Craig Gillespie

Craig Gillespie (born 1 September 1967) is an Australian-American film, television, music video, and commercial director. He is best known for directing the films Lars and the Real Girl (2007), Fright Night (2011), I, Tonya (2017), and Cruella (2021). Early life Born and raised in Sydney, Gillespie moved to New York City at the age of nineteen to study illustration, graphic design and advertising at Manhattan's School of Visual Arts. Career Gillespie started out as an intern at ad agency J. Walter Thompson, New York. He then moved on to D'Arcy Masius Benton & Bowles, BBDO, Deutsch, and Ammirati & Puris, first as an art director, later as a creative director. After eight years working on the agency side he moved into directing in 1995. Based on the strength of his spec reel and agency experience, he gained representation by production company Fahrenheit Films in late 1995. One year later, he signed with Coppos Films. He has been with MJZ since 2000 and continues to work as a commercial director, commonly working with cinematographers Masanobu Takayanagi and Rodrigo Prieto. Following nominations in 2001 and 2002 in the Directors Guild of America Award category for "Outstanding Directorial Achievement in Commercials", he won in 2006 for his Ameriquest and Altoids commercials. He also won a Golden Lion Award at 2005's Cannes Lions International Advertising Festival, and two of his commercials belong to the Museum of Modern Art in Midtown Manhattan's permanent collection. His commercial for Snickers featuring Betty White playing backyard football was voted the top ad of Super Bowl XLIV by USA Today and is credited with renewing public interest in the actress. Gillespie's debut feature film was 2007's Mr. Woodcock. He left the project after several negative test screenings, and many scenes were re-written and re-shot. David Dobkin replaced Gillespie in the director's role. Upon initially receiving the script, Gillespie had assumed that audiences would respond well to the dark humor he had been using in his commercials, but, according to him, "it was obvious the audience wanted a broader comedy, not the one I'd made. I appreciated the predicament New Line was in, so I stepped aside." Less than a month after principal photography of Mr. Woodcock concluded, Gillespie set up pre-production of Lars and the Real Girl. He had had the Lars script for four years but had not yet attached any cast members or a studio.