Nick Ball on Eavesdropping and ‘Gut Feelings'
Nick Ball got his start in creativity by doing macaroni art in primary school. “It wasn’t long before I was summoned to the principal’s office with my mum, to discuss the ‘haunting themes’ of my edible creations,” he tells me.
Later, in secondary school, he dabbled in writing “really bad poetry,” coincidentally around the time his dad got hold of a video camera. “He really inspired me,” Nick says. “He was so bad at it, and we all hated him filming us so much that I had to intervene for the sake of my parent’s marriage.” So, according to him, the first truly creative thing he ever did was to delete the ‘Cinéma Vérité Mum&Dad’s Home Video Tape’.
Now, Nick is one of the most sought-after directors in the industry, with accolades from virtually all awards show that matter in this industry, and a list of world-class talent he’s worked with. While he might be known as somebody who enjoys working on comedy, he’s against pigeonholing directors. What Nick truly cares about is the genuine excitement that an idea garners, the freedom that it gives him to explore his own point of view, and being able to really resonate with audiences.
All of the above he achieves through unbelievable world-building and a real understanding of ‘the golden nugget’ in a project. In a world of fancy tech, Nick believes that “there's still immense power in a well-crafted, well-told story,” and his work echoes the sentiment.
To find out more about his directing process and best projects, LBB’s Zoe Antonov spoke to Nick below.
LBB> What was your first impactful project that you believe took your career to the next level? Why was it that?
Nick> There's been a whole bunch, each one a stepping stone on this wild journey. I think this job is like being on a relentless, neverending ladder - so many rungs to climb and each step is as important as the last.
New World ‘Dreaming of Yams’ stands out vividly, having an almost immediate effect. Then NZTA’s ‘Rat's Tail’ completely changed how people saw me and what I was capable of. Foxtel’s ‘Date’, captured a universal truth that resonated worldwide, building significant momentum. GEICO put me on the radar more in the US and gave me a red-hot kick start there and while I’ve always loved working in various markets, to have something achieve the massive global success of Wrigley’s ‘For When It's Time’ took us all by surprise. It nailed the zeitgeist with an idea and, perhaps more importantly, a feeling that the global population desperately wanted and needed all at the same time. It was lightning in a bottle, dripping with the strains of Celine Dion.
It’s never been about just one project for me. Each job I take on is thankfully different, and they all leave their own unique mark on me and the work I’m looking to tackle next. I'm not one for repeating myself, you know? I thrive on variety and the new challenges each project brings, which I hope keeps my work fresh and continually evolving.
LBB> How does your comedic background influence your approach to these diverse projects, and what do you believe are the key elements to making something funny?
Nick> It's no secret that I've done my fair share of comedy. What makes people laugh? It's the power of a good idea, plain and simple. There's no magic formula, whether it's a film or a 30-second ad. The key is to capture an idea that resonates and makes people laugh.
That said, I don't see myself as just a ‘comedy director’. I'm focused on good ideas, period. Comedy helps you find strong insights and humour in any campaign, and those skills translate across all genres. Take IKEA, Lays, Tangerine, Xbox - even way back to NZTA ‘Rat's Tail’ - these hopefully show I'm not just a one-trick pony.
Directors often get pigeonholed in advertising. So, while I built a foundation in comedic work, every project, funny or not, is about finding that core idea that truly resonates and allows me the freedom to bring my point of view.
LBB> You’ve spoken before of novelty and surprise as very important elements of both life and work. How do you ensure you achieve them through your work and also how do you always make sure you're surprised in your daily work? Does it ever stagnate?
Nick> It's all about constantly pushing boundaries, turning over every rock, and never settling for ‘just-so’. You could say I have a healthy dose of 'don't let the bastards grind you down' attitude. For me, it's about making something that not only elevates the idea on paper but also resonates with the audience and leaves a lasting impression. The real reward is the creative journey itself. It's a constant process of exploration and discovery, and that's what keeps it exciting and fulfilling, novel and surprising. If we manage to shift a few units along the way - then that’s the icing on the cake!
LBB> What's the 'golden nugget' you look for in a brief or conversation that makes you think the project is worth picking up?
Nick> Single-mindedness for sure. I'm drawn to creatives and in turn clients who understand that our job is to cut through the noise and deliver something truly impactful. That initial briefing call is crucial; it's where I get a feel for the people involved, their passion for the project, and their openness to creative collaboration and evolution. Beyond that, it's all about chemistry. I'm an open book, and I value that same transparency in the people I work with. When everyone is on the same page and genuinely excited about the project, it sets the stage for something great.
LBB> You're concerned with the potential 'worlds' that an idea can give life to. How do you recognise an idea that has these worlds hidden in it and how do you go about building them?
Nick> To me, good filmmaking is world-building. Every department plays a crucial role in bringing those hidden worlds to life. The best feeling is when everyone's invested and working together, building something greater than the sum of its parts.
Recognising an idea with these hidden worlds is a gut feeling. It's sensing that any good idea or true insight has a world to build, whether it's an imagined dystopia like in ‘Tangerine’ or one that mirrors our own like in Wrigley's. Every character, every setting, should have a history and backstory that gives it depth and dimension.
I'm always looking for creative partners who want to go on that journey with me, to dive deep into these little ideas (but big worlds) and bring them to life. Collaboration is key, working closely with agencies and creatives to stress-test the characters, settings, and ultimately that mythical ‘catch-all’ tone.
LBB> Speaking of worlds, could you tell us a bit about 'The Troll' for IKEA. It is one of the most memorable of your projects, especially in terms of world building.
Nick> It had all the right ingredients: a brilliant concept from a brand with a history of great work, and a team of savvy creatives who understood my specific approach to the idea. But what really made it shine was the casting, the atmosphere, the timeless aesthetic, and that emotional connection that underpinned it. It was simply good old-fashioned storytelling. I think its success proves that even in this age of flashy visuals, entirely unmotivated camera moves and high-tech wizardry, there's still immense power in a well-crafted, well-told story.
LBB> Which part of the directing process makes you feel most empowered and confident?
Nick> Casting - hands down. It's where the magic really starts to happen for me. I love to experiment when I’m casting - trying new things, working out the kinks, and ultimately refining my approach. I'm a firm believer that the right cast can make or break a project, so I'll fight tooth and nail to get it right.
I also absolutely thrive on the team-building aspect of directing too. It's like assembling the weirdest group of Avengers on a job-by-job basis. Each member has their own unique strengths, but together they are infinitely more powerful. I very carefully select my crew for each project, surrounding myself with talented individuals who bring their own special seasoning to the mix. That collective energy and expertise keeps me confident in what we’re pursuing and drives the project forward.
LBB> Where do you draw your inspiration from, or does this always change?
Nick> Inspiration comes from everywhere, really. I'm a notorious procrastinator, so you can usually find me doom scrolling or meme hunting online. But genuinely, I draw inspiration from everything around me: conversations, podcasts (I listen to a tonne of those), random internet rabbit holes... If you're chatting within earshot, there’s every chance I'm eavesdropping. It's all fuel for the creative itch that I can never quite fully scratch.
LBB> What's an ad that you saw and thought, 'I wish I directed that'?
Nick> Literally all of Frank Budgen and Ringan Ledwidge’s work. Legends, the both of them.
LBB> What are you most excited about that's coming in the near future? And where do you want your work to be in a few years' time?
Nick> Honestly, this industry is a bit of a rollercoaster. Things can change in the blink of an eye, so who knows what tomorrow will bring. For now, I'm just stoked to be doing what I love, chasing after those projects that get me excited to jump out of bed each morning. That's the real goal, right?
