‘You Have to Send the Elevator Back Down’: Conor Boru on the Value of Mentorship

As a London-based director working across advertising and film, Conor’s work spans global campaigns, branded content, and live-action projects in the gaming sector. He brings a cinematic eye to everything he directs, sharply focused on visual craft, performance, and storytelling.

The award-winning filmmaker received a 100% rating on Rotten Tomatoes for his debut feature, ‘When The Screaming Starts’. Conor is director of branded content at Double W Worldwide and runs his own production company, RiotousFilms.

Conor sat down with LBB (Little Black Book) to chat about his upcoming feature film, the rise of story-led advertising, and the development of virtual production.

What are some upcoming projects that you're excited about? Tell us a bit about them?

Conor> Right now, I’m focused on two things that really excite me: cinematic video game campaigns and my next feature film, which is building on the release of my debut film, 'When the Screaming Starts'. On the commercial side, I’ve been deep in the video game space, creating live-action trailers that blur the line between film and gameplay. It’s a space I love, where cinematic storytelling and advertising intersect.

At the same time, I’m developing my second feature film. It’s a big step up in scale and ambition, but I’ve got a fantastic team around me, and it’s shaping up to be something really special.

What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Conor> There’s a real sense of change happening in the industry right now. The lines between film, branded content, and entertainment are blurring, which opens up so much creative freedom. I’m excited by work that feels more story-led and less like traditional advertising, projects that build worlds and create an emotional connection rather than just selling a product.

What elements of a script sets it apart and what sort of scripts get you excited to shoot them?

Conor> Story is everything, regardless of if it’s a feature film or a 15-second spot. The format might change, but the goal is always to take the viewer on a journey. I’m drawn to scripts with a clear sense of structure and emotional intent – something that builds, surprises or moves the viewer. And of course, anything that feels fresh, original, and genuinely impactful always stands out.

How do you approach creating a treatment for a spot?

Conor> I have to find my way into any project and understand what I can uniquely bring to it. Early on, I like to see what’s out there, understand the tropes and clichés, so I know what to avoid or how we can subvert expectations to make it feel fresh. I spend a lot of time thinking around the idea, jotting down loose thoughts until something clicks.

I storyboard as a guide rather than a rulebook, and AI has made it much easier to visualise and communicate ideas. I often pair visuals with music to capture tone and rhythm. For a recent horror game pitch, I even created a full soundscape because it felt integral to the concept.

If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Conor> For me it’s vital. You have to understand both the brand and the target audience, as well as the brand’s goals and expectations for the campaign. I actually enjoy researching the brand and finding ways to work within its voice. Sometimes you get the freedom to go wild, but more often you’re finding creativity within boundaries, and those limitations can often push you to be more inventive.

Understanding the audience is crucial too, but it’s easy to get lost in trends and end up creating something generic. It’s a bit like a big Hollywood studio film that tries to please everyone and ends up resonating with no one.

For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Conor> You have to be on the same page as the client, otherwise it can be painful. It’s really important that everyone understands and believes in the vision from the start so there are no surprises later on. When that alignment is there, the whole process runs more smoothly and everyone ends up happier with the result.

What type of work are you most passionate about – is there a particular genre or subject matter or style that you are most drawn to?

Conor> I’ve always been a bit of a chameleon. I know the industry values having a clear niche, but I’m naturally drawn to a mix of genres. I love exploring new worlds and characters, and I’m most excited by story-driven work with cinematic scope. I’m starting to find natural niches in gaming, automotive, and comedy, but I’ll always stay open to different projects. If you’re a storyteller, you have to be adaptable by nature.

What misconception about you or your work do you most often encounter and why is it wrong?

Conor> Probably how quick the creative process looks from the outside. You might see a few pages and some nice images, but behind that, there’s usually an unhealthy amount of coffee, late-night note-jotting, and research rabbit holes!

Have you ever worked with a cost consultant and if so, how have your experiences been?

Conor> I haven’t personally, no. There’s always that balancing act between creative ambition and budget, so anything that helps find that sweet spot can only be a good thing.

What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Conor> I wouldn’t know where to start, there have been plenty of wild days on set. One of the more memorable ones was a night shoot that began with us arriving to find our unit base and caterers (a local pub) had shut down due to an electrical fault. No warning, no coffee, no food. That was just the beginning. Then came flash floods, our hero car broke down, and the untrained puggle we were shooting with decided it absolutely did not work in the rain. Absolute chaos!

The key was to stay calm and tackle each disaster as it came. Working with the other producers and crew to find creative solutions. When the weather finally forced us to call it early, we regrouped, rewrote a scene, found a new location, and somehow pulled it all together the next morning. It’s funny now… less so at the time.

How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Conor> It’s about understanding what really matters to the client and what’s non-negotiable, then building from there. Sometimes creatives can get caught up trying to shape everything into a showpiece for their reel, but ultimately, the goal is to make something that works for the brand and connects with the audience. I always try to push the creativity, but it comes from a good place – I genuinely believe it will make the work stronger and more impactful for the client. The key is knowing when and how to voice those thoughts, and to push in the right way for the right reasons.

What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Conor> Always. I had to find my own way in, and that was probably the most challenging part of starting out. It can really feel like a closed shop at times and often still does!

A filmmaker friend always says, ’You have to send the elevator back down,’ and I completely agree. We need new voices, fresh perspectives, and more diversity across the board. That’s how the work stays relevant and exciting. It doesn't take much from you, but can mean the world to someone trying to break in.

Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Conor> It can be a challenge. My preference is always to commit to either landscape or vertical, but clients often want both. It’s possible, but it usually involves some compromise. We recently shot a project using a Vertiscope setup, which was a great way to capture both formats efficiently without doubling the workload.

What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?

Conor> I’m always open to exploring new and emerging technology. Virtual production is definitely on my radar, and I’m looking forward to using it when the right project comes along. AI is already opening up huge creative possibilities, but for me, it’s a tool to enhance, not replace. No matter how advanced the tech gets, nothing beats being on a real set with real actors.