Abigail Wilson’s 360 Approach to Her Craft

Abigail Wilson is a London-based writer, director and actor, with a keen eye for the peculiar, a passion for the eccentric, and an innate talent for humour. She had an impressive debut with her music video for Modeselektor's 'Mean Friend', which won Best Dance/Electronic Music Video – ‘Newcomer' at the UKMVAs in 2021. Two years later, she took home another UKMVA for her subversive music video, ‘Left Right Forward’ for Stone, a pseudo-serious dance machine face-off that challenges perceptions of masculinity.

In 2024, Abigail wrote and directed ‘Triple The Vote’ for Upvote, a campaign encouraging voter turnout among young people in the UK. The film racked up over two million views across social media, OOH and billboards, earned five stars on David Reviews and was featured in Dazed, Little Black Book andShots. It was also shortlisted for the Cultural Impact Award at the 2025 Berlin Commercial Awards.

Her2024 short, ‘Overdrive’ is a visceral, metaphorical joyride exploring a woman’s struggle for control over her body and mind amid the chaos of her menstrual cycle and was supported by Arts Council England and the Wellbeing of Women charity. The project went on to win Best Short Film for Positive Change award at this year’s Creative Circle Awards.

Here, she speaks to LBB about the release of her debut short film ‘Overdrive’ and reflects on 14 years on-set and the many lessons she has learnt along the way.

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Name: Abigail Wilson

Location: London

Repped by/in: Park Pictures - for the UK, Amsterdam and Europe

Awards: UKMVA 2021, UKMVA 2023, Creative Circle Awards 2025 Win Best Short film for Positive Change, Berlin Shorts 2025 Win Best Micro Short, 1.4 Awards 2025 Longlist, Berlin commercial 2025 x 2 Shortlisted Cultural Impact & Official Selection Cultural Impact, Aesthetica Short Film Festival 2025 Official Selection 2025, LSFF 2025 Official Selection

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Abigail> My debut short film ‘Overdrive’ had its online premiere recently, which I am over the moon about. It’s been a real labour of love. It tells the story of a woman battling PMDD, but it takes place within a high octane, action-based backdrop.

I wrote the script back in 2022, after struggling to connect with period-related depictions within pop culture. The story is guided by emotions with strong visuals. I wanted to flip the notion of how stigmatised periods are and even how they look in films.

We just won Best Short Film for Positive Change at the Creative Circle Awards this year, and I couldn’t be prouder. I’m currently focussed on an impact campaign to get the film out to as many communities as possible.

I have a few more shorts hanging in different stages, and a feature lurking in the background... It’s all cooking!

LBB> What excites you about the advertising industry right now, as a director? Any trends or changes that could spark new opportunities?

Abigail> It’s tricky in the UK for emerging directors right now. Clients and agencies try to perfectly match a director’s reel with what they are trying to create for their client, so it’s just a waiting game over here.

But I write treatments for coveted directors, and have done for a long time. That and commercial acting keeps me plugged into the commercial world in between pitching on music videos and my personal work. All of that keeps my conceptual story muscles flexing!

Aside from that, I’m interested in how AI is developing. It’s intriguing and obviously not going anywhere, so I’m open to learning more about it. It’s an exciting time!

I’m always creating decks and coming up with concepts for brands, artists and actors. My brain absolutely laps it up. I enjoy working on projects with friends and where I get to enjoy total creative freedom, like when I worked on a campaign for Buck Bags, ‘Triple the Vote’ and the ‘Muscle’ fashion film. They’ve l pushed me to be more creative.

LBB> What elements of a script set one apart from the other and what sort of scripts get you excited to shoot them?

Abigail> So far, everything I’ve directed, I’ve written. I’d like to work on someone else’s idea-baby, so I can just focus on the visual element. I gravitate towards anything comedy-related and love offbeat scripts that are grounded in reality. There’s got to be a reason for the absurd, rather than just willy-nilly chucking something odd in.

I wrote the script for ‘Triple the Vote’ after the charity gave me in-depth research to root the ideas in. It was a tight turnaround because the snap general election was called, but I really enjoyed working collaboratively with a team who totally trusted me. It just got Shortlisted at the Berlin Commercial Awards 2025 for Cultural Impact.

LBB> How do you approach creating a treatment?

Abigail> I always consider what images initially flash up when I’m reading the brief or listening to the artist’s track. It’s important to not judge what jumps out straight away, but let it all spontaneously come together and collect as much of this raw material as possible.

Then it’s about discarding what doesn’t work with the brief and figuring out how I’d visualise it against the deck.

It’s important to not discard or change something just for the sake of putting your flair onto it. If the script’s good, the script’s good! That makes my job infinitely easier.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Abigail> I don’t think it matters if you don’t have a personal affinity with the brand. That’s actually just an extra cherry on the top. It’s all about researching, having the capacity to empathise with the brand and understanding the why behind the campaign. And then you're off.

I also revisit what I like and my tastes across the board. That’s always good to refresh and update. I have an ‘images’ file on my desktop and my Instagram saved folder is a chaotic mess I look back at every now and then. Whatever I'm into at at that point in time – whether it’s an exhibition I've gone to or a band I'm listening to – it often finds its way into my projects, whether intentionally or subconsciously

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Abigail> Gelling with the creative team and the idea is so important and maintaining professional boundaries helps to instil a sense of trust throughout the pre-production through to the delivery process.

LBB> What type of work are you most passionate about – is there a particular genre or subject matter or style you are most drawn to?

Abigail> Comedy really sings to me. It’s always has been something I’ve been drawn to, particularly light-hearted, and clever humour, with an emotional kick. I’m always questioning how can we elicit a laugh or awe from the audience.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Abigail> I come from a super chameleonic background. I worked in stand-up comedy, improv acting, fashion styling, fashion marketing, modelling, screenwriting, and ghost writing. So, I have a real 360 approach to this job. A lot of people think I was just a commercial actor before. But nope, I’ve been on sets for about 14 years. God.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Abigail> When we were shooting my short ‘Overdrive’, our second and final shoot day was hectic.

We were midway through the fight scene and somewhere between losing the light and our previs, we all got stuck. For context, I was playing two versions of myself. I trained as an actor in my early twenties, but try managing a hair and make-up change while figuring out what shots you still need, what you’ll have to kill, who’s throwing which punch next, and in what order… Because it all had to match in the edit. Otherwise, the whole thing would’ve been completely f*****.

But we got there. It’s in those moments – when time’s running out – that the best creative solutions appear. Everyone pulls together, and somehow, you make it through. 

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Abigail> Trust what’s been agreed and stay loyal to it, but of course, if some wiggle room is needed or a new idea comes through, let it come to the table, from whomever. Don’t be too precious.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Abigail> There should be diverse voices in front of and behind the camera. Mentoring is an excellent way to give young people a leg up in the industry – it’s useful for opening up collaborations and sharing insight.