Director Scott Stephens Emerges from SpotLab with Popular New Ads…and the Fulfillment of a Dream

It began on the sandswept shores of Michigan. A battle was raging, with soldiers diving for cover, and artillery blasts ringing through their ears. A 12-year-old boy serpentined through the chaos, reporting to his commander on the status of…the script. "It was my big brother’s first short film," recalls director Scott Stephens, "a Vietnam war story." Watching his brother load up the car with equipment, about to head to destinations unknown, Stephens wanted in. "I said ‘I’m coming with you,’ and asked him for a job. He handed me a clipboard and told me I was the Script Supervisor."  

In addition to being impressed by "pretty sophisticated visual effects – for a teenage production," Stephens discovered that his future lay in filmmaking. Nine years later, he packed up his own car and set a course for Los Angeles. His brother, now a screenwriter, bounded outside. "I’m coming with you," he said. 

Stephens arrived in LA seeking production experience, and found what he was looking for as – yes – a script supervisor. He quickly honed his craft in the commercial industry and began working for top commercial directors such as Tony Kaye, Marcus Nispel, Danny Levinson, Traktor, and Christopher Guest. On set, he often found himself acting as "a same-language translator" for client, agency, and production company. "The client may have been looking for a ‘happier bowl of cereal’, and somehow I always knew what they were after," he muses. Stephens script supervised on well over 500 spots with 50 plus directors, and countless agencies, before transitioning to the director’s chair with a flurry of spec spots and shorts. 

As a Director/DP, Stephens has shown an eye for comedy and storytelling, with spots for ESPN, McDonalds Canada, and Mini Cooper. "Ring of Fire," a 13-minute short helmed by Stephens, made the festival circuit and received multiple nominations, in "Audience Award" and "Best Acting" categories. 

Stephens combines his vast filmmaking experience, along with his discerning eye, to create something of a "visual dessert" for the viewer. Prior to entering SpotLab, Stephens studied spot directing with Craig Worsham. His participation in SpotLab led to the creation of two new spots that blend humor, storytelling, and visuals:

Nestle "Forest"

In addition to capturing one of the most perfectly pitched screams in the history of spot horror/suspense, Stephens also managed to pull a great bait and switch. The ad has a young woman gathering wood in a forest. Terrified by mysterious noises, she runs back to the campsite, only to discover that the spooky sound is someone crunching on her chocolate bar. "Forest" has garnered interest – and boards – from snack brands… 

Berlitz "TheClub"

Traveling to a foreign country is reason enough to learn a new language – but nothing is more compelling than missing out on an offer to join "The Club".

Stephens also has garnered attention of late for Spike.TV "Interview"

Originally a spec for another advertiser, this spot was a hit on the Web – although it was a bit racy for that brand’s current marketing stance. "They loved the spot internally, and it’s living a viral life for them," the director notes of the feedback he received. "They just couldn’t endorse the excessive nudity." Stephens is only half-kidding about the nudity – while there is no skin in the spot, it does feature a job interviewee astounded by the promiscuity in evidence around the office.

While Stephens certainly has long form aspirations, he is focused on spotmaking. "I want to be shooting all the time," says the director, who often serves as his own DP (and has been shooting for other directors as well). "I’m always exploring different genres and shooting styles, and commercial production is the perfect forum for that."  

"My father was a military photojournalist who taught me how to tell a story with a single frame," reflects Stephens, who is in talks with production companies about formal representation. "Now, having nine hundred frames to work with, the possibilities are endless."