The last time Boards featured Gorgeous Enterprises co-owner Chris Palmer as a top commercial director, he’d just helmed an ad featuring a car constructed entirely out of cake. In the two years since, he’s added still more curious accomplishments to his resume in the form of nine wildly different spots.

In an increasingly competitive climate, Palmer honed in on some of the best commercial creative coming out of the United Kingdom this year and, in at least two cases, chucked category expectations to the curb.

In an unusually heart-warming Budweiser ad, “Lyrics” for DDB, London, he spelled out the words to The Beatles’ “All Together Now” on city streets and captured the action from a moving train. The old timey romance “Hairy Harry” for Head & Shoulders was a shampoo ad unlike any other. Other highlights include the epic dash to South Africa in Visa “Football Evolution”, the haunting, but hopeful teen abuse tale “Turn Around” for BBH, London and Barnardo’s, and a global performance of The Beatles’ “All You Need is Love” for Starbucks Love Project and BBDO, New York.

Subtle detailing and straightforward camera set-ups give many of these spots a refreshingly unhurried feeling. Unfortunately, the process is not always as easygoing – especially when more than one ostrich is involved.

If you were written about on the front of a major newspaper, what would the headline say?
“Ostrich Killer Found Guilty.”

If you were given the power to give everyone on earth the same trait regardless of whatever differences already exist between them, what trait would you choose and why?
I’d make every girl short-sighted and unable to run very fast. And all men gay.

In the history of commercials, what’s one iconic spot that you wish you had a shot at directing? What would you change about that ad?
Hovis “Bike Ride”. I’d give the poor little bugger a moped.

What’s your most memorable experience directing an animal?
Shooting a two-shot with a small boy and a kangaroo that had a permanent pink hard-on. I told the kid to look into its eyes.

What was the most technically challenging job you shot in the past year?
Trying to persuade a particularly dense ostrich to run from left to right.

What’s the most difficult in-camera feat you pulled off this past year?
Getting a second ostrich to run from left to right. It was even thicker than its brother.

What’s the most outlandish on-set request you’ve made to your producer?
“Shut up and put the fucking ostrich costume on!”

Directing tip you’d give yourself if you could go back to your first job?
Never work with animals, humans or ostriches. Q

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