Josh Hayward on traveling to Dubai to bring a new Lincoln spot to life.

Director Josh Hayward is no stranger to taking his talents overseas, but his recent trip to Dubai proved to be one for the books—full of learnings, triumphs, and perspective. Let’s dive in. 

What’s it like to film in Dubai?

There are always some unknowns going into any project where you're flying into a place you haven't shot before, and you're inevitably going to be working with people you’ve never worked with. But Dubai is the production hub of the whole region, so they’re used to large productions. They have great crews, great equipment, and they’re super well trained. 

What challenges did you face?

The city is so new and, in some ways, that's challenging because my aesthetic generally leans towards spaces that have a sense of history or texture to them. And so much of the city of Dubai is like blank white walls. So, one of the challenges of shooting there was finding places that actually did capture a sense of progress and optimism and change.

Tell us about something you really appreciated about the spot.

This was the first time the brand was documenting a woman in the driver's seat in a spot that would be shown in places like Saudi Arabia. So that was a very exciting part of the project. And the woman that we casted helped us bring that point home and gave the women of Saudi Arabia someone to connect with, all while being sensitive to cultural expectations.

Where there any big differences between shooting in Dubai vs. U.S?

Dubai has the desert landscapes right outside the city, and then it has this sparkling glass and iron city, like literally the tallest building in the world. So, it has quite a contrast.

Time of day is also a huge factor in Dubai. I mean, it always is, but that city looks amazing at sunrise and an hour and a half later the sun is so harsh. And with the building reflections, it’s so beautiful early on, but then it’s just too much.

What was your favorite part about shooting in Dubai?

The first thing that comes to mind is the food. Sitting around a table with your crew, sharing all kinds of new cuisine, it just really felt like we were experiencing the culture. 

How was it working with an international crew?

Learning how to effectively communicate was huge. Sometimes there was a language barrier and things would get lost in translation, but the crew was so talented and worked internationally that we figured it out quite quickly. At the end of the day, everyone has their role, and if they’re good at what they do, if they've been brought on for the right reasons, then it can all work regardless if it's in New York, Detroit or Dubai.

Do you find that you have to be a little bit more prepared going international for your shoots?

I'll be honest, I’m kind of insane about preparation. When I’m traveling, in some ways it's the same level of preparation I’d take in the states. In others, honestly, I'm probably less prepared just because, especially in places where I haven't shot before, I need to rely more on the expertise of the people that I'm working with. That’s where a lot of trust comes in. Especially in the details of a culture that my research could never cover.

If there was a filmmaker that was going to shoot overseas, knowing what you know, what kind of advice would you give?

Some things I would recommend are doing your own research when it comes to cultural norms and wardrobe, asking questions when you have them and being open to learn. I’d also say to come prepared because changing course is difficult when time is of the essence.  

What skills do you feel you bring that allow you to translate your vision to an international crew?

I studied graphic design, so I think very visually. I translate this into the decks I create for teams with the treatments I put together. And usually, if I've done my job well, they clearly understand what I'm after and why. That has helped cross cross-culturally for sure. 

What’s the most unique takeaway you have from being in Dubai?

When you film there, you think that everyone’s going to be from Dubai. But it’s such a new city, so most people there have come from other places. Our director was French and there were others from India, Syria and Pakistan. But production is universal and that’s what makes it all work in the end.