director's statement

I try not to think about my style in a recognizable or repetitive way. I want to be forever learning.

Every project begins with a feeling — not a concept, not a reference, not a mood board. A feeling. The concept comes after. The technique serves it. The camera finds it. But the feeling has to exist first, or nothing else matters.

I grew up with a camera before I understood what directing was. Skate videos. Snowboard videos. Live concerts. There was no separation between life and making — the camera was just how I processed the world. That instinct hasn't changed. It's just gotten more refined.

When I direct a music video, I'm not illustrating a song. I'm building a world that the song lives inside. Every video is a completely different universe — different tone, different visual language, different rules. The only constant is that every frame has to earn its place.

Commercials are the same discipline. A brand has a story. The story has an emotion. The emotion needs a visual language that makes you feel something you didn't expect to feel while watching an advertisement. That's the job.

I don't believe in the separation between "art" and "commercial work." The best commercials I've ever seen are indistinguishable from short films. The best music videos are indistinguishable from cinema. The format is irrelevant. The craft is everything.

Long-format film is the next journey. Neverenders is in production — an A24 film starring Timothée Chalamet and Marion Cotillard. The visual language is ready. The feeling is there.

— amos le blanc
toronto & los angeles