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The Directors in association withLBB Pro User
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The Directors: Cameron March

14/03/2023
Production Company
Melbourne, Australia
153
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The Producers director on 'the hook' of a treatment, pushing the possibilities of production and why he wishes everyone had a cinema screen at home

Cameron March is an award-winning film and commercial director represented by The Producers in Australia and the Honor Society in the United States. 

Hailing from Western Australia, Cam grew up living life outdoors  riding motorbikes and kicking the footy but it was film that held his attention, proving the perfect vehicle to explore his appreciation of craft and technique.

After graduating from Griffith Film School, Cam cut his teeth making music videos for the likes of Midnight Oil and The Kite String Tangle. His short films have premiered at Cannes Short Film Corner, Screamfest LA and Byron Bay International Film Festival. 

In 2019, he made the move to Canada to work on long form episodic TV  shows such as: The Good Doctor, The Haunting of Bly Manor and Twilight Zone before returning to Australia and signing with The Producers in 2022.

In the time since, Cameron has worked with some of Australia’s largest brands such as Swisse, 2DAY FM, Penguin Books, JetStar and SuperCheap Auto, translating his love of action, vibrancy and storytelling into the commercial world.


Name: Cameron March

Location: Sydney, Australia 

Repped by/in: The Producers, Australia

Awards: Cannes Corporate Awards, BADC, ACS


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

Cameron> The process for each treatment varies. However it usually involves a fair amount of coffee, good music and research. After a briefing I’ll let the script and creative discussions ferment overnight. Then I tend to dive into the writing process first thing in the morning whilst the ideas are fresh in my head. It’s a process of word vomit that becomes refined over the next 24 - 48 hours. I find this approach really rewarding as the ideas have free rein. This is where 'the hook' of my treatment writing process arises. 


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

Cameron> The creatives, hands down. You enter into a mini union if you will when you’re creating an ad. If Mum and Dad aren’t aligned, the waters get murky and the proverbial kids (crew) aren’t going to be able to help you achieve your day. 

A film set only works with collaboration and cohesion. So as a director it’s vital those relationships are strong with your producer as well as all of your HOD’s all the way through to your editor. You’ve got to feel like everyone has your back from start to finish. 


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?

Cameron> The human condition. Some of my favourite pieces of advertising work are wrapped up in this subject matter. In saying this I’m also really drawn to fast paced action content. Mostly due to my background in the creation of Red Bull content. A script with these two worlds colliding would be the dream.  


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

Cameron> It’s so easy to become pigeon holed as a director. Therefore I’m always looking to bring something new and distinct to each piece of work I direct. I hope to keep challenging any misconception about the kind of work I direct.

Tonally my recent spots have lived in the light hearted comedy world. However my short films have all touched on more serious subject matter. As Shrek once said “Ogres have layers”. I’m the ogre. 


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

Cameron> Great communication as well as a strong foundation with the creatives and your production team. It’s very easy to discuss, brainstorm, test the idea in pre-production. I’m always keen to push the possibilities of the production at this stage. So that when we get to the shoot day we’re going in on the same page as a united creative front. This ultimately allows you to play on the day and try those things you’ve all spoken about in the lead up. 

Listening is key, what’s the problem we’re trying to solve? If adding in a 50ft lizard into the background is the clients wish, how can we bring it back to the heart of the story and not blow the budget? It goes back to having a great relationship with the creatives to be able to problem solve the 50ft lizard wish. If it serves the story great, if not, let’s bring it back to the core part of our idea. 


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?

Cameron> Absolutely. It’s a no brainer. Every voice deserves to be heard and our stories only become richer when diverse talent are given opportunities to tell theirs. It’s a career that’s shrouded in secrecy. When starting out it’s hard to know where to go, and how to get started. Any way I can give someone else a hand up is welcomed. 


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? 

Cameron> I’m ready to stop talking about the pandemic. I think the industry is as well. Directing from a laptop was horrendous. We’re re-connecting, travelling, meeting in person again. Let’s embrace it and not get stuck in our habits of living in our home offices like we have for the last two years because it’s convenient. In saying this I do feel Zoom is here to stay… 


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)? 

Cameron> It has to be front of mind. More and more content is primarily being created for social channels. If it looks and sounds great on the monitor at the post house you have to ensure it looks and sounds great on the platform it’s being consumed on i.e. Facebook, Instagram, TikTok. 

At the end of the day we’re creating a branded asset that needs to speak to a wide audience consuming content in a number of different ways. The true cinephile in me wishes everyone had a cinema screen at home with 5.1 surround sound but alas. 

Social resizing does become tricky if you haven’t planned for it. If I know we’re going to require a number of different ratios I’ll ensure we’ve planned for it on the shoot day and get ALT framing takes if necessary! 


LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work? 

Cameron> There’s some incredible tools available to directors now. I’ve been dabbling with Midjourney and am astounded at the results. It’s a great piece of technology that can help strengthen your idea generation from a visual standpoint. 


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

Cameron> Below are a combination of my latest works that include fast paced edits, contemporary camera movements and some cracking performances along the way. Mariah Carey fans can head straight to the 2Day FM spot.

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