Peer Review: Drea Cooper

Who are three contemporaries that you admire, and why?

Daniel Mercadante - Mercadante work is imbued with a sensitivity and honesty rarely seen in commercial work. He also shoots everything himself, which I really appreciate. 

Lauren Crew - Crew is an incredible photographer, filmmaker, and good friend. She always finds a beautiful frame and a touch of magic to bring her subjects alive. 

Johnny Green - Green has consistently produced some of the most impressive commercial work with arresting and abstract visuals supported by a visceral humanity.   

Above: Satellite for Audi, directed by Johnny Green

Please share 2-3 pieces of work that exemplify great directing.

This spot for Audi was Johnny Green’s first commercial and is a bold introduction to his talent. The concept is straightforward, yet wild: Audi’s design process for the new A6 mirrors NASA’s approach to innovation. The A6 is imagined as a creation born from the stars, launching from space and landing on Earth. 

The execution, however, is far from simple. Told through the perspective of a metalworker heading home after a long day, the spot combines live action, archival footage, and a mix of practical and visual effects to create a dynamic visual experience. 

There’s this thrilling combination of boundless creative potential and practical challenges—like solving a Rubik's cube that's somehow on fire, underwater, and always tied to a tight deadline with a limited budget. 

Green’s background in production design comes through in the opening frames, showing glimpses of the worker’s industrial mill, a space with a distinctly Midwestern feel. As he leaves for home, the mood shifts. Wind picks up, lights flicker, horses stir, and a sense of suspense takes hold. Subtle details, like a dog running through the frame behind the worker, add realism and tension. 

The transition from Earth to space is seamless and striking, taking us into the cosmic launch of the A6. Green effectively blends suspense and process, delivering a spot that captures both reality and wonder while bringing the A6 to life in a way that feels grounded and extraordinary. I love how this early style of collage and layered abstraction can be found in so much of Green’s work – really cool stuff.

Above: Scary Fast for Ford directed by Lauren Sick

This Ford spot from Lauren Sick is absolutely bonkers. She’s pushed the car promo genre to a whole new level. This is basically a film trailer, an homage to grindhouse horror. Set in the eerie expanse of the Utah desert, the commercial showcases the Raptor R's formidable power as it races through a landscape filled with ominous elements like flaming cacti, rattlesnakes, wolves, and a lurking demon. 

The film's atmospheric tension and suspenseful narrative position the Raptor R as the ultimate escape vehicle from nightmarish scenarios. And Logan Triplett’s cinematography seals the deal. It’s an incredibly ambitious and scary fun piece of work.  

Above: What It Means to Love for American Greetings directed by Daniel Mercadante

What do you like most about the work that you do? 

What I love most about my work is its sheer unpredictability. No two projects are ever alike. There’s this thrilling combination of boundless creative potential and practical challenges—like solving a Rubik's cube that's somehow on fire, underwater, and always tied to a tight deadline with a limited budget. 

My journey to filmmaking began as a kid, watching movies with my mom. Her love for storytelling and emotional depth sparked my curiosity. 

And then there are the people. While we rely on a handful of trusted collaborators, every project introduces new faces to the team. Each one feels like its own wild adventure, with a crew assembled specifically for that cinematic mission. Even in the chaos, it’s our chaos—and I wouldn’t trade it for anything. 

What is one thing every director needs? 

Every director needs an outlet, a hobby, a life outside of film. This work can be taxing on so many levels; gotta keep the mind and body in shape. I recently took up golf. I’m terrible at it, but can’t get enough of it. 

Above: With Care for Volvo directed by Jonny Green

What was your journey to becoming a director? 

My journey to filmmaking began as a kid, watching movies with my mom. Her love for storytelling and emotional depth sparked my curiosity. In high school, I discovered editing in a TV media class, but didn’t see filmmaking as a career, so I went to University and discovered philosophy. During a year abroad in India, I got into documentary photography, mostly to explore the world and meet people. 

Documentary filmmaking has taught me to think on my feet, work with lean teams, and adapt quickly to capture moments that make a story resonate.

Later, fresh out of University, I landed a job teaching art and creative writing at a continuation high school in the Hunters Point neighborhood of San Francisco. Many of my students struggled with reading and writing, so I brought in my G3 PowerBook and Sony video camera to make music videos. Over three years, we grew the class into a proper digital media program. 

At a crossroads, I chose filmmaking over full-time teaching and pursued a Master’s in Cinema. I worked on the set of Zodiac with David Fincher and worked on documentary projects that took me to Kosovo, Colombia, and back to India, helping me build a reel. Eventually, I convinced a producer to let me shoot a small commercial, and things began to take off. A key moment was meeting my longtime collaborator Zackary Canepari. Today, I balance short-form commercial work with long-form documentaries and series projects. 

Above: Gonna Dance for Everlast directed by Cooper's longtime collaborator Zackary Canepari. 

What is the most valuable skill you’ve learned in your career, and why? 

Without a doubt, communication. It’s the lifeblood of everything we do, flowing through every stage of a project. It starts with that very first call—whether it’s the agency briefing us or a client sharing their ambitions. Those moments set the tone for everything that follows. Then comes the pitch, where you’re not just sharing ideas; you’re crafting a story, building excitement, and getting everyone on the same page about where this journey can take us. 

Don’t wait for the phone to ring—keep making things. Work begets work. Continue to build as many relationships in this business as you can. 

But communication doesn’t stop there—it’s just getting started. It’s the glue that holds everything together when you’re on set, collaborating with the crew, or working with cast members. 

Has your background in documentary filmmaking helped you to be a better commercial filmmaker? 

Absolutely—each form feeds the other in meaningful ways. Documentary filmmaking has taught me to think on my feet, work with lean teams, and adapt quickly to capture moments that make a story resonate. Those lessons have been invaluable in the commercial world. On the flip side, the inventiveness in commercials has certainly allowed me to experiment with form and style, which has elevated my documentary work.