is an amazing comedian and we had a lot of fun on set.