Warming Up Kafkaesque Scripts with Christian James
In the world of filmmaking, few directors can seamlessly navigate commercials, feature films, and episodic TV with the vibrant energy that pours out of Christian James' (CJ) work. Known for his quirky, playful style and boundless optimism, CJ brings a distinct perspective to every project he touches, from globally released comedy features to high-stakes commercial campaigns.
Looking back, he shares he’s always been creatively driven, even as a small child. “I loved tackling projects that led me to solve something creatively,” he says. Out of all the phases that every child goes through, for CJ film stuck around – it was the one constant. “Films were something I couldn’t let go of.”
And even when he thought for a second that he’d take up graphic design due to his love of drawing and illustration, upon reflection CJ saw design as too solitary. What he wanted was energy, collaboration and teamwork. So when it came to choosing his college career, he knew filmmaking was the right step.
Now, with a portfolio spanning collaborations with major brands like Volvo, Mastercard, and Kia, alongside acclaimed agencies such as Saatchi & Saatchi and Edelman, CJ has built a reputation for crafting films brimming with effervescent energy. Yet, his approach is anything but formulaic. Whether he's directing Oscar-winning actors, elite athletes, or children stepping onto set for the first time, CJ’s flexibility is what draws out natural performances.
A self-confessed "glass-half-full" personality, CJ infuses his projects with a sense of fun, even in the face of challenges like tight schedules or unpredictable conditions. This mindset has become a hallmark of his career, enabling him to thrive in everything from spontaneous commercial shoots to meticulously planned feature film productions.
In conversation with LBB’s Zoe Antonov, CJ reflects on the journey that led him into filmmaking, his creative philosophies, advice for future directors, and more.
LBB> Your work is known for its vibrant and quirky style with an emphasis on fun. How did this signature style develop, and how do you keep it fresh across such a variety of projects?
CJ> My work naturally gravitates toward a vibrant, playful style, regardless of the project. Even if I were handed a Kafkaesque script, I’d likely lean it toward something warmer and more uplifting, as that’s part of me and my regular crew – we’re a fun group to be around. I’m fortunate to have built a diverse network of clients over time. They come to me for various strengths and genres, which keeps my work varied and fresh. For one client I might be known for working well with actors or kids, while for another I’m the go-to for guiding elite footballers through a complex, time-sensitive shoot.
LBB> Your collaborations range from major brands like Volvo and Mastercard to innovative campaigns with agencies like Saatchi’s and Edelman. Can you tell us about a recent campaign that really pushed you creatively?
CJ> I’ve built a reputation for casting well and creating a collaborative, safe environment for actors, even during technically complex shoots. Post-lockdown, work became a bit more unpredictable, and I took on a few projects outside my usual scope. However, a common thread across all of them was my focus on building trust and providing a safe space for actors to experiment – a workshop setting – where we could shape each scene naturally.
During this time, one project that stands out was a mockumentary series for the tech sector, which involved a multi-cam, almost a sitcom style of shooting that was unfamiliar to me at the time. I decided to take a more flexible approach by workshopping the scenes and allowing the actors to help dictate the shots. It was a technique I hadn’t tried before, but it proved so effective that I’ve used it on nearly every shoot since. While 30-second spots are often meticulously planned frame by frame, finding a way to inject spontaneity, especially with child actors and family/lifestyle shoots, has proven to be a real game-changer.
LBB> You describe yourself as a "glass is half full" person, and this optimism shines through in your work. How do you bring this mindset into the more challenging aspects of directing, like tight deadlines or unpredictable conditions?
CJ> It doesn’t always feel that way – there are definitely days when everything seems to work against you! But I’ve learned through both success and failure that you just have to keep moving and be ready to adapt on the fly. Starting as a freelance editor taught me a lot about reimagining things under pressure. Working with sports stars, for example, rarely goes exactly as planned. Despite weeks of preparation, including detailed pre-production meetings, there have been times I’ve had to rethink the approach entirely on the day to make sure we leave with a cohesive piece. Often, those spontaneous adjustments have led to work I’m incredibly proud of. The old saying holds true – go in with a solid plan, but be willing to completely let it go if things don’t align with that vision.
LBB> From working with Oscar-winning actors to sports stars and even children, you’ve managed to adapt to different types of talent. What’s your approach to bringing out the best in such a diverse range of performers?
CJ> With kids, I treat them as equals, almost like friends (though I watch my language). I ask their opinions frequently and have a set of tricks to make them feel part of the process, which keeps them engaged and less distracted by the busy environment of a film set. There’s so much visual noise on a film set – it’s all about getting a child actor's attention away from that and getting them in costume and working their character.
As for experienced actors, like Oscar winners, it’s all about quickly gauging their needs and getting a feel for their ego before the camera rolls. My instinct is to see them as people, like the rest of us, who don’t always have the answers. They’ve had a mix of talent and luck, but each project is a fresh challenge, and we all make mistakes, no matter our track record. Established actors need to feel supported, knowing I’m there to back them up if needed… I don’t have all the answers either – I just don’t let them know that. I’ve even had times where an actor made choices that puzzled me on set, only for it to make complete sense later – they had a method I just couldn’t see at the moment. Now I stay open-minded and look for that unique ‘in’ with each actor. You don’t always gel and they may not want to get too friendly – I just try and find that line as quickly as possible and give space as needed.
LBB> After directing three globally released comedy feature films, what insights have you gained that you bring to your commercial and television work? How different is the process for you?
CJ> Commercials are more like a sprint, while TV – and especially feature films – are true marathons. You can’t approach a feature with the same mindset you’d use for a three-day commercial shoot.
I’m fortunate to work across different genres, budgets, and formats, and while my approach is usually consistent, budget really shapes the process. Directing features has honed my skills in working with actors – deepening my understanding of performance. One of the most valuable, if unexpected, experiences came from directing a live commercial for a popular console game. The talent didn’t show up, and in a moment of brilliance, the producer stroked my ego enough to convince me to jump in front of the camera myself. It was intense – probably the most nerve-wracking moment of my career – and it left me with a bit of ‘performance PTSD’. But it also equipped me with a range of tools and empathy that I now use to help actors navigate difficult scenes, because I’ve been there myself.
LBB> You’ve had experience across many unique locations and setups – from snow-capped mountains to green screens and complex camera rigs. Is there a particular location or type of shoot that stands out as especially memorable or challenging?
CJ> One of the best parts of this career is the behind-the-scenes access to extraordinary places. I’ve gathered quite a collection of stories from locations like palaces in Abu Dhabi and underground bunkers in famous sports venues; I’m aware it’s armed me with a wealth of unbearable anecdotes for social gatherings.
I absolutely love location scouting; it feels like a license to explore. It’s almost childlike, being able to request access to rooftop views over London skylines or hidden, subterranean spaces. It speaks to my curious nature, even if the locations end up having little to do with the actual shoot.
One unforgettable shoot took us to multiple iconic spots in a single day: we filmed at the Louvre Abu Dhabi, moved to the Yas Marina race track, and wrapped up with a sunset scene in stunning desert sand dunes. It was an epic experience, though I didn’t fully appreciate it at the time because I was so focused on getting each shot right. It only hit me later just how extraordinary that day was.
LBB> How has working with major platforms like Amazon Prime, Channel 4, and BT Sport shaped your approach to storytelling for digital and broadcast audiences?
CJ> On a collaboration between Channel 4 and Film4, for example, the experience was similar to a typical commercial shoot – there’s still that client-agency-filmmaker dynamic, and you’re constantly balancing budget, ambition, and time constraints.
I also find that each type of work enhances the other. Commercial clients appreciate seeing versatility and the ability to work across different formats, while for streamers, having a portfolio of global brands demonstrates reliability and the ability to deliver under pressure.
No matter what the project, platform or genre – I’ll always approach the film from an audience perspective, whether we’re cracking a joke, featuring a product, or executing a jump scare. Audience experience is key.
LBB> In 2016, you directed an episode of a suspense series for All4, which sounds like a shift from your comedy background. How did that experience challenge you as a director?
CJ> Interestingly, I actually started out making comedy-horror films with my friends just after film school. Our first feature, which I self-shot on 16mm film, was essentially a comedy set within the horror genre, and it ended up playing exclusively on the horror festival circuit. That experience rekindled my love for the genre. I’ve always been a big fan of atmospheric ghost stories – films like ‘What Lies Beneath’, ‘Poltergeist’, and ‘Drag Me to Hell’ are some of my favourites.
There’s actually a surprising amount of humour in those films, so I’ve never really felt like it’s a big shift between comedy and horror; it’s more about choosing which element to lean into. With the All4 film, my goal was to strike that same balance – it’s as funny as it is suspenseful, in my opinion, and that’s exactly what we set out to achieve.
The biggest challenge? We found the perfect location but it was a fourth floor flat – and we didn’t have the budget for a night shoot. Fortunately, I’d been harvesting a day-for-night shooting technique I was desperate to try. It was a big swing – but it paid off… And it’s been my default style of budget-friendly night shooting ever since.
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LBB> The production industry is constantly evolving, especially with advancements in technology like CGI and VFX. How do you keep pace with these changes, and do you see any particular trends shaping the future of filmmaking?
CJ> I don’t rush to become an expert in every new trend or technology. I stay curious about the latest developments, but I prefer to let the needs of each project dictate whether a new tool or technique is necessary. If there’s an opportunity to incorporate a fresh camera technique into a shoot, that’s fantastic, but filmmaking can easily become overcomplicated. I’ve been on sets where we had truckloads of gear that wasn’t requested, only to strip back to the essentials for a smoother, more effective shoot. It’s become a mantra now not to ‘over-kit’ my shoots – it can really weigh you down.
New advancements often come with the promise that they’re the future of filmmaking, and it’s easy to get caught up in that hype. Personally, I’m more of an in-camera director – I like seeing as much as possible on the monitor during the shoot. However, almost every project on my reel does have VFX, and I’m a huge fan of seamless VFX shots that feel invisible. I usually prefer a fast, efficient shoot with a leaner crew, which lets me invest more resources in post-production. Adding or adjusting elements in post often saves valuable on-set time.
Ultimately, I’m not one to stress over trends. I believe in creating work that speaks for itself and resonates with the right audience, rather than trying to fit myself into a mould that doesn’t feel authentic.
LBB> After more than a decade in the industry, what advice would you give to aspiring directors hoping to bring their own style to the commercial or feature film world?
CJ> When I first started, I had a very clear, structured plan. Over time, I realised that flexibility and openness to the unexpected are just as important. I’ve pursued projects that didn’t pan out and stumbled upon opportunities I never anticipated. Some projects I thought would be career-defining ended up falling flat, while others I considered just ‘fillers’ ended up completely reshaping my path. The key is to remain open-minded and embrace every project for what it is.
I’ve found myself directing a fair amount of sports-related projects. It wasn’t part of the plan, but somehow, it has really suited me, I’ve loved doing it and I’ve found a way to make it my own. It wasn’t by design, the career led me.
My advice is to be ready to step into genres or styles that might not seem like an immediate fit and find a way to bring your unique perspective to them. It’s all about finding the balance – avoid forcing something that doesn’t feel right, but with the right approach, a bit of creative tension can lead to something truly special.
And, as I’ve said before, take time to understand what you truly enjoy doing. Not every project will align perfectly with your style, but there’s usually a way to inject a bit of your personal touch into it. If you can’t, that’s perfectly okay – it just means it wasn’t the right fit for you… The next one will be.
