…In terms of filmmaking, I’d say the most important thing is recognizing that no matter how big your vision is, you need a team around you to execute it. You could have the greatest idea, but if you don’t have the right people to help bring it to life, you’re just going to be shouting into the air. You have to inspire people to make great work, and that comes from knowledge, experience, and preparation. I’ve done tons of commercials, music videos, short films, and now features, so I know the process. I know what shot we need when the sun’s going down, I know how to communicate with movie stars. You have to put in the time and effort to get to a place where you can make those decisions under pressure. If you’re unprepared, the work suffers, and when the work suffers, your team loses confidence. Everyone wants to make good work, but you need to be ready and prepared to lead them. You can’t just walk in and expect to be the boss on day one…
I had the pleasure of talking with Scott Weintrob. Scott is a British-born director whose career has spanned music videos, documentary series, commercials, and now feature films. Known for his work with high-profile brands and artists, Weintrob has made a name for himself by merging authentic street culture with visual storytelling across various mediums. His Emmy-nominated work includes directing the popular Home series for Apple TV+, as well as helming major commercial campaigns for luxury automotive brands like Audi and Cadillac.
Weintrob’s directorial style is influenced by his early work in London, where he got his start shooting music videos. It was this foundation in the world of music and street culture that led him to collaborate with notable hip-hop artists and brands like Offset, Cardi B, and Lil Yachty. Weintrob designed the show SKRRT on Roku, a series that followed celebrities and their unique car collections. These experiences, along with his dynamic approach to shooting commercial content, helped to cement his reputation for crafting compelling visuals that balance authenticity with high production values.
Perhaps one of his most prominent ventures to date was directing Rihanna’s Savage x Fenty fashion show, which debuted on Amazon and received widespread acclaim. The show, a spectacle of music, fashion, and diverse talent, showcased Weintrob’s ability to handle large-scale productions. The star-studded event featured iconic models and personalities like Cindy Crawford, Emily Ratajkowski, Gigi Hadid, and Adriana Lima, further positioning Weintrob as a go-to creative for complex, high-energy shoots. His work on this project earned him critical recognition and underscored his capacity to fuse music, fashion, and narrative into a seamless visual experience.
In 2024, Weintrob made his feature film directorial debut with Paradox Effect, an action thriller starring Harvey Keitel and Olga Kurylenko. The film premiered at the Rome Film Festival and was introduced by Gerard Butler. Set for release by Paramount on September 24th, the movie marks a significant milestone in Weintrob’s career. With a modest budget of $2 million and shot over just 18 days in Italy, the film is a testament to his ability to deliver a high-quality production within the constraints of time and budget. Weintrob has spoken about how his background in commercials, particularly those for automotive brands, helped him prepare for the fast-paced, action-heavy sequences in Paradox Effect.
The film tells the story of Karina, a mother estranged from her daughter due to past struggles with drug abuse, who finds herself caught in a dangerous game involving a professional assassin and a ruthless crime lord. The plot weaves elements of suspense, action, and emotion, centering on the lengths a mother will go to protect her child. The film’s focus on family dynamics, set against the backdrop of a violent thriller, allows Weintrob to explore a more intimate, character-driven narrative while still delivering the action-packed sequences audiences expect from the genre.
Weintrob’s success in directing his first feature film can be attributed in part to his extensive experience with unscripted content and commercial filmmaking. Over the years, he has honed his skills in crafting compelling visuals and narratives under tight time constraints. His work on the Fastest Car series for Netflix, as well as his collaborations with major brands like Netflix, Apple, and Amazon, have all contributed to his ability to navigate the challenges of filmmaking, whether it be in the realm of documentaries, commercial work, or now, feature films.
Throughout his career, Weintrob has demonstrated a keen ability to adapt to new challenges, whether working with luxury brands or navigating the complex logistics of international film shoots. His work ethic, combined with a unique visual style that draws from both street culture and high-end production, has made him a versatile and in-demand director. Despite his success, Weintrob remains humble about his journey, often crediting the talented teams he works with for helping to bring his vision to life.
In addition to his work in film and television, Weintrob continues to explore the intersection of street culture and visual storytelling through his documentary work. His film Built to Fail, which chronicles the rise of global streetwear culture, offers an inside look at the fashion world and features interviews with industry heavyweights like Tommy Hilfiger and ASAP Rocky. As he continues to evolve as a filmmaker, Scott Weintrob remains focused on pushing the boundaries of visual storytelling. His work, whether in the form of documentaries, commercials, or feature films, reflects a commitment to authenticity, innovation, and a deep respect for the collaborative process that filmmaking demands. With Paradox Effect, Weintrob has firmly established himself as a director capable of handling the pressures of feature filmmaking, while still bringing his unique creative perspective to every project he undertakes.
Yitzi: Before we dive in, readers would love to learn about your personal origin story. Can you share the story of your childhood and how you grew up?
Scott: I’m from inner-city London, right? My heroes are people like Alexander McQueen — people who came from backgrounds where they weren’t supposed to end up where they did. Those are the kinds of people I look up to. I grew up in London, not connected to the film world at all, which is unusual. But my cousin is a pretty successful actress named Bel Powley. She’s been in a lot of cool projects, including The Morning Show, and she’s on stage right now.
I came to LA after working on Top Gear in England. I had been doing music videos, and the BBC noticed that I was shooting in a certain way. They asked if I’d like to bring that look to Top Gear. So, after making music videos that maybe 10 people thought were cool, I ended up working on Top Gear, which, as I understand it, is now the most-watched show in the world. It was just insane. Everybody was talking about it, and that’s how I ended up coming to America. From there, I started doing commercials — especially car commercials — which eventually led to Paradox Effect.
Yitzi: You’ve probably had some amazing experiences with the incredible people you’ve worked with and the great locations you’ve been to. Maybe it’s hard to pick, but can you share one or two of your favorite memories or anecdotes from your professional life?
Scott: Working with Rihanna is definitely the coolest, just because she’s such a huge artist and talent. And working with Rihanna and Amazon together — there’s no bigger platform than that. When we did her show, the talent involved was just massive, right? Big, big names. I was writing a ton of creative content — it was insane. One moment I was writing for Emily Ratajkowski, then Vanessa Hudgens, then Irina Shayk. And then suddenly it’s, “Oh, Cindy Crawford’s coming in 10 minutes. What are we shooting?” And everyone’s calling, asking, “What’s the plan with Cindy Crawford?” And I’m like, “Oh, crap, what are we shooting?” It was that kind of madness, but it was a lot of fun.
We shot the whole show at night. Call time was around 2 p.m., and I’d get home around 8 or 9 a.m. the next day. It was a surreal experience. Anyway, that’s a little story about stepping into the world of one of the biggest artists on the planet.
Yitzi: It’s been said that sometimes our mistakes can be our greatest teachers. Do you have a story about a humorous mistake you made when you were first starting out and the lesson you learned from it?
Scott: A mistake? I don’t know… I can’t even really remember much from when I was just starting out, to be honest. That’s the funny thing. I started out shooting film, way before the digital age, so I’m trying to think back. I can’t recall a specific mistake, but maybe I was just more open to doing crazy things when I was younger.
The first music video I shot was with a DP named Ben Richardson, who’s incredibly successful now. He shot Beasts of the Southern Wild. Ben and I went to shoot a music video in the UK at this really strange location — there’s only one road in and one road out. It’s a weird piece of architecture, and if you’re not from there, you’re definitely not welcome. Looking back, you couldn’t just show up and shoot there today. But when you’re young, you don’t care — you just focus on the shot and the story. As you get older, maybe you still care just as much, but you’re way more aware of your own mortality.
Yitzi: We love hearing stories where someone further along in their career opens a door or creates an opportunity that changes someone’s life or career trajectory. Do you have a story where someone did that for you, or maybe where you did that for someone else?
Scott: Yeah, I’ve got stories of both, for sure. Mike Figgis, who directed Leaving Las Vegas, was one of those people for me. I love Mike, and I went to see a retrospective of his work at the National Film Theatre in London. After the screening, I went up to him to get my script signed — Leaving Las Vegas or something like that. He lived not far from where I did, and I casually mentioned that I knew where he lived. He kind of flipped and said, “Why don’t you come around for tea on Sunday?” He wasn’t being serious, but I just said, “Alright, cool, see you then.” And I actually showed up! He was a bit shy, but when I knocked on his door, he invited me in, made me a sandwich, and we became friends. He took me everywhere, and I learned so much from him. That’s a good example of taking a chance, and it worked out. He welcomed it.
On the flip side, my assistant worked with me for nearly five years. We found a really cool documentary project together, and now he’s no longer my assistant. He just finished shooting the doc and is in the editing process. It’s been awesome to see him grow and take that step. He was really helpful in my process, and now he’s off doing his own thing. You want to see people succeed who were part of your journey. You can’t do this alone — you need people around to help move everything forward. Ideas are just ideas unless they’re developed and brought to life, and that takes more than one person.
Yitzi: That’s pretty amazing. So please tell us about the exciting project you’re working on now. Why do we have to watch Paradox Effect?
Scott: Paradox Effect is just a great movie. It’s a really relatable story about what a mother — like a true “mama bear” — would do for her child. The core idea is about a mother who’s hit rock bottom and removed herself from normal life. It’s the first night she’s going to see her child again, and on her way to the airport, something happens that stops her. That event, and what follows, is really the heart of the movie.
She becomes a witness to something and ends up being picked up by the assailant or “bad guy” for the journey. The film is Italian, but it’s shot with Hollywood ambition, style, and movement. That combination makes it feel unique. It moves differently, looks different, and has a certain tone. It’s a quick film — about 87 or 88 minutes — but it has its own distinct story and feeling. It’s really something special.
Yitzi: Is there a lesson you want viewers to take from it? Is there a specific message or motif in the film?
Scott: A lesson? Well, for Olga Kurylenko’s character, I think the message is that it’s not over until it’s over. Even when she was really down, she kept fighting, and that’s what leads her to this bright outcome.
As for Harvey Keitel’s character, without giving too much away, I’d say the lesson revolves around family. His character shows that even if he’s not physically present, his family is always going to carry his legacy. His family is who he is, no matter what.
Yitzi: That’s amazing. So what have been some of the most challenging moments as a director? And how do you think those experiences have shaped the way you approach your projects?
Scott: Definitely the movie. Making a film is by far the most challenging. It’s three weeks of shooting where you don’t breathe. Even on your one day off, you’re still working in some way, so it feels like you never stop.
What did I learn from it? Well, you learn that you’ve got to put everything you’ve got into it. Prep is key — you can’t just show up and expect things to happen. You need a solid team, and you’ve got to collaborate closely with them. You need to show your team the vision and ambition you have for the project. One big thing I learned from the movie is that everybody on set wants to create great work. Everyone’s there for the same reason, and that collective effort is what makes it all come together.
Yitzi: That’s great. I see lately there’s been a lot of concern about the future of cinema, the future of theaters. What do you think filmmakers have to do to attract people to go to the theater instead of just watching at home?
Scott: It’s a tough question, and I’m not the only one being asked that right now. I think the key is to make something that demands to be seen in a cinema. I love action, big movies with amazing soundtracks, great visuals, and stars that draw people in. You have to create an experience that’s worth going out for. If I can watch a movie on a plane, why would I go to a theater? Theaters are about the experience — the sound, the scale, the immersion.
Movies that work best in theaters are ones that take you to another world, like E.T., or ones with incredible sequences like Baby Driver. Those are cinema movies. Anything Christopher Nolan makes — you can’t fully appreciate those on a small screen. You have to make big movies for the cinema. That doesn’t mean every movie has to be a blockbuster, but it needs to offer something you can’t get from just watching at home. At the end of the day, no matter how big or small, story is what really matters.
Yitzi: You’ve worked with cutting-edge brands and platforms, and you’re probably at the forefront of seeing this evolution. How do you foresee technology, especially AI, influencing and changing the future of filmmaking and storytelling?
Scott: I mean, we’re already using AI in some ways. For instance, we use MidJourney to create images that aren’t easy to find through a basic Google search. We also use 11 Labs when we’re putting together tapes or pitches. We can take someone’s voice and use it as a voiceover — not for final use, but to help visualize and sell a project or trailer. It lets people really see and feel what the final product could be like.
AI is going to keep moving forward like a tornado. I think you’ll start to see it really take over in commercials, especially. For example, a car brand that wants to make a global commercial without any dialogue could use AI to put any language they need over the top. They could decide on Friday to make a change, and by Saturday, someone could have it done with AI. It’s not about whether I think it’s good or bad — AI definitely has its place.
Does it take some creativity out of the process? Yeah, of course it does, no question. But there will always be audiences who want to watch movies with real people and stories they can truly connect with. As people get better at mastering AI, it’ll become its own genre. Just like Marvel and VFX-heavy films have their own lane, AI-driven films will find theirs. It won’t stop other movies from being made — it’ll just be another option.
Yitzi: That’s a great point. You’re saying AI will become like its own genre, kind of like how 3D animation is today. Is that what you’re saying?
Scott: Exactly. There will always be an audience for it. I don’t know if that audience will be the same as people who prefer something more real and grounded, but some people love that computer-game-like approach to films.
Yitzi: Do you think voiceovers will mostly be taken over by AI in the future?
Scott: Voiceovers? Who knows, honestly. Even now, with software like 11 Labs, you could use AI voices and no one would ever know the difference. You can’t just take anyone’s voice and use it, obviously, but the technology is already incredibly effective. If you go online and use 11 Labs, you can make something that sounds almost indistinguishable from a real person’s voice. It’s come a long way, really fast.
Yitzi: This is our signature question that we ask in all of our interviews. You’ve been blessed with a lot of success now, Scott. Looking back to when you first started, can you share five things you need to create a highly successful career as a filmmaker?
Scott: Vision. Passion. Determination. Are these meant to be one-word answers? I feel like vision and passion are really the main two, because everything else kind of falls under those, right? But yeah, vision and passion are key. Determination, sure, but you need that to do anything, not just filmmaking.
For me, it’s really a two-word answer: vision and passion. But, I guess, I’d also add being grateful — recognizing that you’re actually doing it and appreciating that. And staying present, being aware and respectful of the process and the people around you. So, my five words would be vision, passion, determination, grateful, and present.
Yitzi: That’s great. Amazing. This is our aspirational question. So, Scott, because of your great work and the platform you’ve built, you’re a person of enormous influence. If you could spread an idea or inspire a movement that would bring the most good to the most people, what would that be?
Scott: I’m not sure I have a clear answer for that. I don’t really see myself as a person of influence. I’m usually behind the scenes, not in front of the camera. I work with a lot of talent, and sure, I can invite them to be a part of projects, but when it comes to inspiring a movement or idea, I wouldn’t know where to start.
Ask me about cinema, filmmaking, lenses, cameras — I can tell you anything about that. I know how to tell stories, work with actors, and bring a vision to life. But I’m not a sports guy, I’m not a baker — what I know is storytelling. That’s what I do. I wouldn’t know how to inspire a movement, but I know how to make a movie.
But I think one thing I always come back to is respect. That’s a big one. Social media makes it so easy for people to just throw out negativity — someone says something’s terrible, or someone looks a certain way, and they just tear into them. Who cares? Focus on your own work, your own goals. People need to be more respectful, and stop worrying about what everyone else is doing.
In terms of filmmaking, I’d say the most important thing is recognizing that no matter how big your vision is, you need a team around you to execute it. You could have the greatest idea, but if you don’t have the right people to help bring it to life, you’re just going to be shouting into the air. You have to inspire people to make great work, and that comes from knowledge, experience, and preparation.
I’ve done tons of commercials, music videos, short films, and now features, so I know the process. I know what shot we need when the sun’s going down, I know how to communicate with movie stars. You have to put in the time and effort to get to a place where you can make those decisions under pressure. If you’re unprepared, the work suffers, and when the work suffers, your team loses confidence. Everyone wants to make good work, but you need to be ready and prepared to lead them. You can’t just walk in and expect to be the boss on day one.
Yitzi: It’s been amazing meeting you. How can our readers continue to follow your work? How can they watch Paradox Effect? How can they support you in any way?
Scott: Well, Paradox Effect is coming out on the 24th of September. It’ll be available on Apple, and I believe it’s already showing in cinemas in Europe. So, you’ll be able to stream it here and definitely check it out.
Yitzi: Can’t wait to watch it. I wish you continued success and blessings. I hope we can do this again next year, Scott.
Scott: All right. Thank you for your time.
Filmmaker Scott Weintrob: Five Things You Need to Create a Highly Successful Career as a Filmmaker was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.