THE FILMMAKING MIND OF LUKE CASEY
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THE FILMMAKING MIND OF LUKE CASEY
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Admittedly less of a planner, Luke relies on his quick thinking and DIY ethos to craft powerful and unique images from any number of constraints, including and beyond tight budgets.
The British director renowned for his dreamy, surreal takes on commercial, fashion, and music video work lets his free-spirited travels across the world guide his process, leaving traces of his quirky imagination in the collective memory of audiences.
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“Limitations can sometimes be a good thing. […] Say, for example, I'm using stop motion. It might be because I can't afford to blow up a car. So then it's like, ‘well, why don't I make a mini car and blow that up instead?”
Q: DESCRIBE YOURSELF AND WHAT YOU DO
A: I'm a director. I do a lot of commercial work, fashion work and music videos. I travel all over the world, and, I very much love my job.
Q: WHAT DRIVES YOU?
On a philosophical level, I want to leave a trace of me being on the planet through my work. So leave little breadcrumbs and and, leave a little path of work that maybe inspires people, that excites people and that allows me to express myself and to move around and travel for work. That's kind of why I decided I wanted to be a director, because I just didn't want to be stuck in one place. Right? I wanted a job that allowed me to move around. Travel. Be free.
Q: IS THERE SOMETHING ABOUT YOUR FIELD YOU DON’T LIKE?
Q: WHAT HELPS YOU DO YOUR BEST WORK?
A: I'm not so good at sitting still. I feel like I need momentum, whereas feeling stuck or bored actually kind of makes me more productive. How do I get out of this? How do I feel inspired? Being on the go and new environment will inspire me and help me be more productive and reset. Then I find that it clears my mind and I'm able to push out more work.
Q: THE BIGGEST TURNING POINT IN YOUR CAREER
I think for a while, I suffered from Imposter Syndrome. I had one project where it was the most chaotic shoot I've ever been on. Everyone was losing their minds, and I was like, “if I walk out of the room now, I think this whole thing will completely fall apart.”
I was crucial enough to this thing working that it clicked in my head. “Okay, I'm actually kind of good at what I do.”
Then I realized that all of my thoughts that I had as a kid — like those really silly cartoony thoughts — were what gives me value and makes my perspective unique. It was like trusting my child's brain and not trying to grow up. I was like, “okay, I need to go backwards and and remain a child” and play in my work.