Filmmaker Spotlight - Louis Lampard

Welcome to the Filmmaker Spotlight – this series shines a light on filmmakers, actors, editors, and more, as we ask them a few questions and uncover why they love what they do.

This time - Louis Lampard

Director

• Tell us a bit about yourself, how did you get into the industry?

I am a full-time freelance director, writer, and producer working in the West Midlands and beyond. I began working in film in the camera department, starting as an AC (Assistant Camera), which I think has greatly helped not only my on-set relationships with crew but also my perspective on filmmaking as a director.

My focus has always been on telling surrealist and creative stories, often through the lenses of horror and comedy. I find these genres to be a great way to engage an audience, as they ask the most from them (to feel scared or to laugh) and I always enjoy taking these films to festivals and seeing and chatting with audience members after screenings and hearing their reactions to it during! 

I recently got very lucky and managed to work on HBO’s House of the Dragon Season 3 as a member of the props team. This was a truly valuable experience in showing me the inner workings of a high-level TV show and gave me some incredible contacts.

• How would you describe your directing style?

Trust is the most crucial thing to me, trust that my collaborators want what’s best for the project and will be able to bring the best out of the script. I always try to crew a set with people who know more about their fields than I do. 

A set is supposed to be collaborative, and it is my job as director to manage what is presented by my crew. Not every idea will always work, but each one is crucial in gaining perspective on how to create a rounded project.

I am incredibly passionate and visual with my films. I love doing my homework and getting very hands-on with each department to create something unique and interesting. In my early days (as many people do), I was often wearing multiple hats such as production design and costume, so I always think about what a character looks like and what the environment they’re in feels like. I am incredibly detail-oriented, I love searching eBay or Facebook Marketplace for the right prop or piece of furniture to make the vision come to life.

• What have you learned over time that you wish you’d known when you were starting out?

I wish I’d known to have more confidence in my work. This is something I know most creatives struggle with, but it can be overwhelming working on a film as the head of department with multiple people who all see the project differently. It took me a while to realise that it’s my job to organise these feelings rather than cater to them, as otherwise the film can become messy.

I think the role of the director is to steer the film in the direction it needs to go in, and that can often mean disagreeing. This should never be personal or disrespectful, and that has no place on my sets.

• What’s one creative or technical skill you wish more people in the industry took the time to truly master?

I often feel that pre-production is what causes the majority of filmmakers to have a harder time on set. Not considering all options or having a backup location can really damage the on-set experience. Things such as weather, location failure from improper scouting, or even not doing a costume/prop test can leave a set feeling broken from day one and seriously damage crew morale. I’ve seen this more and more working as a First AD (Assistant Director) and always try to be mindful of as a Director. 

• Who or what inspires you in your work?

Honestly, my inspiration comes from anywhere. I’m a huge fan of lots of different genres and mediums, but horror has always been a massive influence on me. Directors like Julia Ducournau, Robert Eggers, and Yorgos Lanthimos have been especially inspiring as a horror comedy fan. 

I’ve always loved adding a bit of comedy into my horror, and vice versa. I think that crossover creates a sense of realism that’s really important for getting an audience on side. 

• Is there a project you’re especially proud of, and why?

I’m incredibly proud of my latest film, Dungeons & Dickheads. It was a tough project to get finished due to a lot of creative challenges within the producing and distributing process, and it really tested my confidence as a director. Standing by my vision and seeing it through was a huge learning experience.

The film went on to win at Worcester Film Festival in its first BIFA-qualifying year, which made the whole journey feel very worth it, especially for the cast and crew who put so much into it.

• What excites you most when you step into the director’s role?

Simply put, passion. If the crew and core team are passionate and care, this does so much for the experience of creating something as a team. Obviously, a good script and talented cast go without saying, but passion and kindness from all members of the crew are what can make or break a project for me.

Crew who are willing to go on location scouts, experiment with camera, and try something weird or different always create the best on-set memories.

• What does “success” look like for you at this stage of your career?

For me, I always focus on taking steps forward rather than back. This means getting on more projects, meeting more talented people, and doing things outside of my comfort zone. As long as I am moving forward and creating things that feel right, I consider that success.

• What’s your go-to on-set snack?

I don’t know if they still do them, but ASDA used to do their version of Milky Ways called Whirly Bars they always really helped. That, or a classic cheese toastie and copious amounts of Monster Energy drinks.

• What advice would you give to someone who wants to do the job you do?

My best advice, as corny as it sounds is to have fun. Don’t become obsessed with making a masterpiece immediately; enjoy the ride and pull from those around you who know more than you. Trust that you’ll know the right call to make when it arrives, and always be the person you would want to work with on set.

• Are you currently working on a project, or is there anything you’d like to plug?

I’m currently in the very early stages of crewing and funding a horror anthology based on art and artists’ relationships with their craft and their audiences. The film will be made up of three short films, with a fourth acting as a woven narrative tying them together.

I’m very excited about this project, as it feels like the logical next step, creating something I can be confident in making, while also giving me the freedom to dip into various horror genres I love, such as body horror, paranoia, and home invasion. And without giving too much away, there’s a very cool puppet prop I can’t wait to work with.

Check out Louis’ Website here and his Instagram here