For more than a decade, Bernard Gray has been a standout figure in the agency and production industry, consistently producing exceptional work for some of the world’s biggest brands. Now, in his role as a writer/director, he is shaping his legacy by creating compelling stories that captivate audiences. With a portfolio that continues to grow, Bernard has proven himself as a master storyteller. We caught up to discuss his latest project, The Other Stuff. The film is making its world premiere at the 2024 Reelworld Film Festival on October 21st – November 3rd
Thank you for agreeing to catch up with Occhi Magazine. Before we explore your latest project, please tell us your introduction to filmmaking and what propelled you to pursue a career as a filmmaker.
I spent the first eleven years working as a creative producer in various marketing agencies in Toronto. I have worked with huge brands like Nike, Samsung, HP, Roots, Ford, and the NBA. So, I was already very familiar with taking an idea or concept and developing a story for commercials and brand spots. Yet, my dream was always to write and direct, and the agency I worked for refused to move me into a role where I could do that work even though the department heads were strongly advocating for me. It was an incredibly frustrating feeling to be the facilitator of the success of others and not be free to realize my own. However, when the George Floyd incident happened, everything changed. I gave my bosses an ultimatum for some sort of change within two months. When nothing changed, I resigned and have been writing and directing ever since. It’s now been three and a half years.
Referencing Merk- A Covid Survival Story, would I be right in concluding you’re attracted to hard-hitting storytelling addressing current social themes? What attracts you to a project?
Yes, you would be correct. I didn’t give up a very comfortable salary to start all over and play it safe. All of the projects that I have creative autonomy over speak to a real, raw, and genuine perspective. In particular, I seek to tackle issues that are tough conversations. The challenge is that audiences have become so much more educated about everything. So, we have to develop films that speak to the issues within our community. But without being preachy or condescending. People don’t want to be told what, how, or when to think. Our role as filmmakers is to present the narratives in a manner that facilitates dialogue healthily. And we can’t divorce the relationship between art and economics. So it has to be entertaining.
Congratulations and best wishes on the success of The Other Stuff. The short will receive its world premiere at the 2024 Reelworld Film Festival. This emotionally charged narrative brings the often-overlooked conversation of men’s mental health to the forefront. Can you share the origins of the film and why you decided to make it?
Thank you for the well wishes. This film came about in an organic way. I was developing two brand spots for a non-profit organization specializing in youth mental health. During my time there, I was exposed to the intimate inner workings of these organizations and the people who work for them. When I saw what they were planning regarding initiatives for the Black community, I knew right away it would fail. I also noticed that there was a massive lack of understanding of what is going on in the Black community and the challenges we face daily. I started writing the outline for the film then. I knew I wanted to focus on young men because it’s a perspective that I could speak to intimately with nuance.
How much time did you allocate for researching, and what statistics, if any, did you discover?
I spent about two months researching. The data definitely informed my direction of the story. Still, I would be lying if I said much of it went directly into the script. I know these men. We grew up together. We speak every day. They aren’t interested in a package of stats or a pan-flit with a to-do list. It’s a new generation. These young men are not going to be dictated to. To reach these men, you must make a compelling and thought-provoking event that plants the seed for change. Then you exercise patience and persistence. Some of these men don’t want to change. And you won’t change their minds. This is the raw reality.
Addressing such an important subject successfully relies on casting and production. Please tell us more about the casting for this film and what audiences can expect
The casting process begins with my casting director, Rachel Osbourne, at Nuance Casting. My partnership with her has been a key variable in my success. As a Black woman, she understands the Black community in a way that cannot be learned in a book or seminar. Her work is a testament to why diversity in casting is so important. It also helps that we’re both Jamaican, and this film has patios as a dialect for one of the lead characters. Her intimate knowledge of all these things made her the perfect creative partner.
- Nigel Willaims, who plays Oliver, was cast first. His role is that of an emotionally corrupt man who believes his harms are justified. I knew we needed someone who was capable of going from psychopath to loving uncle and back within the span of a few minutes. The character also has moments where his facial expression and body language say more than the dialogue. So, I needed someone with a theatre background. Nigel did me a favour by lending his talents to this film. His performance is disturbingly impressive, and I love it.
- Next was Dwain Murphy, who plays Winston, the film’s lead. I was impressed with Dwain the moment I saw him run the character. He hit all my marks and was so easy to work with it felt like we were just hanging out. Dwain has a presence about him that raises the moment of each scene he’s in. I can put him beside a first-time actor, and he’ll make said actor better. I could put him with an acting legend, and he’ll position himself accordingly for what’s best for the scene. He’s a gift.
What other projects are you working on?
My slate is quite heavy, and I like it that way. I already have the script for my next short film locked and moving into the casting phase. I’m also in the process of developing my first feature film, which is based on true events, and a limited series that Anthony Farrell and I will start shopping in the next few months. In addition, I have an episodic documentary going into production and a feature documentary ready to go right after that. This busy schedule is a remnant of my days as a producer, and I find it therapeutic. I’m excited about the work that lies ahead, and I can’t wait to share it. 2026 is shaping up to be a busy year.
Where can our readers find out more about you?
If you are patient, you can see some of my work on my website (www.directedbybg.com). You can also check me out on Instagram at @directedbybg. I don’t post a lot, but people reach out to me all the time.
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