Rocket.film directors ditch ego and pretense to get the job done right.
Rocket.film is an award-winning collective of directors and producers who want to empower artists and change the world.
Different styles. Unique perspectives. Shared goals. No prima donnas. What binds us? No ego. No pretense. Just a common desire to make exceptional commercials and films. We have access to every imaginable tool under the sun and we are driven to find a brilliant concept with universal resonance. When we do, we’re better positioned than most to execute the idea supremely.
Born in New Zealand. Lived in Rome. Lived in Sudan. That’s the short list. Ken grew up around the world before landing and settling in LA. He is and has always been a voyager at-heart and he truly considers each job a creative journey. One in which he involves the agency, creative team, clients, and producers from the beginning and through to the end, because he’s learned over time that this type of collaboration yields the best results. Like the rest of the Rocket team, he has a strong desire to tell stories, a little differently each time, and often for those who don’t have the opportunity to do so for themselves. He’s got stories of his own that you will never forget which he’s willing to share. Once on-set together, all you have to do is ask.
A lover of narrative storytelling, and an avid documentarian who describes herself as very story-, image-, character-, and landscape-driven, Dara Bratt prefers not to be pigeonholed. She poses the question, "Who doesn't want to be propelled forward?" and challenges anyone to "to ignite something underneath [her] to spark a new adventure." Read her bio below to learn what undeniably makes her bonafide Rocket material.
Ben’s goal is to push himself beyond his comfort zone and always be a bit experimental. An epicurean photography savant, he’s worked with countless chefs over the years. So deep into his craft, he occasionally speaks in food metaphors, likening the creative process to peeling an orange. “You section it, lay it all out, and it’s like the dissecting of something. Then you reassemble it. It becomes part of something else. It’s more than you think it would be. That I love.” Ben has deep respect for both the independent nature of still photography and the collaborative nature of film, allowing all involved to do what they do best. “That’s why it’s kind of like magic,” he says. “Other people bring something to the banquet that you hadn’t thought of, and I invite that.”
Trevor likes doing work that kicks ass, pushes boundaries, is worth talking about, that might make the news, and hopefully affects some change. So, he fits right in. Whether it’s exploring uncharted territory for an already established brand, or work that is entirely new for the category, the aim is to push the creative and the execution as far as they might go. And alter the trajectory of advertising along the way. A huge fan of collaboration, he thrives on working with agency creatives and his crew to come at a project from all angles and deliver something award-worthy, unexpected, and sometimes even light years from the seed of an idea from whence it came.
Klaus’ mission is simple. Empower artists and change the world. Give a voice to the voiceless. Call attention to things that matter. Use our resources to build stories around them. Create resounding, lasting effects. Like we said, simple. In short, do great work and leave the world a better place than when you came. The role of directors, producers, and film makers is a big one. With that power to create comes great responsibility. He’s all about it.
Sam brings to the table a background in still photography, visual effects, and architecture. In some ways, visually, he might be considered a true master builder or even The Special. Mainly, he’s interested in creating imagery (of all types) and the source of that imagery can vary greatly depending upon the needs of the project. In his mind, there are no walls and no boundaries or, if there are, you can just pick them up and move them somewhere over there. The only limits to what we can do are the ones we create.
As a viewer, if the story behind a commercial isn’t compelling, Nick will be the first to mute, skip, or ignore it altogether. His job, as a director, is to win the audience’s attention, which is just one reason he’s at Rocket. He’s among friends and detail-oriented perfectionists who share the same feeling about doing meaningful work. That, and the fact that everyone has the same witty yet slightly warped sense of humor. Nick was a partner in a VFX studio in a past life and has long felt a kinship with Sara, Ken, and Klaus. He's bid against Ken for years and swears they split wins 50-50, and he’s long admired Klaus’ epic storytelling visuals in a “How the bloody hell did he do that?” kind of way. Nick’s background in math makes him a bit of a nerd in his directorial approach, and he’s a big fan of shooting rehearsal films to iron out storytelling kinks in pre-production. “When I step on the set I keep my eyes wide open (and my camera rolling) for those magic moments that naturally happen,” says Nick. “So on the one hand if something isn’t working quite right, I’m prepared with a plan. But if something works better on the day, then I’m able to grab it with both hands. Did I mention I have three hands?”
Dave directs, edits, produces, and more. He does all of these things with a scary level of excellence, abandon, and ease. Yet, he’s one of the chillest people you will ever meet. His car is a replica of K.I.T.T. from the long-running series Knight Rider, if that tells you anything. He and Sara went to the same college and met when she was a PA on The Single Guy, and he was the assistant editor on Seinfeld. The rest, as they say, is history.
Pamela is fascinated by the human condition. Fully understanding people’s experiences is her life's work. It’s not enough to tell a story. She needs to absorb every single agonizing or euphoric bit of what a person has known, then translate those feelings, by way of film, into something emotionally and perceptually intoxicating. Her form of compassion is rare and true and deep. “Film is about empathy and the ability to transport you,” she says. “How do we capture the way a moment feels and not just how it looks?” In a past life, she immersed herself in behavioral psychology, so all of that attention to the detail of human nature and scientific methodology carries over. She also loves rollercoasters, motorcycles, chase scenes, anything that moves really fast, and blowing things up. These qualities, for a director, are a lethal combination. She’s a workhorse and self-described glutton for punishment. “I only have one setting, and it’s all in,” she confesses. “I don’t ever walk away from set feeling like there’s something else I could’ve tried or listened to or pushed for. I want to leave it all on the field and go home tired and happy.”