The Directors: David Ebert

Throughout his career, David has worked on and off screen for networks and agencies, including roles as writer, performer, director, producer, creative director, art director, and illustrator. He previously worked as a creator and writer for the TruTV series Ghost Story Club, as creator and director of the YouTube series Netflix by Bots, and as co-writer of the Emmy-nominated Netflix series It’s Bruno! With a performance background at UCB, David has worked as a commercial and TV actor, with roles in Master of None and WeCrashed. 

Since joining 1stAve, he’s brought to life project like YOUTUBE BRANDCAST and GOOGLE HARDWARE LAUNCH as both an ECD and a director. He served as both talent and director for KRAFT, playing a 'Mayo reader' who offered personalised interpretations of people’s mayo spreads. David helmed a campaign for HEINZ where he tapped TikTok star EJ Marcus to play a vegetarian vampire committed to only eating 'tomato blood' in a mockumentary and accompanying series of TikTok’s. He’s directed multiple projects for HILTONincluding Brandi Carlisle’s Connecting Room Concert and Grammy’s TVC as well as the now-infamous 10-minute Hilton TikTok 'It Matters Where You Stay.'

Name: David Ebert

Location: New York

Repped by/in: 

Awards:

Webby’s:

 2023 People’s Voice - Advertising Media & PR: branded content food and beverage - Toby the Vegetarian Vampire (WK + Heinz)

The One Show:

Silver Pencil for Social Media: Social Video / Over 15 Seconds - Toby the Vegetarian Vampire (WK + Heinz)

Silver Pencil for Social Media: Influencer Marketing / Single Channel - Hilton "The Ad You Stay In" (TBWA-Chiat NY + Hilton)

Silver Pencil for Social Media: Social Post / Single - Hilton "The Ad You Stay In" (TBWA-Chiat NY + Hilton)

ADC Awards:

Silver in the Interactive Social Media - Campaign - Hilton "The Ad You Stay In" (TBWA-Chiat NY + Hilton)

Bronze for Interactive Video - Online Video - Hilton "The Ad You Stay In" (TBWA-Chiat NY + Hilton)

D&AD Awards:

Wood Pencil / Media / Use of Talent & Influencers - (TBWA-Chiat NY + Hilton)

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

David> If they’re funny, not funny-ish. Most commercials are funny-ish, because for a long time that’s all they had to be: palatable, just enough to keep a person from changing the channel. Now audiences can click or swipe, so ads have to offer more value. For me that value is entertainment, and comedy is my preferred style. This means we get to make bolder choices and try to make content with actual value for an audience. I also believe viewers are savvy on formats as well, so self-aware and meta-ads give me an extra kick.

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

David> My mantra is “If I wouldn’t watch it, I shouldn’t make it”. When I get a treatment I analyse it to understand the client’s goal, then I try to figure out what spin on it is necessary for me to want to watch something like this. I advocate a holistic approach to creating these ads, rather than compartmentalising scripting, directing, and editing, I prefer to integrate all three into a singular vision. That means I’m often pitching my own version of the scripts, including my own take on social and media strategy. I’ve been surprised at how receptive agencies and brands have been to this approach, but I think it helps that a) I’m fun to work with and b) I’m respectful of the intent of the brief and c) people appreciate my passion.

After I have the framing of my version of the creative everything else becomes an extension of that, wardrobe, lighting, camera, art, they’re all bound by a strong thematic POV. Frequently, especially for social-first projects, I will shoot a pitch video, and the pitch video is often a test of the spot itself. It’s a little extra effort, but it’s an extra step that helps prove the concept and make the spots feel inevitable.

When it comes to pitching on talent– I performed at UCB for a decade, I’ve been acting in commercials even longer, and I live on TikTok– so I’ve always got a list of names.

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?

David> Very important. I scour everything I can find on the brand, not only their identity, but their previous marketing and the reactions to that marketing. I begin with my initial assumptions. Am I the audience? If I am, what do I know or not know about this brand? How do I feel about them? I am, at my core, the most average consumer on the market, and if I feel a certain way about a brand or product, others will too. It is impossible for me to separate strategy from my work. I’m always thinking of the audience: How will they see this ad? Where will they see this ad? What do they know about this brand and what do we need them to know? What is going to be their initial assumption about this ad or this brand and how can I subvert that in the first 3-5 seconds?

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

David> The first people I develop a report with are the agency creatives. They are the ones that live between the rock of production and the hard place of the client, and I have a lot of empathy for that. To keep them sharp and engaged they need to see themselves in the work as much as I do, so while we’re on the project, they are my best friends, my defenders, my cheerleaders, and my collaborators. I fight for them and they fight for me. 

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?

David> Comedy that finds new ways to subvert the audience’s expectations. This involves an awareness of platforms and trends, breaking the 4th wall, with actors and the script going places that feel, as they say on TikTok, 'unhinged', imitating UI– smart tv, TikTok swiping, phone notifications– or integrating new technology, like faking AR or AI. I’ve done a lot of work in AI over the past three years and figuring out how to best harness this new tech in a way that makes people laugh (you know, instead of inspiring existential dread) is exciting to me.

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

David> That my specialty is social. No. I was asked to do a project for social two years ago. I crushed it because I was tasked with crushing it. If I am asked to do tvc I crush tvc. When I’m working in television or film I crush it there. My talent isn’t in being savvy in a particular social platform, it’s an ability to ingest and understand media, identify the burgeoning trends for that media, the sort of “what’s missing at this moment” thing, create concepts around those observations, and then execute.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

David> Almost all of my personal films have been self funded, and I’ve gotten very good at wearing a producer's hat while I concept because every dollar I spend on those projects hurts me. One of my weaknesses is my inability to truly 'blue sky'. I am always thinking of how we can amortise costs on a production. This weakness is also a strength as I’m often able to devise ways to put every dollar on the screen and come up with creative solves that maximise the budget I’m working with. Even when I’m told to “dream big” I have lower-budget options in my back pocket. Good cost consultants appreciate this. Bad ones see my efforts and attempt to squeeze further, with a direct result harming the quality of the product. I don’t encounter bad ones often, and frequently consultants are surprised that I’ve cut the fat before they’ve even looked at a spreadsheet. 

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

David> There is no single craziest problem I’ve solved. Every job has crazy problems. I really don’t understand how other directors solve their problems, because I’m frequently operating at MacGuyver levels, and I can’t believe every director has to meet these demands. Last week I had a shoot where a very important custom piece of clothing was supposed to arrive and did not. It was part of the actor’s wardrobe. I was alerted to this problem at 10pm and the shoot was at 7pm. I used to be a graphic designer. I happen to own a Cricut. A year ago I happened to clean out the vinyl selection of a closing AC Moore. At 11pm I’m converting eps files to svg files and cutting out letters. We end up using what I make in the spot. In 2017 I’m shooting my TV show full of oners and a ton of set movement and choreography. My BG can’t hit their marks. My steadicam op is losing steam. I put on their wardrobe and get the timing on the first take. In 2020 I’m working as a creative director and director on YouTube’s Brandcast. We’re incorporating Zach King, master of illusion into our shoot. I spend three days coming up with Zach King-level illusions before I am told we have no budget to make an illusion. I get $50 to rent a mirror and come up with this. There’s always a way, always a solve. Take away my shovel and I’ll dig with my hands. I just don’t know why I always seem to get my shovel taken away.

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

David> When you put the idea first, and have a very strong POV on that idea, and you make it clear that your goals are shared with that of the client and agency, a balance rarely needs to be struck. If I’m just showing up to pad my wallet or my reel, we’ll be at odds, but when I’m awarded I see it as my duty to act in the brand’s best interests. They’re entrusting me with a lot of money and responsibility and I’m something of a creative fiduciary, obligated to give them the most bang for their buck. The biggest obstacles for me come from pushing against outdated best practices that don’t reflect current media, or when I’m working with a client whose strategy I find to be actively harmful for the brand, but it’s rare I’ll take on work from a brand that I see running in the wrong direction.

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?

David> Yes and yes. I’m a white dude. There are very few opportunities in this world unavailable to me. But I did grow up dirt poor on a farm in the middle of nowhere in Appalachia and there is no way I would be where I am now without others sending the elevator back down for me and taking time I didn’t deserve to teach and protect me. I try to bring a shadow on to every production I’m on. I aim to have those shadows come from marginalised communities. When I’m not in production I share my work. I send my treatments to others. I’ll make as much time as I can for anyone who asks for it. It is my obligation to those who did that for me. When someone expresses a desire to work in a new department or move into a new space, I work to find that space for them on my sets. It’s crucial to the future of this and any industry to promote and encourage diversity. 

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? 

David> Yeah, I don’t commute. I’m waaaay more productive at home. I’ve got my studio to produce proofs of concept. I have space. A house and a yard. And I don’t lose three productive hours a day running to catch the train. We all gotta be on set– that’s where we get to have fun, but pre-pro? See you on the zoom.

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)? 

David> Wow, I feel like I answered this 10 different ways getting to this question. I obsess over it. I frame out for UI. I don’t just ask about deliverables, I ask about usage. I plan for it. I’ll put in lines designed to start friendly debate in the comments. I think about creating audio that can be remixed. I try to make pieces that are modular, able to perform organically on social or as 15 or 30s on tv. I look at the entire plan for usage and make sure my deliverables will show up the way that’s most effective on each platform.

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)?

David> I love to be first at a party and I love solving problems. Whenever new tech is available me and my peers are talking about how we can implement it. Some tech I don’t relate to. NFTs and crypto felt abstract and scammy. But AI is something I can play with, something I can use and experience. Virtual production is something I can embrace to extend my reach. Two years ago I made a fake documentary for Netflix and I was on camera in Los Angeles one minute and directing Ice-T in New York the next. I spent a month training chat GPT to become a radio DJ for Klick Health (it’s very tricky to get reliable outputs without hallucinations). I like learning how to use this stuff. I like understanding it from experience, not explanation. I love how these new tools democratise creativity. Am I going to use a mid journey image in my spot. Hell no. Will I use midjourney to help a client understand a shot I’m pitching and save myself two hours in photoshop? You bet.

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

David> The Hilton TikTok is a culmination of my theories on social. My theory was that retention rates aren’t low but consideration rates are. If you hit your audience with multiple forms of value - entertainment, surprise, information - you can actually stuff in an insane amount of really explicit branding and they’ll stick around for it. I also believe that if you write in the voice of creators and collaborate with them on the script you can make them show up authentically in your spot and their fans will approve. I got to shove in a I Think You Should Leave style sketch and a Succession style scene. I basically got to throw any idea I had in here, but with a tight alignment to the brand goals of Hilton and the core concept of 'It matters where you stay' from TBWA, everyone was on-board and the results were exceptional.

The Heinz Veggie Vampire piece is a perfect example of my social+tvc philosophy on integration. I started by writing something that made me laugh, cut it for TVC, then recut that piece for social with the feeling like it was 'stolen' from television using punch-ins and pan and scans. This method makes it feel like its position on social is one of curation, the way people see clips of tv shows on TikTok. It’s a way to get higher production values onto social in a way that feels native to the platform. Then we get to play with a ton of different executions with social evergreen formats, current trends, weird ideas. The social assets were quick to produce by design so we were able to capture more and take more risks.

Netflix by Bots was a series I created with writer Keaton Patti to create internet-first content that performed organically for Netflix. It was playing with AI back when it was a joke and not a threat to human existence. Finding ways to turn emerging and not-quite-there technology into entertainment is a fun challenge, as is figuring out how to make the flaws features. Here we embraced low-quality pre-vis animation as it served the concept (AI stuff isn’t that good) and helped the budget.

YouTube’s Brandcast was my first chance to show what I was capable of with a decent production budget. I had made a tv series several years earlier that used these long single takes with moving set pieces, and my co-director and co-creative director Karim Zareefa and I got to take a lot of big creative swings with wildly inventive transitions and orchestrating and helming 19 remote shoots on top of our primary shoot.