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Bryan Buckley

Bryan Buckley (born September 3, 1963) is an , , and specializing in commercials and narrative shorts. He has directed more than 60 advertisements for brands including Bud Light, , and , leading to his designation as the "King of the " by media outlets. Buckley co-founded the Hungry Man and has garnered over 60 Lions awards, a 1999 award for commercials, and two Academy Award nominations for Best Live Action —for Asad (2012) and Saria (2019)—with the latter addressing abuses in Guatemalan factories. His feature directorial credits include the comedy The Bronze (2015) and the biographical drama The Pirates of (2017), blending commercial precision with storytelling focused on social issues.

Early life and education

Upbringing and family influences

Bryan Buckley was born on September 3, 1963, in . He was raised initially in , before his family relocated to and amid personal and financial challenges, eventually returning to , where he attended high school. The family moved nine times in six years during his childhood, disrupting stability and schooling, which Buckley later attributed to fostering adaptability in his professional approach. His father worked in , initially providing a stable suburban life, but later embraced left-wing activism against the , quit his job to pursue self-sufficient living off the land in , struggled with alcoholism leading to financial ruin and imprisonment, and eventually reformed. Buckley's mother started as a before becoming a secretary and advancing to manage a direct mail department at a following the family's hardships. Both parents' eventual involvement in and exposed Buckley to the industry from an early age, influencing his gravitation toward and ; he contributed cartoons to the local Swampscott Reporter during the , honing skills in visual . These family dynamics, marked by upheaval and , shaped Buckley's entry into and directing, with his parents' professional backgrounds normalizing creative commercial work as a career path, though he developed an independent edge from navigating instability. His mother's perseverance amid adversity and father's initial advertising role particularly informed his problem-solving in high-stakes production environments.

Academic background and early interests

Buckley exhibited early creative interests in and , contributing cartoon strips to local publications including the Swampscott Reporter and Lynn Item during the while attending Swampscott High School in . These activities reflected a gravitation toward artistic expression and narrative humor, influenced by his parents' professions in . Despite maintaining one of the lowest grade-point averages in his class, he demonstrated strong aptitude in art coursework. In his senior year at Swampscott High, Buckley received a full scholarship to participate in the Short Term at Andover, an elite preparatory program that affirmed his artistic potential amid family challenges. This opportunity, supported by teachers aware of his unstable home environment—including frequent relocations and parental issues—encouraged a focused pursuit of and . Buckley pursued higher education at , earning a degree in advertising design and graduating at the top of his class. There, he continued cartooning for the campus newspaper, blending visual artistry with concise dialogue to develop skills in commercial storytelling. He bypassed formal film training, opting instead to apply his advertising-focused education directly to creative production roles.

Career beginnings

Entry into television production

Bryan Buckley's entry into television production began in 1994, when he started directing commercials for , including an extensive series of approximately 180 hockey-related spots tied to the network's NHL coverage. These early assignments marked his directorial debut in the medium, leveraging 's sports platform to develop his skills in fast-paced, narrative-driven advertising. That same year, Buckley directed the Emmy Award-winning "This is " campaign, co-directing an estimated 30 to 40 installments that popularized the tagline and showcased 's on-air talent in humorous, behind-the-scenes vignettes. He has described this work as his intensive "crash-course" in directing, providing hands-on experience in managing talent, sets, and tight production schedules typical of television spots. Building on prior entrepreneurial efforts, including operating his own in his early twenties, these projects established Buckley's reputation in commercial television production.

ESPN SportsCenter campaigns

Buckley's entry into commercial directing occurred in 1994 through his work on ESPN's "This is " campaign, which featured humorous vignettes depicting ESPN anchors and reporters in surreal interactions with athletes and sports icons, such as a teen anchor straight out of high school or anchors engaging in absurd office antics. This series marked his directorial debut and served as an intensive training ground, where he co-directed an estimated 30 to 40 spots alongside collaborators including and Hank Perlman. The campaign's witty, self-deprecating style helped solidify 's brand identity, earning an Emmy Award and recognition as the best commercial campaign of the by the One Club for Art & Design. The collaboration with Perlman on these spots, produced under agencies like , laid the groundwork for their later partnership in founding Hungry Man Productions in 1997, as the duo honed techniques in fast-paced, narrative-driven advertising tailored to sports audiences. Buckley's approach emphasized authentic casting—such as discovering talent in local high schools—and tight production timelines, often shooting multiple concepts in limited sessions to capture spontaneous humor. Over the years, the campaign expanded to hundreds of iterations, with Buckley's contributions spanning into the early 2000s, influencing ESPN's promotional strategy by blending pop culture references with sports insider appeal.

Establishment of Hungry Man Productions

Founding and company evolution

Bryan Buckley co-founded Hungry Man Productions in 1997 with director Hank Perlman, leveraging their prior collaboration on ESPN's "This is " campaign. The company was established in as an independent production entity specializing in commercials, with Buckley and Perlman as key directors alongside principals including Stephen Orent. From inception, Hungry Man emphasized emotive and humorous storytelling in advertising, quickly building a reputation through high-profile campaigns for brands like , , and . The company evolved rapidly, expanding its roster to 19 directors by 2003 and venturing into international projects for clients such as Orange, BBC, and Red Stripe. Offices opened in Los Angeles, London, and Toronto, facilitating global operations and diverse productions. Further growth included a São Paulo location, solidifying its status as a multinational powerhouse with offices in four cities. Hungry Man achieved consistent industry recognition, becoming the first production company to rank in the top ten commercial producers for ten consecutive years and earning top honors from Cannes Lions, D&AD, and The One Show. By 2025, it held the #5 spot on Ad Age's A-List, reflecting sustained success in commercials and expansion into long-form content.

Operational model and business success

Hungry Man Productions functions as an independent, director-centric emphasizing high-craft commercial characterized by emotive, humorous, and innovative storytelling. With offices in , , , and , it leverages a global footprint to collaborate with international clients and talent, producing content across commercials, music videos, and increasingly long-form projects like documentaries and feature films in development. The model prioritizes a roster of acclaimed directors, including co-founder Bryan Buckley and , to deliver tailored, high-impact narratives for brands, evolving from its origins in campaigns to a diversified portfolio that balances short-form with narrative expansion. The company's business success stems from consistent industry accolades and financial stability, with estimated annual revenue of $55.4 million supporting approximately 167 employees as of recent reports. It earned the at the 2004 Lions International Festival of Creativity as the top commercial worldwide and achieved a historic streak as the first firm ranked in the top ten commercial production companies for ten consecutive years. In 2025, Hungry Man placed #5 on Ad Age's , reflecting ongoing recognition for campaigns like two leading 2024 spots, a viral series, and Apple collaborations. Additional honors include multiple Academy Award nominations, Emmys, and top prizes from Lions, D&AD, and , underscoring its influence in and .

Commercial directing

Pioneering techniques in

Buckley introduced a pseudo-documentary style to television commercials during his tenure directing spots for 's "This Is " campaign, producing several dozen advertisements that simulated raw, behind-the-scenes footage of studio life to promote the program. This technique emphasized unscripted authenticity and immediacy, contrasting with the era's dominant use of stylized, high-gloss production values, and helped elevate the campaign's cultural resonance by portraying athletes and anchors in candid, relatable scenarios. Building on this foundation, Buckley applied similar realistic and gritty aesthetics in the 1999 Monster.com "When I Grow Up" spots, which depicted children's bleak visions of adult careers through and unvarnished portrayals of job dissatisfaction, driving a 67% increase in site traffic from 1.5 million to 2.5 million monthly visitors within months of airing. Such methods prioritized narrative honesty over aspirational fantasy, influencing a shift in toward emotionally raw storytelling that mirrored real-world experiences rather than escapist ideals. At Hungry Man Productions, which Buckley co-founded in 1997, he refined these innovations by integrating documentary-inspired realism with premium cinematography and pointed humor, as seen in award-winning work for clients like and , where spots often featured edged, satirical takes on consumer life. This hybrid approach—combining high-craft visuals with subversive viewpoints—earned Buckley recognition as a top , including Adweek's Commercial Director of the Decade in 2010, and set a benchmark for emotive, culturally attuned commercials produced under compressed timelines of as little as eight days.

Notable non-Super Bowl campaigns

Buckley's early commercial directing efforts included a series of spots for , marking his debut in the field around 1994. These advertisements helped establish his reputation for blending humor with sports , contributing to ESPN's promotional strategy during the network's growth in coverage. His most prominent non-Super Bowl campaign was the long-running "This is SportsCenter" series for ESPN, which he began directing in 1994 alongside collaborators like Frank Todaro. Buckley co-directed an estimated 30 to 40 installments of this Emmy-winning initiative, which personified the SportsCenter studio environment through satirical vignettes featuring athletes, anchors, and mascots in absurd, workplace-like scenarios. The campaign's innovative mockumentary style and cultural references, such as anchors interacting with sports figures in everyday office antics, earned widespread acclaim and multiple awards, including contributions to his 1999 Directors Guild of America award for outstanding directorial achievement in commercials. It solidified ESPN's brand identity and demonstrated Buckley's skill in concise, character-driven narratives that resonated beyond traditional sports promotion. Other notable efforts include the 2010 ESPN NHL spot "Drinking From the Cup," which captured fans celebrating the victory with visceral energy and earned accolades from the AICP, Cannes Lions, and . In 2023, Buckley directed Capital One's "Holiday Night Fever" holiday campaign featuring spoofing his Saturday Night Fever role as a dancing Santa, emphasizing festive consumer engagement through nostalgic pop culture . These works highlight his versatility in non-event , often leveraging cameos and timely cultural hooks to drive brand affinity without the high-stakes visibility of slots.

Super Bowl advertisements

Record of directing spots

Bryan Buckley has directed a record 71 Super Bowl advertisements, earning him the moniker "King of the Super Bowl" from The New York Times. His involvement began in 2000, spanning over two decades and encompassing spots for brands including Bud Light, , , , , , and the . Buckley's output peaked in years with multiple commissions, such as three spots each for (2002) and XXXVII (2003), four each for (2005) and XL (2006), and a high of six diverse ads in (2011). By 2020, he had surpassed 60 spots, continuing with two for that year's game, including a feature with Boston celebrities , Chris Evans, , and . Recent examples include three spots for (2022)— featuring and , with and , and —the NFL's "Run With It" for (2023) starring and , ' "" with , , and for (2021), and 's "Talkin' Like Walken" with and for (2024). Earlier highlights encompass campaigns like "" and "Drinking From the Cup," alongside 2006 ads for ("America's Favorite") and Chevrolet ("Car Wash"). His spots often leverage high-profile talent and humor, contributing to their cultural impact amid rising ad costs exceeding $7 million per 30 seconds by 2024.

Strategic approaches and impact

Buckley's strategic approach to Super Bowl advertisements emphasizes authenticity, instinctive decision-making, and concise storytelling to cut through the event's high-noise environment. Drawing inspiration from Ridley Scott's 1984 Apple "1984" commercial, he treats spots as high-stakes product launches, prioritizing genuine emotional resonance over overly produced aesthetics. For instance, in the 1999 Monster.com "When I Grow Up" ad, Buckley cast non-professional children to deliver lines about corporate dissatisfaction, leveraging their unpolished delivery to create relatable, textured realism that avoided stereotypical polish. Under the intense timelines of production—often starting in August or September but compressible to as few as eight days—Buckley relies on gut-driven choices, maintaining that "better decisions are made when you have no time—you have to go with your gut." This "bum rush" method, honed through co-founding Hungry Man Productions, favors impactful narratives tailored to broad audiences, focusing on effective casting and core brand messages rather than chasing immediate poll approval, as exemplified by his work prioritizing long-term resonance in campaigns. The impact of these strategies manifests in both quantifiable brand gains and broader industry influence. The ad directly drove a surge in monthly website traffic from 1.5 million to 2.5 million visitors in , demonstrating how Buckley's authentic approach can amplify visibility for emerging brands. Across more than 65 directed spots for clients including , Bud Light, and E-Trade, his techniques have elevated commercial directing standards, blending narrative depth with efficiency to produce iconic, award-winning work that has sustained his reputation as a pivotal figure in advertising evolution.

Narrative filmmaking and documentaries

Short films and Oscar nominations

Buckley directed the short film Asad in 2012, which portrays the life of a young boy recruited by pirates and was nominated for Best Live Action at the in 2013, shared with producer Mino Jarjoura. His 2019 short Saria, inspired by the 2017 fire at the Virgen de la Asunción Safe Home orphanage in that killed 41 girls, features actual survivors from the facility in the cast and earned a nomination for Best Live Action at the in 2020, shared with producer Matt Lefebvre. Prior to these Oscar-recognized works, Buckley helmed earlier shorts such as Krug (2004), which premiered at the , and Wake Up Caller (2004), screened at the Film Festival.

Feature-length projects

Buckley's debut narrative feature, The Bronze (2015), is a sports comedy depicting the struggles of Hope Annabelle Greggory, a former Olympic gymnast portrayed by , who resists fading into obscurity amid the rise of a talented young competitor. Produced by and others, the film features supporting performances by , , and , with Buckley serving as director, co-writer, and co-producer alongside co-writer . It premiered at the on January 22, 2015, marking Buckley's entry into long-form narrative cinema after years in commercials. Buckley's second feature, The Pirates of Somalia (2017), adapts the memoir The Pirates of Somalia: Inside Their Hidden World by journalist , following a young Canadian writer () embedding with Somali pirates to research piracy's roots. The film includes notable casting such as as a seasoned , Melanie , and , the latter reprising elements from his role. Buckley directed and co-wrote the screenplay, with production handled by Luminosity Entertainment; it world-premiered at the Film Festival on April 22, 2017, emphasizing on-location shooting in to capture authentic coastal and cultural elements despite security challenges in . These projects represent Buckley's transition from high-stakes advertising to scripted features, leveraging his experience with concise storytelling and ensemble dynamics, though neither achieved significant box-office success upon limited releases.

Recent ventures including stage adaptations

In September 2025, Buckley announced Fyre Fest: The Musical, a satirical stage adaptation of the infamous 2017 debacle, which he is writing and directing. The project, launched at an event on a barge in , aims for a production and satirizes the event's organizer Billy McFarland's fraudulent promotion of a luxury music festival in that devolved into chaos with inadequate accommodations and . The musical features music composed by , a seven-time Grammy Award winner and Academy Award recipient known for collaborations with artists like . Producers include director and singer , with Buckley emphasizing the production's intent to deliver "music or your money back" in a nod to the festival's unfulfilled promises. As of October 2025, the project remains in development, marking Buckley's expansion from screen-based narrative work into live theater.

Activism and social advocacy

Documentaries addressing global issues

Buckley directed the Asad in 2012, depicting the life of a navigating , threats, and moral dilemmas in a coastal village amid ongoing and . The project stemmed from Buckley's prior documentary footage captured for a initiative documenting conditions in Kenyan camps, which informed the film's authentic portrayal using an all-Somali speaking in their native . Asad earned an Academy Award nomination for Best Live Action and screened at over 50 international festivals, highlighting the human cost of Somalia's instability without resorting to overt didacticism. In 2019, Buckley released Saria, a 23-minute short dramatizing the 2017 fire at Guatemala's Virgen de la orphanage, where 41 adolescent girls perished due to locked facilities, , and prior reports of systemic and sexual under the institution's evangelical . Drawing from survivor testimonies and official investigations revealing negligence by Guatemalan authorities, the film underscores failures in systems and child welfare oversight, earning an Oscar nomination for Best Live Action Short. Beyond screening, Buckley leveraged Saria for advocacy, meeting U.S. representatives in January 2020 to push for accountability and reforms in global child protection protocols. These works reflect Buckley's approach to global issues through concise, character-driven narratives grounded in empirical fieldwork rather than abstract , prioritizing causal factors like institutional neglect and conflict over generalized narratives. No full-length documentaries directed by Buckley specifically on international topics appear in his credited filmography, though his shorts have amplified awareness of underreported crises in regions like and .

Domestic political engagements

Buckley has engaged in domestic political advocacy primarily through creative campaigns addressing and critiquing political figures. In June 2021, he directed "The Lost Class," a video campaign for the gun control organization Change the Ref, founded by parents of Parkland shooting victims. The project involved deceiving former NRA president David Keene and gun rights researcher into delivering commencement addresses at a staged high school graduation ceremony featuring 3,044 empty chairs, symbolizing the number of young people killed by who would otherwise have graduated with the class of 2021. Produced in collaboration with and Hungry Man Productions, the footage intercut the speeches with sounds of gunfire to highlight the human cost of and advocate for legislative reforms, generating widespread media coverage and public discourse on the issue. In 2020, amid the , Buckley spearheaded the Trump Statue Initiative, a series of satirical "living statues" installed in public spaces in , , and other cities to mock then-President 's policies and legacy. The installations depicted exaggerated, gold-painted figures representing 's handling of events like the , protests, and Lafayette Square clearance, with Buckley citing 's own emphasis on statues as inspiration for the provocative . This guerrilla-style aimed to provoke reflection on 's tenure but drew criticism for its partisan tone and potential to inflame divisions.

Accolades and recognition

Major awards and industry honors

Bryan Buckley has earned two Academy Award nominations for Best Live Action , first for Asad in 2013 and again for Saria in 2020. These nominations highlight his narrative short films addressing social issues, with Asad depicting child soldiers in and Saria based on a 2017 fire at a Guatemalan safe home for girls. In the advertising sector, Buckley received the Award for Outstanding Directorial Achievement in Commercials in 1999, recognizing his direction of spots for Broker, , and other clients. He has garnered over 60 Lions, including two awards, along with multiple Emmy nominations for his commercial and documentary work. Buckley has won numerous , including a Grand Clio for Microsoft's "Changing the Game" campaign featuring the in 2018, and two additional Grand Clios in 2019 for spots directed under his leadership at Hungry Man. In 2022, he was named Best Director by the , D&AD, and One Show for "The Lost Class," an anti-gun violence project that also secured the Black Cube Best of Show at the ADC Annual Awards. Industry publications have honored Buckley with titles such as Commercial Director of the Decade in Adweek's 2010 Readers Poll and inclusion among the 50 best creative minds of the prior 25 years by Creativity magazine. His commercials have been inducted into the Museum of Modern Art's permanent collection, underscoring their artistic merit.

Metrics of commercial and critical success

Buckley's commercial success is primarily measured by his extensive work in advertising, particularly , where he has directed 71 spots as of 2025, featuring clients including Bud Light, , , and . These high-profile assignments underscore his dominance in the industry, with ad slots commanding premiums exceeding $5 million for 30 seconds as early as 2020, reflecting the lucrative nature of such projects for directors. He has garnered 37 Cannes Lions awards, five Emmy nominations, and the Award for Outstanding Directorial Achievement in Commercials in 1999, along with being named Commercial Director of the Decade by in 2010. In narrative and documentary filmmaking, Buckley's critical metrics include two Academy Award nominations for Best Live Action Short Film—for Asad (2013) and Saria (2020)—highlighting recognition for his shorter works addressing social issues. His feature-length projects, however, have achieved modest returns: The Bronze (2015) grossed $615,816 worldwide against a $3.5 million budget, while The Pirates of Somalia (2017) earned approximately $103,000 internationally. Critical reception for these features has been mixed, with The Bronze holding a 37% approval rating on based on 98 reviews, and The Pirates of Somalia at 63% from 19 reviews. Asad received a 58% Rotten Tomatoes score from five reviews. Overall, while his advertising portfolio demonstrates sustained commercial viability through awards and elite client engagements, his transition to longer-form cinema has yielded limited financial returns but notable accolades in niche categories.

Reception, influence, and criticisms

Industry and cultural impact

Buckley's dominance in the advertising sector, particularly through directing over 60 Super Bowl commercials for clients such as Bud Light, Coca-Cola, Best Buy, and Mastercard, has established benchmarks for high-stakes storytelling in constrained formats, blending humor, emotional resonance, and visual innovation to captivate massive audiences. This body of work, which includes directing six ads for different brands in a single year (2011), has influenced industry practices by demonstrating how 30-second spots can achieve cinematic quality and cultural memorability, as seen in his award-winning campaigns for American Express and E*Trade that popularized dark-edged comedic styles. His recognition as the world's most awarded commercial director in 2022 by The One Show and D&AD, alongside over 50 Cannes Lions, underscores his role in elevating commercial directing from craft to art form, inspiring subsequent generations to prioritize narrative depth over mere product placement. Culturally, Buckley's transition to long-form projects has amplified awareness of global underreported issues, with documentaries like the Oscar-nominated short Asad (2012), depicting Somali child soldiers, and the feature The Pirates of Somalia (2017), based on journalist Jay Bahadur's experiences, providing authentic portrayals that humanize complex humanitarian crises such as piracy and refugee challenges. These films, informed by on-location shooting and collaborations with local talent like Barkhad Abdi, have contributed to nuanced public understanding of African instability, countering oversimplified media narratives through rigorous, firsthand perspectives rather than detached speculation. His advocacy-oriented , often framed as " with a ," extends to efforts, including anti-poverty campaigns, where visual storytelling drives empirical calls for policy reform over ideological posturing, though measurable outcomes remain tied to broader institutional responses rather than isolated artistic interventions.

Positive achievements versus critiques

Buckley has directed more than 70 Super Bowl commercials for brands including Bud Light, Coca-Cola, and Mastercard, earning him the moniker "King of the Super Bowl" from The New York Times due to his consistent delivery of high-impact spots under tight deadlines. His commercial work has garnered over 50 Cannes Lions awards and the 1999 Directors Guild of America Award for Outstanding Directorial Achievement in Commercials, recognizing campaigns like those for Broker and others that year. As co-founder of Hungry Man Productions in 1997, Buckley built a leading commercial production company that has sustained commercial viability while enabling his pivot to longer-form projects. In narrative shorts and features, Buckley's efforts to address social issues have yielded notable recognition, including Academy Award nominations for Best Live Action Short Film for Asad (2012), which depicted child soldier life in Somalia and was praised by Desmond Tutu for combating xenophobia, and Saria (2019), dramatizing a real 2017 orphanage fire in Guatemala that killed 41 girls. These works highlight his commitment to on-location authenticity, often casting non-actors from affected regions. Critiques of Buckley's output center on his narrative features, such as The Pirates of Somalia (2017), which earned a mixed Metacritic score of 54/100 and a 1.5/4 from Roger Ebert for prioritizing the perspective of amateur journalist Jay Bahadur (played by Evan Peters) over deeper Somali insights, rendering it tonally uneven despite ambitions to humanize piracy origins. Some ad industry observers have questioned the sustainability of his "edgy" commercial style, with critic Bob Garfield disliking specific spots for perceived overreach, though such instances are outliers amid broad acclaim. His 2020 Trump Statue Initiative, featuring gold-painted living performers satirizing Trump's controversies in cities like Portland and Washington, D.C., drew partisan pushback for its explicit anti-Trump framing—such as statues referencing Epstein ties and protest responses—but lacked widespread formal critique beyond conservative dismissal as provocative street theater. Overall, Buckley's commercial dominance overshadows narrative and activist endeavors, where reception varies by execution and perceived balance.

Debates on activism efficacy

Buckley's short documentaries, including the Oscar-nominated Asad (2012), which depicts a young Somali boy's navigation of pirate threats using refugee actors from Somalia, and Saria (2019), a dramatized account of the 2017 Virgen de la Asunción orphanage fire in Guatemala that killed 41 girls locked inside, aim to foster and spur awareness of humanitarian crises. These works, produced under his advocacy efforts, prioritize visceral storytelling to humanize distant tragedies, with Buckley partnering on initiatives like 2021 collaborations to extend his beyond commercials. Debates on their efficacy hinge on whether emotional impact translates to or behavioral shifts, with limited of direct outcomes such as reduced orphanage abuses in post-Saria or diminished Somali following Asad. Supporters credit the films' Academy recognition—nominations in Best Live Short Film categories—for amplifying issues, arguing like these build public discourse and inspire viewer through authentic casting and raw narratives. Critics, however, contend the approach favors manipulation over restraint, as in Saria's melodramatic flourishes that undermine the events' inherent horror and prioritize cinematic punch over analytical depth, potentially eroding long-term credibility and failing to drive systemic reform. Broader skepticism questions documentary activism's causal chain from awareness to change, noting Buckley's films, while effective in festival circuits and awards (e.g., wins for related projects), lack documented metrics like legislative responses or funding shifts attributable to them. Buckley maintains these efforts align with " with a ," leveraging his commercial expertise for issue-driven work, yet reviews highlight execution flaws—such as underdeveloped threads in Saria—that may limit persuasive efficacy beyond evoking transient sympathy. In absence of peer-reviewed impact studies, the underscores a tension: accolades affirm reach, but unverified causal tempers claims of transformative success.

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