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Good Times signs director Thom Kerr
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Kerr’s portfolio spans commercials, print editorial, and music videos, work that moves fluidly between high fashion, pop culture, and the internet.
Creative production company Good Times has signed Australian director and multidisciplinary creative Thom Kerr for US commercial representation.
Acclaimed for hyper-stylised world building, cinematic colour palettes, and culturally resonant storytelling, Kerr’s portfolio spans commercials, print editorial, and music videos, work that moves fluidly between high fashion, pop culture, and the internet.
“I’m fascinated by the intersection of art and commerce, and operating with the conviction that everything has the potential to be pop art,” remarks Kerr. “Good Times is a place where I can make commercials that embody that philosophy.”
Kerr’s signing comes on the heels of directing a Wendy’s campaign featuring Ice Spice, produced by Good Times. Born from a viral Ice Spice tweet, the campaign exemplifies Kerr’s creative sweet spot: where brand strategy, cultural momentum, and digital instinct converge.
“In an era when a campaign lives or dies on whether it earns its moment online, Kerr has built a track record of understanding that calculus intuitively,” says Eric McCasline, Good Times Partner and Executive Producer. “He creates culture-shifting imagery built to exist everywhere at once. That distinction matters more than ever.”
“Collaborating on the Wendy’s campaign, I was impressed by Good Times’ ability to create a protective, enthusiastic environment that embraced my process and style as a visual storyteller, and the way I want to do business in this industry,” adds Kerr.
Ever on the pulse of where media and culture are shifting, Kerr is also creating with a new generation of cultural figures, marked by collaborations with social media titans Alix Earle and Quenlin Blackwell.
“The most influential audiences right now live on the internet, and reaching them requires more than production value,” says Kerr.
Kerr’s path to the director’s chair was anything but conventional. Leveraging a prolific photography career shooting high-fashion and celebrity portraits appearing in Vogue, Harper’s Bazaar, Elle, and Glamour, he worked across styling, set design, and narrative development. These experiences were formative in his path to becoming a live-action director. Along the way, he collaborated with top-tier talent, including Christina Aguilera, Doja Cat, Bebe Rexha, Quavo, Iggy Azalea, Kim Petras, Kehlani, Rico Nasty, and Meghan Trainor. Developing a signature aesthetic rooted in fantasy, texture, and emotionally charged color, his work quickly attracted a global client base across beauty and fashion, entertainment, and consumer lifestyle brands.
McCasline is quick to note that Kerr is a director highly fluent in the language of agencies and brands, drawing on his background as a creative director. “Thom arrives on set already thinking the way brands and agencies do: about messaging, brand architecture, and what a campaign needs to communicate before it can afford to be beautiful. We saw it firsthand collaborating on the Wendy’s spot and were instantly wowed by how deeply he dives into a concept and pushes it in a way that is both additive to the creative and the brand objective.”
The results speak for themselves. In a remarkably short period, focusing his talents on the director’s chair, Kerr has amassed a consistent track record of campaigns that showcase his command of engineering viral momentum from the inside out. His work for Maybelline (featuring Chloe Fineman) and Crocs (featuring Lil Nas X) is emblematic of these achievements.
“On every set or stage, I like to operate with the perspective of a total image-maker,” concludes Kerr. “From lighting and wardrobe to production design, movement, and texture, every visual component exists in service of a singular world.”
