Camera Obscura: Why Everything Is Worth Something with Chris Bristow

Chris Bristow is a comedy director at OB Management. He represents a new breed of guerilla-style director, one who revels in an unconventional workflow and offers incredible creativity and production value, honing his skills from working on music videos, films and TV for 15 years.

His work has been described as ‘pleasingly weird’ and covers everything from live action, 2D, 3D, stop motion and anything in between. He weaves together modern techniques with imagination, playfulness, and a touch of heart creating a crafted, bespoke approach to every job.

His work includes TVCs, full scale animated campaigns and multi-format social campaigns for Amazon Prime Video, Skittles, IKEA, Three Mobile, Maynards and Nestle.

LBB> What is your niche craft obsession?

Chris> My corner desk and a swivel chair. I have five tiny synths and a midi keyboard on one side of the desk, and my computer on the other. If I’m ever stuck writing something, or generating ideas - I just swivel round and start layering up dumb silly music that no one else but me would probably enjoy. Then I swivel back when something pops into my head.

LBB> Where/ when/ how did you first come across this thing?

Chris> I’ve been playing and recording music for years - since I was 16 - but it dwindled over the years. As your taste in music improves as does your desire to make yours sound better - I was obsessed with mixing and mastering, writing complex string sections. I’d forgotten how important it was to play; how you can get lost in it, toying around and making nonsense. I realised that doing these tiny daft things had massive benefits elsewhere. Loosens the screws in your mind.

LBB> Was it an obsession straight away or something that has evolved over the years?

Chris> It extrapolated from realising that I’d been seeking external validation from my music in the past. Not even just music - everything I made. Taking that control back led me to start making tiny silly films that were fun to make. If other people find them funny then that’s a plus! It’s helped me find my tone.

LBB> What are the most interesting debates or conversations you are having around this obsession?

Chris> The debates I have with myself are really “is photoshopping Mr. Blobby into The Last of Us really a good use of my time”? I’m an over-worker, and over-thinker. I’m probably putting off writing longer form things because it’s a bigger piece of you that you’re giving out. But then I enjoy these nuggets of nonsense, and am probably honing some kind of comedy muscle somewhere. Everything’s worth something.

LBB> How widespread do you think this obsession is with your peers?

Chris> It’s definitely a cliché to own a tiny synthesiser if you’re in any kind of creative job and have lived in East London. I don’t know how many people set time aside to be silly and not feel stupid or guilty about it. It’s a massive release in an industry that does have a tendency to take itself a bit too seriously.

LBB> Can you share any examples of work where that obsession really came to the fore and elevated the final production? Can you tell us about it and share links if possible?

Chris> Sure. Often my work demands generating ideas for 12, 30, 50 or 100 films; all unique techniques and artists involved. See Skittles, Facebook, Subway, Maynard’s, etc. This doesn’t phase me as much any more. I trust my brain to get there. Ironically when I’m thinking about it the least. Whether it’s in the midst of making ear shattering hyper-pop, or filming a fake press junket for the new Minions film.

LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing?

Chris> Your creative identity can get so tied to work that you forget what was fun about it in the first place. Always start small and learn by making. There are hundreds of thousands of YouTube tutorials on just about everything. I’m not sure how long that’s going to be the case - so keep your curiosity up, and play and learn at the same time. Make small things that no one will see, hear or read - and enjoy the moment.