Impact Zone

Impact Zone

What would you think of a director who could not only give you stunning, intriguing and humorous deliverables, but could also tell you that the geometry of tube-shaped waves could be represented as a ratio between length and width?  Seriously.  He probably could also relate that a perfectly cylindrical vortex has a ratio of 1: 1, while the classic almond-shaped tube is nearer 3:1.  And of course, when the width exceeds length, that the tube is described as square…  Pretty cool, especially if you’re a surfer enthusiast like director Greg Rowan of Teak Motion Visuals.

Born in Montreal, Rowan would make his way into advertising via the agency route as a creative director.  His first stint would be with BBDO/Canada, subsequently followed by stretches with McCann Erickson/San Francisco and JWT/San Francisco.  It would be while at BBDO in Vancouver that Rowan would have his first taste of actual directing.  “It was for a local newspaper,” says the director.  “Basically it was one long dolly shot in a bathroom as the camera panned the legs under the stall doors as the occupants discussed sports scores.  Of course the last stall was a woman, who managed to hush the others when she added her perspective.” 

Rowan continued to pick up directing gigs in addition to his art directing – the biggest and longest was for client Mike’s Hard Lemonade while at McCann which encompassed 50 spots over a two-year span.  But it would be a while longer, and after his gigs at the San Francisco agencies, that Rowan would become a full-time director and sign with Hungry Man.  And then it was only a matter of time before Rowan found the most perfect fit of all – that being Teak.

“What blew me away about Teak,” says Rowan, “is the brilliance of executive producers Greg Martinez and Jan Frei and their take on the world of advertising as well as their vision on where it is headed.”  Rowan further credits Martinez for filling up the house with the most creative of resources – editors, web people, designers, programmers, artists, etc. – and points to the success of Teak as Martinez’s ability to assemble a creative force.  “When I walked in the door at Teak for the first time,” states Rowan, “I was immediately in love with the place.  Here was a room full of all types of creative folk – and they all understood the many facets of the process.  I mean, they just ‘got it.’”  Teak is rapidly positioning themselves as a one-stop shop and arming itself with people that have multiple specialties as well as a inherent knack for writing, art directing, directing, understanding the web, and the ability to communicate effectively with the client. 

Rowan’s excitement about his working environment is palpable, so much so, he’s like a kid in a creative candy shop.  Since joining he has had the opportunity to direct two commercials, art direct three websites, and serve as creative director on a branding campaign for Mervyns starring none other than Eric Estrada.  “I’m surrounded by a core group of imaginative people that all have good ideas.  Not just :30-seconds worth, but great outpourings of ideas!  That’s what makes my job so exciting.” 

What Rowan has found to enhance his directing prowess is balance.  An avid surfer, the tall, blue-eyed Canadian is the first to admit that finding passion in the world outside of work is what makes him a better creative person.  “My personal life and professional life, although separate, are parallel,” says Rowan.  “Both support me as a creative individual, thus my life has an element of play in it at all times.”  Needless to say, his work reflects that sense of fun.  Being firmly attached to that unexpected moment in his shoots, the director is well-known for erring – if erring is correct - on the humorous side.  “I love working with talent,” muses Rowan, “because they always have something to bring to the party that I hadn’t thought about.  Same holds true for the crew.  You’ve got to stay open to those around you because a creative idea can come from anywhere.”

As the directing pool gets more competitive, Rowan is realistic about his role, his voice, and his participation in it.  “Directing has become extremely accessible,” says Rowan, “so much so that everyone, should they want it, has a say.  Look at the avenues we have now to display our work, whether novice or professional.  I truly believe that in the rare cases where advertising becomes part of the culture, it can exist anywhere.” 

So what’s the next evolution for Rowan?  “Well there’s that feature project that everyone has simmering inside.  And then there’s that surfing film I’d like to shoot.  One that’s more than just ‘surf porn’ – you know, that’s when it's one great shot after another.  I’d think rather go on a round the world trip with a bunch of old surfer guys and document their stories...”