Top Director: Mark Toia
In a regular column Campaign Brief Asia is turning the spotlight on a hot director. Here, we talk to Mark Toia, on the roster with Seven Sunday Films.
Originating from a very successful career as an advertising photographer 10 years ago, Toia (left) was coerced into directing TVCs by his clients. They desired to bring his exceptional photographic eye to the small screen and he certainly didn’t disappoint Toia is now one of the most sought after directors in the advertising world. Being pursued by advertising agency and production companies globally, he receives more than 300 scripts per year With countless industry awards and accolades to his credit,he is without a doubt, a director sitting firmly on the “A” list.
Toia’s ability to deliver a stunningly artistic story full of drama to shooting a fast and furious action piece is only a glimpse into what he can deliver. His detailed 3D animated storyboards, visual animatics and style frames are legends in their own right but where he excels is his clear understanding of visual communication. He knows how to sell products visually, making him a client favourite.
Toia has a friendly, down-to-earth nature and a straight forward point of view which is well regarded by client and crew alike.
His main passion is to capture an image that compels and speaks without words. His legendary cinematography skills, vast post-production experience, coupled with this ever evolving mind and machine like work ethics make him the perfect choice for any job. This combination puts him squarely at the fore front of today’s television production industry.
Toia has a semi exclusive agreement with Seven Sunday Films
How did you get your start in the industry?,
I started as a commercial advertising photographer and was dabbling in video more for fun than anything else. Nothing serious until I showed a client one of my little films, he was surprised and asked if I would shoot a TV ad for them, Blindly I said yes, that TVC ended up winning best director or cinematographer in a local advertising awards and the phone started to ring. Twelve months later I was swamped with work and ended up winning that same award show for another 10 years straight. I’ve stopped entering award shows now as they have done what they have needed to do.
What was your first big break as a commercials director?
My first big break was a Holden UTE commercial, through McCanns Sydney back before the movie Twister even came out. It was a huge job for me at the time and I threw everything at it. The post house also put huge amounts of effort into the project. When that TV launched my life went into over drive, we ended up with a script being sent through every couple of days. But sadly I was tagged as the “car guy”! for about 5 years. Great money, but not great for the reel. I turned a lot of car work down for a few years to give my general reel some love.
What do you love about directing commercials? Tell me about your most recent job and what was involved/the challenges of the job and why you like commercial work?
I like directing for many reason’s, but making something from scratch and seeing it through to the end is the best thing for me. I was an oil painter as a child, I could paint real life oils when I was 13, Draw anything, any style. Did a lot of my own story boards for many years. A lot of people around me called me gifted, but at that age I had no idea about my creative ability, other than just being fun.
I’m one of those crazy directors that likes to shoot all of my own work, being an X photographer helps a lot. I also edit all of my own work, and most projects I finish, grade, comp and online it as well.
When its a huge special effects job, I just can’t get it all done myself, so I bring in people to help out, or commission a post house to do all the heavy shots. The reason I like to do as much as I can all comes back to my younger oil painting days. I’d never sketch an outline and then hand my painting to someone else to finish, so why would I want to do that now. It’s my art and I wanted to finish it. I’d start from a blank canvas and push all the way through to the finished piece. Thats what artists do.
The reason why I don’t shoot a lot of US work is because they just hire you in to direct and shoot, then push you out the door when you call warp, then get some editor in to finish it off. You see the finished piece on air a few months later and want to cut your throat as most times the final ad is a ghost of what you actually wanted to deliver. The biggest issue I have is then everyone sees it and blames the director for the poor execution, not the 30 other people that came in behind you to finish it off. That’s life. I try not to put myself in those positions anymore. Clients pay a lot of money for me to come on board, I want to give them everything i can.
Tell me about your most recent job and what was involved/the challenges of the job and why you like commercial work?
My latest project was for Tourism Australia, massive 22 day shoot, lots of hurdles, lots of politics, other stake holders, paranoid clients and creatives, Lots of boxes had to be ticked, lots at stake and they all looked at me for answers. Lucky for me I thrive on pressure. Love it in fact. I’m one of the lucky ones that have done well in this business. I have a different agenda to most other directors. It’s not about the money anymore, its all about relationships and the work. I love commercial work because I get to make a lot of new friends on the way, create some great work with those people and see the world with them. Adventures are just around the corner and working in Asia gives me amazing opportunities that you just can’t get in Australia. Asia is still the wild west, people are still learning, building and pushing the limits. You can get away with absolutely anything in some Asian countries (within reason). Where in Australia and the US you would be hobbled by red tape and safety officers, unnecessary permitting and huge production costs.
Have you recently shot in Asia?
Yes, we did a Honda project with 7Sundays Indonesia, shot in KL Sepang Raceway with a Moto GP rider. Was a fun shoot because I love motorbikes and I love shooting … Two loves in one day.
Is this a region where you are actively seeking work?
I don’t actively seek work in Asia anymore as I get huge amounts of work from the region daily. Up to 5 to 10 scripts per day when Asia is pumping. However, 10 or more years ago i did a big push into Asia, China, Indonesia, Singapore, Kl, Vietnam, Japan, Korea. A lot of people looked down on me in Australia as they thought Asia was the pits of advertising. Since the GFC, I’m being mugged by those same directors and production companies wanting me to help them crack the Asia market. In a way its almost too late for them. The world is piling into Asia looking for, hundreds of directors pushing there reels, its a tough game to get into. I’m very fortunate to have seen the potential in Asia so long ago as Asia embraces me and I embrace Asia.
What appeals to you about working in the Asian market?
The crazy different scripts that end up on my desk blow me away, so different each and every one of them. Asia is becoming amazingly creative, it’s only time before Asian companies start embracing great creative from Asian Ad agencies and push away from the standard executions of the past. Asian TV is a mess with thousands of new ad’s per week. To stand out now clients must push past normality to be seen. I know hundreds of creative teams in many Asian countries now, they are not the same as they were 10 years ago. These guys are hungry and want to work with only the best people, they don’t care about working with the local director because he may speak the same language, they want the best directors to make them look good. These guys don’t care about boundaries anymore as the world is only an email address away. That’s why relationships are so important in Asia. These guys don’t want to work with the unknown, a good reputation in the region is really important.
Have you ever ventured into short films or films?
Not interested in shorts, features yes. We have two on the boil ready to go. But like all bright eyed film makers, the back end sales deals usually kill the dream of making a film. Making the film is the easy bit, funding it isn’t a real issue eit
her, selling it however is a completely different story. Sometimes I say to myself, whats the point. Its a messy ugly business thats for sure.
What’s the three most memorable spots you’ve directed? Why?
I’ve done hundreds of commercials around the world, if I was to strictly talk about Asian work… then I’m going to share these 3.
“99 years” out of Indonesia, why because it was huge. Over 1500 people involved some days, huge art department, huge amount of extras, post, everything was big. Did I tell you earlier that i love pressure. Also the client and agency just let me go for it. The project was massive and they didn’t want to slow me down. They were great !
Black box out of Indonesia, why because it was a massive logistic undertaking with a moderate budget. I wanted to shoot it all for real so I insisted the “A” team in New Zealand to help me. What was great was watching the client and agencies faces when we dumped them on top of a mountain in the snow from a bunch of helicopters like in a action war movie. Everyone’s eyes were wide and faces so excited, the few days just blew them away. None of them had seen snow before, none have been on a mountain top, none have flown in a helicopter let alone beening pushed out onto a slender-ice peak from one, it was as much an adventure for them all as what we were shooting.
I’m going to say Bank of China was a job I remember a lot, not really because of the creative as the story was pretty basic… But the scale we managed to capture within a very short amount of time in 4 different cities, from London to China… was a real challenge. The moment I loved with this one was when the Bank ofChina client pulling me to the side saying there was a lot of risk for him for this film as I was the first western Director ever to shoot a bank of China job. And he put his career on the line in choosing me. He did not like the script as he thought it was boring, but this is what his Bosses wanted. He was very stressed and so was the CD of the agency. I put my arms around them and said. Its going to be great. Stay close to me and we will do it together. They loved it and so did their bosses. I like the project only because of the art direction and the people we worked with. The actor in it was terrible !! Sadly not my choice.
What are your favourite three commercials of all time?
Why, I don’ know why other than they entertained me emotionally, made me laugh, cry, smile and wowed me…
What is your career highlight(s) to date?
I did a huge FIFA football spot for Australia. As a highlight for me the FIFA client presented it to the government in Parliament House, The Prime Minister and all the big boys where there. They stripped out the seats of Parliament and put in 8 huge screens and formed a octagon shaped amphitheatre. They played the film and it blew them away. They were all so proud. The Prime Minister and everyone couldn’t get to me quickly enough to shake my hand. To me it was just another TV ad, to them it was Australia pride. All the football players wanted to hang out. Lots of hand shaking going on… Just a memorable moment for me. Career highlight?.. not sure. The phone rings everyday with work, I’m going to say that that’s a highlight.
Tell me something about yourself that not many people would know.
Next… 🙂
Other Directors featured in this series.