The Directors: Dave Garcia
Dave is a director who formed a strong creative identity during a diverse upbringing in NY. He was an acclaimed young jazz and big band trumpet player, a punk band drummer, and a retired high school baseball player, all of which inform his approach to filmmaking.
His work delivers a connection between content and audience in a thoughtful harmony of compelling visuals and authentic performance, supported by the emotional resonance of music. From branded content and commercials to music videos, Dave’s work has garnered worldwide honours, including Cannes Lions, CLIOs, and recognition from The One Show, along with dozens of international film festival awards and screenings.
Heavily influenced by blooper reels and MTV’s music video heyday, Dave doesn’t take life too seriously – and his humour and approachability come through in each collaboration. He and his young family live in NYC where he finds daily inspiration for curated playlists that, like his directing, can not be contained in a single genre.
Name: Dave Garcia
Location: New York
Repped by/in: kaboom
Awards:
12x Cannes Lions
3x One Show Merits
2x D&AD Pencils
1x Bronze Clio
A Day’s Work (Documentary, 2015):
WINNER - BEST DOC - Real to Reel International FF 2017
OPENING NIGHT - Taiwan International Labor FF 2016
OPENING NIGHT - Workers Unite FF 2015
AUDIENCE AWARD - Workers Unite FF 2015
OS - Manhattan FF 2015
OS - Northside FF 2015
OS - DocuWest International FF 2015
OS - Massachusetts Independent FF 2015
OS - Tallgrass International FF 2015
OS - San Francisco LaborFest 2015
OS - Reel Work FF 2015
OS - Mayworks FF 2017
OS - Tampa Bay Underground FF 2017
OS - Global Labor FF 2017
OS - Awareness FF 2017
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Dave> 'I wanna dance!' Sorry, got lost in Dazed and Confused again. Classic, relatable moment, whether scripted or adlib.
It’s a combination of finding the emotional, human truth that sparks the script, and the excitement of the creative team that has worked hard to realise the script. There is a story anywhere and everywhere, but when those two things are in unison, regardless of the genre, visual style, the dialogue or the creative challenges, the experience of bringing that script to life is going to be a fulfilling experience for me.
LBB> How do you approach creating a treatment for a spot?
Dave> First, listen to and then ask relevant questions when speaking with the creative team to truly hone in on the purpose of the spot on behalf of their client.
Then, send myself awkwardly titled emails in the middle of the night that serve as fragmented thought starters. Wake up and sloppily eat cereal while scrolling blurry-eyed through an excessive amount of reference images, clips and essays. Find relevant music to listen to for inspiration. Flip through dozens of photo, art, design and architecture books and magazines. Revisit the blank screen that is begging for my perspective. Check the score of the Yankees game. Transition from the 'there are no bad ideas' brainstorm, to the 'yes there are' stage to start 'locking it in.' Hit the treadmill to keep honing in on the narrative thread and communicate it clearly. Engage noise cancelling headphones at full volume with a DJ Snake song on loop for longer than is probably healthy while continuing to 'lock it in.' Look at space images from the Hubble and James Webb telescopes with my 8-year-old daughter to keep everything in perspective.
And finally, watch Mission Impossible: Fallout.
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?
Dave> If I need to go for a sunrise swim in Miami Beach and then a sunset dip in the Loews Hotels beachside pool to understand the brand’s vibe, I can make that sacrifice on behalf of art and commerce. Doing the homework is just as important to me as leaning on the creative team that has dedicated the time to understanding their client and the purposes of the spot. Preparation makes for solid production, so again, I go back to asking questions and finding my personal relationship to the material in order to help bring it all to life.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Dave> I am in the privileged position to experience the choreographed dance between everyone on set that brings a vision to life, and I truly believe every single person on production is equally important. From the truck PA to the AD to the Agency CD, I deeply respect them all and go out of my way to make sure they are having fun. I am just a piece of the puzzle.
That being said, it’s the DP. This is a visual form and having that second hand allows me to trust their eye, while exploring the most powerful, cinematic ways to capture honest moments.
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?
Dave> Any project that centres around an emotional human truth is always at the forefront, and I look forward to pushing into more music, sports, comedy and fashion work that features that element.
I grew up in the NY hardcore / punk / emo scene and I’ve been chasing the feeling I had when I was playing drums with my best friends in our high school band, and the emotional release of those mosh pits and crowd surfing singalongs. I am on the constant search for new music and updating dozens of hyper-specific playlists daily. Music is our universal language, so I am excited to see what future collaborations exist in that space. And I would follow Thom Yorke to the edges of the universe. (Listen to the new Clark album he produced!)
I never leave home without my Yankees hat, was an athlete growing up and love the camaraderie, jubilation and heartbreak that is sports. Where were you for Jeter’s final home game and that ridiculously unscripted movie walk-off moment?! (I was folding white onesies in my living room on Avenue B in NYC, providing my very pregnant wife with a strong, strong stream of tears.)
Blooper reels introduced me to the fact that moviemaking should be enjoyable. I love that and try to bring that sensibility to even the most serious projects. My reel doesn’t scream 'comedy director' right now, but we will inevitably find each other. SNL and the late night comedy shows moulded too much of who I am. I was once voted the funniest kid in school. True story. And fashion is fun. It’s visceral. It’s abstract. It’s cool. I’m in. I’m game. Let’s do it. I had an alter ego that once walked the runway for Varvatos. True story.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Dave> I’ve worked on many docu-style or unscripted projects and am deeply passionate about the human connection and authentic portraits that are part of that genre. And because that also resonates with people who view the work, there are times where my interest and ability in visual storytelling is overshadowed. My work spans many genres all of which I consider visual storytelling – which is both a category but also the core of what directing means. I love all of it.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Dave> I always wanted to chase tornadoes, so of course I became a director. Maybe it all started with Helen Hunt and Bill Paxton in Twister. Mind the shifting winds, look out for flying cows and don’t forget your belt.
Maybe it was the hail storm in the middle of a 100 degree day in rural Arkansas that killed the power grid that prompted us to shoot in a basement with a generator to beat the incoming flash flood? The storm did give us a lovely, unanticipated river sunset sequence once it passed though.
Or maybe that morning showing up on set to find a dozen porta potties physically locked to a new perimeter fence at your main location? Shift perspectives, lots of apple boxes and remember your sense of humour.
Could have been the one when a client decided to kill an entire production 20 hours before call with everyone already on-location, money spent. Agency, myself, producer and DP stayed up overnight playing basketball in a hotel that was a converted YMCA to brainstorm a completely new concept. I wrote the script pre-sunrise, we pitched the client on no sleep during a 7am meeting and they bought it. We were still recasting when we started filming, used the same locations with a new narrative, and crushed two overnights to give the client a broadcast spot.
Or that time the only way to get the shot was for me to personally hang out of a sideways helicopter, camera in hand, with just a waist buckle preventing me from descending 1500 feet to a glorious… you get it… I did it. A drone would have been nice.
Every shoot has something, so I just maintain that inner peace and collaborative spirit to help guide my fellow storm chasers into and out of that day's tornado.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Dave> Collaboration is the literal foundation to what we all do in the industry. The idea comes from collaboration. Production is collaboration. If we all lead with an open mind and open heart, regardless of the creative and logistical curveballs that occur during every production, you will find your way to the idea, or oftentimes to a stronger version of the original concept.
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?
Dave> Absolutely, talk about overdue. I grew up in a creative household, but had no direct access or mentorship when it came to the industry and directing. There were so many times I wished I had a road map, so I can imagine how people must feel if they feel like not only is there no map but someone has tried to cover up the path. I’d love to be the mentor I wish I had - we’re all just trying to find connection, emotionally and in business, so of course I would want to help facilitate that.
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?
Dave> Very simple - I love people. Especially those production peeps. I want to see, work and laugh with them as often as possible. It was a reminder that I am lucky to direct for a living and that the career encompasses so much more than just the job. Production is a circus and I need that drug in my life.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working. What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Dave> We have some time before the robots take over the world, so why not try to have some fun. Sure, I could complain about having to align all of the specs, versions, and considerations that go into today’s campaigns (I do complain to myself when I also edit certain projects), but I prefer to focus on the potential for learning and creative expression as a malleable form. As for AI, I’ve explored Midjourney, Gen-2 and OpenAI for treatments and personal experimentation. It’s terrifyingly exciting. Or excitedly terrifying?
