In our latest interview, we sit down with Paul Power, a Freelance Director based in Dublin, Ireland. Paul's path into the creative industry is as unique as his approach to filmmaking, shaped by a diverse background and a passion for storytelling.
How did you first get into the industry?
When I was in college I used to VJ for various clubs and acts. That, combined with my love of film and photography led me to do a multimedia course. We made some fun music videos and films there, which got me an internship at an advertising agency, Rothco (now Droga5), as their in-house videographer/editor.
Where are you based now and who do you work for?
I live in Dublin, Ireland. I work freelance as a Director, though I do some editing as well.
What is your personal background and what role did it play in your career?
I come from the South of Ireland, a city called Cork. Growing up in dark ages of the 90’s I was really fortunate to have access to camcorders through my parents' work, I had great fun filming home videos of my siblings and me, it really grew my love of having fun with film. I’m a big nerd, collecting and painting models and playing board games. It’s a part of me that I re-found during the Covid lockdowns, like a lot of people looking for that outlet to help them deal with those tough times.
My wife is a painter, and along with my young son, we are a pretty creative household. She came from a graphic design background and I remember her teaching me Photoshop for the first time. She’s always helped me foster that sense of wonder with art and making stuff. There’s so many things that have contributed to where I am now, each step leading me on a new adventure.
If you weren’t in your current industry, what would you be doing?
Well, funny enough I trained as an Archaeologist in University, and spent several years working in the field excavating. I loved it but realised I had passion beyond what I was doing and changed my career course to Multimedia, eventually leading to my job at the advertising agency.
I’m not sure I’d return to that line of work though, it can get very wet and mucky. Teaching is probably something I’d lean towards. I have always loved mentoring new creatives, showing them how I do things, and helping them foster their own spark..
Can you explain your creative process? What makes it unique?
I always start with a notepad. I write down everything that comes to my head on the idea/brief, be it bad or good. I try not to judge on my first pass. It can be messy scrawls of a storyboard, notes to myself for later research or even full script lines etc. Then onto research, even on a commercial brief when it’s all very clear and laid out, you never know what tiny factoid will spark a new approach or insight.
Once I’ve gotten to a place where I’m happy, I like to work up a quick slide or two in Canva. At this stage there might be a couple of options to follow, it’s now I like to bring in another head to bounce the ideas off, see what connects and what flops. Then it’s refine, re-iterate and present.
On a shoot day, I like to make sure I’ve a good playlist ready for the journey there. There’s nothing that gets you ready for a day of Directing that listening to Utah Saint’s Something Good.
How would you describe your style?
I like finding the unexpected in what I film. I do a lot of branded content work, often with real people doing their day-to-day. I try to let them tell their own story, using scripts as a guide rather than a rule.
When we give people a comfortable space to be themselves, they most often speak from the heart and we can capture their passion which is always better than nailing every line or brand note, as it’s genuine, and that is what connects with audiences.
I like to keep cameras mobile and keep a flow to the edit. This allows me to roll quicker, while also giving the cinematographer the freedom to explore the space we’re filming. I love a grade that enhances the places we film, using natural tones.
Which individuals do you gain inspiration from? Do you have any heroes in the industry?
I’ve always loved the music videos of The Blaze, each one they’ve made is just… wow. Tucker Bliss’ work definitely speaks to what I aspire to create with my work, telling relatable human stories, with a little wink (his words).
I recently saw Henry Davis’ documentary Exit 238, and what a wonderful, quietly brilliant peek into a familiar yet strange world.
What tips would you give to aspiring creatives looking for work?
Prepare for a longer road, make connections. If you know someone who knows someone, ask them. Don’t listen too hard to the ‘inspiring’ stories from others, you’re on your own path and even if it seems longer, with perseverance you will make it. And look after your mental health, find ways to help yourself and don’t lock yourself away when things aren’t great . Grow, and learn.
What tips would you give to other professionals to get more clients?
Go to industry events, make the effort to meet people for coffees/tea/beers, and be yourself. The opposite of love is not hate, it's indifference. Keep making contacts and maintaining those contacts, eventually the connection will be made.
Can you share a memorable experience from your career journey that shaped your approach to creativity?
I remember a great line when chatting with a Creative Director at my previous agency. It might seem obvious to some, but for me starting out it was a rare insight. He said that what agencies are looking for from Directors and DOPs is not their idea back.
They want to see you in the treatment, that’s why they’ve asked you to pitch. Follow the brief, but don’t be afraid to make it your own.
What kind of tools/kit/software could you not do without?
Canva, Frame.set, and my notepad that says Onwards and Upwards on the front.
What’s your secret to staying inspired and motivated?
Exercise, though I don’t do enough of it. Keeping active helps me more than anything. For inspiration I always look at music videos, they’re the playground of filmmakers.
What’s the work achievement you’re most proud of?
Winning a YDA in Cannes for my short film, For When I Die. What a buzz. Another smaller moment was after our agency won a Cannes Lions for some work, and a CD came over and congratulated me for directing it.
I excused it saying it was a Cannes for digital creativity, and he said ‘It wouldn’t have won if it wasn't a good film’. That was a warm fuzzy moment.
As someone with experience in the industry, what trends do you foresee shaping the future of creativity?
Going green is going to get even bigger for filming. Net-Zero Filmmaking is a huge undertaking but by being aware and actively engaging with greener initiatives we can make films and commercials that don’t cost the Earth.
What do you think sets apart truly exceptional creatives from the rest of the pack?
Perseverance and good mental health. Everyone can burn brightly for a while, but it takes dedication to last in this industry. That’s why mental health is so important. Our creativity is what drives our work. If stress dampens our creativity, then it dampens our work, which then leads to more stress. Exceptional creatives consider their mental health.
How do you think technology has influenced the creative industries and how have you adapted to these changes?
Each step in technology makes certain things easier for creatives. What took me half a day, now takes me one click (looking at you Scene Edit Detect on Premiere Pro). Our ability to find and share our work is forever expanding.
It’s also a more connected world. Instagram, for all it’s faults, allows me to connect and reach a huge array of creatives and find new clients and, with some, friendships.
What is the one thing that you would change about the industry?
Our love of the success narrative. It’s a hard thing to break, but people need to know the pitfalls as well as the success of our industry. To know you are not alone, in both the wins and fails is how we grow as an industry.
Any websites, books or resources you would recommend?
Just Shoot It podcast is a fantastic resource for filmmakers who work in the commercial world. So much of filmmaking is about making movies, when most of make our money from commercial work. Killing Generals, the making of The Dirty Dozen is a fun read about a crazy movie.
