New Photoplay/Playtime director, Imogen Grist’s remarkable creative flair extends beyond the video camera. That she is trained in graphic design is apparent in her work. Her striking visual decisions – colour, sets and offbeat art direction – grab attention. (She is also a photographer.) But her ability to tell stories is enriched by her being a songwriter as well. And the fact that she developed her craft in music videos gives her work freedom – playfulness that says, “I’m here, watch me.”
Grist took The Stable behind the scenes of the director whose aim is “to embrace the unknown and lean into spontaneity, collaboration and forming connections”.
The Stable: What were the triggers for moving from graphic design to directing?
Imogene Grist: It was more of a tandem ride as opposed to hopping from one to the other. I studied visual communications at uni and that brought together a mix of graphic design and video work. Later I took on some branding projects for musicians which meant creating album artwork, press shots and eventually music videos. Wanting to lean more into film, I applied for a director’s assistant role thinking I’d get some on-set experience, but I quickly discovered it was more of a desk job. I didn’t know anything about the pitching process or building treatments at this point though, so the tips I picked up in this role were invaluable, particularly as I started getting more pitching and directing opportunities of my own.
TS: How does your background in design and photography flavour your directing work?
IG: I feel like my directing work is very much aesthetically driven rather than narrative-based. I love exploring concepts in an abstract way and setting up rules to determine the visual boundaries I can play within, much like design and photography. Restricting my options makes it easier for me to visualise the project and not get overwhelmed with choices – less is more!!
TS: What are the most important things for you to have on a shoot?
IG: Working with the right cinematographer is probably the thing I value most; someone with a shared visual language and the ability to trade honest critique. I tend to handle the conceptual/visual side, so I look for people who love the practical/technical side for the right balance.
TS: Quotes about your work include “punchy visuals and a stylised approach to colour” and “a chameleon-like ability to switch her stripes” How would you describe your directing style? What is important to you about your work?
IG: I’m still figuring it out! Obviously colour, concept and composition inform most of my work, but I love looking back on jobs and seeing what I gained from them… What new connections did I make? Was I able to try out a new technique? Did I make someone laugh? If the answer is all three then GREAT!
TS: Earlier this year, you said of your song, The Clown, “It’s about the pressure you feel to perform and put on a show – when you’re heading down a path that feels inauthentic or contrived. I wanted this song to be a tender reminder that it’s OK to slow down and think about who you really want to be.” How do you feel about the pressure to perform as a director? How do you manage it? How do you slow down and who do you really want to be?
IG: Ha! Well, this was actually directed towards a friend, but perhaps I should take some of my own advice to slow down and think. I have a tendency to go into overdrive mode if something doesn’t go to plan…which is inevitable at times and it generally works out in the end (sometimes even better than you imagined). My aim as a director is to embrace the unknown and lean into spontaneity, collaboration and forming connections. It’s all about having a positive mindset and willingness to learn and grow.
