Directors Treatment: Tom Clover
We're launching a new interview series: Director's Treatment. Directors write treatments to sell their vision for a project. This is their treatment on filmmaking itself: the core beliefs, hard-won lessons, and creative convictions that guide every decision they make.
Tom Clover never planned to be a director. Being too naughty in school gave him the chance to discover different forms of media, where he found his passion for film. Now based in London, he juggles advertising, TV pilots, and music videos.
In this interview, Tom reflects on why originality matters, the dangers of chasing trends, and why the best work comes from doing what you love.
Tell us who you are
I’m Tom. I’m a director, and I live in London. I like to have fun and entertain myself. I come from a family where everyone’s always trying to make people laugh, often to their own detriment. That sense of humor comes through in my work. I love the craft of filmmaking, especially how you can take a joke from real life and translate it onto the screen. There’s a real art to it, how it’s written, how it’s cast, how you execute it.
I kind of fell into directing. I was naughty at school and didn’t get the right GCSEs to go into sixth form, so my dad suggested a media course. That just felt really natural. I grew up skateboarding and making videos with my friends, so creating stuff has always been part of who I am. Right now I’ve got lots of projects going: advertising, a TV pilot I’m finishing, music videos. I think that’s what I like best, creating things.
What’s a conviction you hold right now about filmmaking, craft, or visual culture?
I think it’s important to always try and find the truth in a scene. In short form, it’s smaller bites of truth, but creating something relatable is key. Especially in comedy, honesty matters. I’ve actually got notes on my desk, one of them says: ‘What’s the truth?’ That’s what I come back to.
In commercials, it’s about finding a joke or a moment that someone watches and thinks: ‘Oh my God, that’s happened to me.’ Or it’s about getting an actor to perform in a way that feels true. That’s the baseline. Then it’s about taking your time, really thinking about what you’re doing, and figuring out the best way to do it.
What’s a belief or assumption in filmmaking/advertising that’s overdue for a rethink?
That we need to follow trends or hypes. People follow trends too much. Eighty percent of the work out there is just copying something else. I get it, people need to see something familiar, and references help sell ideas. But it’s a problem when everything looks the same. It’s better to think freely, to push for something original. Nothing’s truly original, but you can try new things and push yourself.
I think directors should have a strong sense of style. Don’t model yourself after someone else, just do what you like. Ideally, you get hired because of your style. That’s the best way to be.
What’s your favorite dumb/brilliant thing you’ve seen recently?
I loved Oscar Hudson’s new Coinbase ad. It starts like a video game, and then this person breaks through, it’s all done practically, with real actors, props, costumes, and choreographers. The camera work, the practical effects, the craft is just great. It’s funny, odd, and really well done. It made my head turn.
What are your absolute go-to craft resources?
DVDs. I love the special features. It’s important to expand your knowledge beyond just what’s online. I’ve got these Work of Director DVDs like the ones for Jonathan Glazer and Spike Jonze that show all their short-form work. I also love the Pusher films by Nicolas Winding Refn. If I watch a film and love it, I’ll buy the DVD so I have it forever.
I’m not anti-streaming, I mean I use it, but I think it’s good to source knowledge from places other people might not be looking.
What’s a shift in visual culture that brands/agencies haven’t fully understood yet?
I don’t think people misunderstand it, really. My practice is just me doing what I want to do. Unless I’m doing something terrible, like shouting at people for no reason, I don’t think there’s much to misunderstand. I’m approachable and kind, but I also know how to command the space and lead the team. It’s a balance.
What’s a shift in visual culture that brands/agencies haven’t fully understood yet?
I think there’s a tension with AI. It’s good to keep things practical, but AI is changing how things are made. It’s cheaper, but I worry about losing the craft, the hands-on, human part of filmmaking. It’s like the Industrial Revolution: machines took over, and people lost jobs. I think it’s important to be aware of AI and understand how it works, but not to rely on it too much. It might close off parts of your brain if you don’t exercise those creative muscles.
What conviction do you want to pass on through your work?
I just want my work to be entertaining, funny, and well done. That’s it. I want to keep getting better, keep learning, and keep working with people. I think it’s important to reflect on your work. Sometimes I look back and think: ‘Maybe I could have framed that differently’. But that’s how you grow. You have to make mistakes to get better.
I like upskilling, every job is a chance to learn something new. I don’t want to stay in the same place; I want to keep growing as a filmmaker and as a person. I also want to pass on the idea that you should do what you want to do. Don’t second-guess what people want, just make what you believe in and hone your craft. That’s how you stand out.