Peer Review: Floris Kingma

Who are three contemporaries that you admire?

Jim Phillips – Having ridden all types of boards in my life, and still at it (I surf several times a week and I’m building a mini-ramp in my backyard), I’m a fan of Jim Phillips’ artwork. His Screaming Hand for Santa Cruz skateboards is iconic. Is it overexposed? Sure. But so is The Scream, and nobody’s giving Munch a hard time for it…  

 I’m a self-taught director and only found the "REC" button after getting a degree in Economics.

But don’t be deceived, his work is way more than that hand. The sheer volume of his work, his ability to communicate distinctively without words, and the consistency in both visuals and concepts make him a painter beyond the usual. 

A truly remarkable artist! Jim’s work shows advertising directors that you don’t need a 50-page deck to make an impact — just a screaming hand will do! Call it nostalgia, call it just plain awesome. 

Above: Jim Phillips' artwork. 

Dixon (Steffen Berkhahn) – “Music is my first love and it will be my last…” – I hate that song, but the quote slaps! It pretty much sums up Blackmetaldeath. I’m constantly listening to music, switching from Ska to Slayer to Snoop to Sonic Youth faster than you can say “shuffle playlist.”   

When I’m writing treatments, it’s all a bout techno. No, not that kind of techno — you know, the good stuff. You can actually see me doing fist-pumps behind my computer when shit goes down. Dixon is someone I keep on coming back to. Berlin-based, Innervisions label, and almost two decades in the game — dude’s a legend. 

Can a DJ be considered a contemporary artist, or is he just a savvy entrepreneur? I think he deserves the benefit of the doubt because many great contemporaries walk that fine line, don’t they? 

To me, great direction is about clear vision and making bold choices without being bold for bold's sake.

Edgar Wright – I’m a self-taught director and only found the "REC" button after getting a degree in Economics. I learned by watching a ton of movies & ads and hoping for the best. But if anyone’s got rhythm, it’s Edgar Wright. I share his passion for music, so I feel deeply connected to his choices and his uncontrollable need for rhythm. Groove in editing is something I can’t resist. Whether it’s comedic timing or visual, music is often the key.   

On top of that, Edgar inspires me with his smart cuts. Whether through in-camera trickery or offbeat timing, his approach is masterful. 

Above: Director Edgar Wright. 

Please share 3/4 pieces of work that exemplify great direction.

First off, let’s set the stage: to me great direction is about clear vision and making bold choices without being bold for bold sake. I’m talking “Wow, they really did that” kind of choices. So, here are my picks: 

Bradford Young: Super. Human. Tokyo 2020 – As you’re reading this on shots, I assume you’ve seen this ad more than once. And honestly, it’s worth watching again. The number of bold choices is astounding, next-level work from a director’s standpoint. The end result is emotional, funny, captivating, inspiring, lighthearted, and respectful. Hats off. 

With a big mouth and some confidence, I pushed myself forward. If Ben Stiller can produce and direct a film, why can’t I?   

Lionel Goldstein – The nihilist of adland. Like you are asking Sid and Nancy to shoot your ad. The paradox of them winning Lions at Cannes while not shooting many ads is beautiful. They’re like Banksy, reflecting on the absurdity of advertising itself. They break all the “rules” and yet make brilliant ads! How hilarious is that? I want to hug them for it, even though they probably wouldn’t want me to — and that’s precisely why they deserve it. 

Anyway, they always inspire me to second guess my treatment and keep on playing around in a world that doesn’t make sense. 

Harold Einstein – His work is almost the opposite of Bradford Young’s. It’s not the number of choices that’s mind-blowing, it’s the extreme precision with which he makes them.  Sure, his work may never win a director’s award because it looks so ridiculously simple, but to me, Harold Einstein is the Mondrian of adland. 

Above: Bradford Young's Super. Human. campaign for Tokyo 2020. 

What do you like most about the work you do?

As a director, you’re only as good as the teams around you — and thankfully, mine are brilliant (not just saying that because they might read this). They inspire me, doubt me, surprise me, fight me, and enrich me (and my work). As I grow as a director, so does the quality of the talent I get to work with. Shooting in different countries allows me to collaborate with amazing people from all over the world. Sometimes, I’m actually surprised they want to work with me. 

And, of course, the fun on set. Sure, there’s the serious “focus” moment (pun intended), but the rest is a playground of creativity. 

Good EPs are the key to making great ads.  Without them, the set would be like a free-for-all rave at 2 a.m.

What was your journey to becoming a director?

I graduated in Economics and got a job as a producer at Amsterdam Television Network. For small garden centre ads, there wasn’t a budget for a director. With a big mouth and some confidence, I pushed myself forward. If Ben Stiller can produce and direct a film, why can’t I?   

And here we are me writing an article in shots.

Above: Kingma's Charging campaign for IKEA.  

What's the most valuable skill you’ve learned?

Not so much learned as refined. I started as a comedy-driven director, but when an agency threw an IKEA script my way, I took a more poetic/whimsical approach. With no one else bidding, they had no choice but to roll with it. 

This was the end-result. 

Turns out, I’ve got range! Apparently, my way with words and music landed well as it has made me a two-faced Harvey Dent; Now I’m either doing comedy or artsy stuff. 

I briefly directed a kids’ show before jumping into ads full-time. In adland, the stakes are higher — everything is pre-produced to perfection. 

What does every director need?

A rockstar executive producer to filter the noise and guide you in the game of politics. They balance emotion and business with precision, keeping the process smooth while managing the client's and creatives' input. Good EPs are the key to making great ads. 

Without them, the set would be like a free-for-all rave at 2 a.m. where all requests are played by the DJ but no one remembers them the next day. 

 Above: Lionel Goldstein's Funeral campaign for Lynx. 

How did you find the transition between directing TV and ads?

I briefly directed a kids’ show before jumping into ads full-time. In adland, the stakes are higher — everything is pre-produced to perfection. The lower budget TV gigs taught me to improvise. Now I can shoot an ad with the precision of a Swiss watch, but still have that spontaneous edge.  

For me personally the obvious question arises: Can AI create a Floris Kingma style ad?

Did you have a mentor? Who was it?

I sponged a lot from all the great director’s surrounding me at various production companies but my drum teacher takes the crown. From age 9 to 18, he taught me about precision, rhythm, and believing in myself. When I got to the choice to either apply for the conservatory to study drums or study economics he recommended the latter, which, in hindsight, might have been the only bad advice he ever gave me