In the pantheon of music videos, there are the established greats: Jonze, Gondry, Glaser, Cunningham, Wilson. In the last 12 months, we started to see director Keith Schofield, repped out of Caviar in the U.S. and El Nino in Europe, make his way into that club, by virtue of the ingenuity and sheer viral capacity of the clips and films he directs. In 2008, there was his strategic placement of black bars on nudes that caught our eye, in his "Toe Jam" clip for the BPA featuring David Byrne and Dizzee Rascal. 2009 proved to be his year when the SFW XXX film he shot for Diesel, which overlays innocent animations over '70s porn, became one of the most talked about and passed around pieces of content in Cyber space —and still, remains #2 on Creativity-online/Adcritic's most viewed list. Since then, he's directed some other highly contagious films, often marked by a severe visual twist. His video for Justice/Lenny Kravitz gave typically passed over screen credits center stage, while his Charlotte Gainsourg and Beck clip Heaven Can Waitwas a feast of head-scratching pictureplay. Meanwhile, Schofield's making inroads into the spots world as well, with a monster of a stage show for Sony%u2019s Bloggie camera out of 180 L.A. and an upcoming campaign for K-Swiss for 72andSunny.
On the best lessons he's learned from doing spots: Every time I do a job I feel I've learned a lesson; to the point where I keep thinking to myself "I'm sick of learning lessons!" There's always that give and take; and always knowing you can still make your director's cut eventually. I'd love to learn how to actually get my director's cut (or the spirit of my director's cut) to be the final cut...anyone have any advice?
See the rest of the 2010 Creativity 50 here.