Shaun James Grant

Director, OB Management

London-based talent, Shaun James Grant, has an unparalleled ability to capture connections on screen, making whatever he turns his lens to feel instantly intimate. Having ascended the directorial ranks helming musical promos and sports commercials, he’s turned to narrative form with his debut short, Hope, which is currently screening at festivals.

What is it about filmmaking and the advertising industry that fascinates you?

I love advertising that gives people something to consider, that can move audiences or open them to new ways of thinking and raise awareness through character relatability.

You’re known for your character-driven stories, how much of this do you put down to casting?

Casting is integral. I cringe at the idea that people might view my work and think it’s insincere. It requires a real understanding of the characters that live in your world. You can’t expect anyone to buy into something that you don’t know yourself.

What sort of environment do you create on-set and do you have any go-to techniques for encouraging more heartfelt performances?

Energy is contagious. I’m always adapting the feeling in the room to the spirit of the scene. Unnecessarily noisy sets when you’re shooting something sensitive are the worst. Equally you shouldn’t be able to hear a pin drop when shooting a high-intensity sports spot. I plan rigorously, but I also love when things come together in an unexpected way on the day. I try to support my cast to fully immerse themselves in what we’re doing.

You’re touring the film festival circuit with your debut short film, Hope, which you co-wrote and directed, how did this project come about?

I’ve always aspired to work in the narrative space; that’s what prompted my dream of being a director. For numerous personal and professional reasons, it felt like the right time to just go for it. I feel like I’ve grown so much over the past three years and am figuring out who I am as a person and a filmmaker. I’m proud that Hope represents me as my debut short.

Your work centres on observation; your peek into Jorja Smith’s world through the Becoming series and Kojey Radical’s performative Can’t Go Back piece reveal your ability to capture unguarded moments on camera. How does the way you work with talents and actors differ?

Working with actors is really fulfilling. I love sitting together and peeling away layers of their character, unearthing new elements of their disposition that I may not yet have discovered. It’s a stage that requires ongoing dialogue and us organically forming a bond. But working with talent is where I originally plied my trade.

My best work is rooted in honesty, though I still get anxious going into non-scripted jobs, especially with people I haven’t met before or don’t have an existing relationship with, because you never know if you will gel – and that’s so key to creating great work.

How have you been spending your time in lockdown and what do you have coming up?

Work-wise, I’ve been really focused on my writing. I’ve been able to do two years’ of narrative writing in the last 12 months, pushing forward with a longer-term narrative project. I also just recently wrote a short film that we took to a charity that is really close to me. They’re now heavily involved and lending their support which is great, really looking forward to seeing where it goes.

Interview by: Olivia Atkins

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