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Dougal Wilson
Dougal Wilson
Dougal Wilson
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Dougal Stewart Wilson (born August 1971) is an English director of commercials, music videos and films. His work includes directing several John Lewis Christmas adverts and the Grammy-nominated music video for "Life in Technicolor II" (2009) by Coldplay. He made his feature film debut with Paddington in Peru (2024), the third instalment in the Paddington franchise.

Key Information

Early life and inspiration

[edit]

Wilson was born in Heswall, Merseyside in August 1971.[1] In his youth, he played in a series of bands.[2] Inspired by Stanley Kubrick's epic science fiction film 2001: A Space Odyssey (1968), and interested in astronomy, Wilson decided to study natural sciences at Durham University.[3] While studying, he began designing posters for university gigs and plays and making sets for some of those plays in his spare time.[2]

Wilson graduated from Durham in 1992.[4] He was inspired to become a director after hearing a BBC Radio 4 interview with Ridley Scott and Alan Parker in which they said that they got started in feature films through directing commercials.[2] The first advert Wilson directed was at the Leith advertising agency in Edinburgh, where he was working as a copywriter before moving to London.[3][5]

Career

[edit]

Wilson has directed commercials for companies such as Apple, IKEA, Orange, Stella Artois, Olympus, AT&T, Safestore, Beck's Brewery, and Coca-Cola.[2] His Christmas adverts for UK department store John Lewis & Partners, including "The Long Wait" (2011), "The Journey" (2012), "Monty the Penguin" (2014), "Buster the Boxer" (2016), and "Excitable Edgar" (2019), have become a widely talked-about part of British popular culture.[2][6] In 2016, he filmed the three-minute advert We're the Superhumans, promoting Channel 4's broadcast of the 2016 Summer Paralympics in Rio de Janeiro.[7]

His numerous music videos include "Satisfaction" for Benny Benassi, "Tribulations" for LCD Soundsystem, "Who Am I" for Will Young, "Take Me Back to Your House" for Basement Jaxx,[8] "Don't Let Him Waste Your Time" for Jarvis Cocker, "What's a Girl to Do?" for Bat for Lashes, "Happiness" and "A&E" for Goldfrapp, and "Life in Technicolor II" for Coldplay.[9]

In 2007, he co-directed a short film called Rubbish, starring Martin Freeman, Anna Friel and James Lance. The following year, he directed a four-minute silent comedy homage for Sky Arts and the English National Opera, based on The Barber of Seville aria "Largo al factotum" and starring Mathew Baynton as Figaro.[9][10] In October 2010, a short film directed by Wilson and featuring Gillian Anderson, No Pressure, was released by the 10:10 campaign in Britain to spread awareness of climate change.[11] The four-minute film was written by Richard Curtis and showed groups of people being asked whether they are interested in participating in the project to reduce carbon emissions, and then gruesomely blown to pieces after failing to show enthusiasm for the cause.[12][13][14] The film provoked an immediate negative reaction in the media and was withdrawn from public circulation on the same day it was released.[15][16]

In June 2022, it was announced that Wilson would be set to direct his first feature film, Paddington in Peru, the third instalment in the Paddington franchise.[17][18] In a statement to Variety, he said, "As a huge fan of the first two films, I am very excited (if not a little intimidated) to be continuing the story of Paddington. It's a massive responsibility, but all my efforts will be focussed on making a third film that honours the love so many people have for this very special bear."[19] The film released in the United Kingdom on 8th November 2024 to positive reviews.[20]

Accolades

[edit]

Wilson has twice won Best Director at the UK Creative and Design Awards, in 2004 and 2005,[21][22] as well as having won Gold, Silver and Bronze Lions at the Cannes Lions International Advertising Festival[23][24] and Design and Art Direction awards in 2006 and 2008.[25][26] He was named Director of the Year by Ad Age in 2019,[2][27] and was recognised in Adweek’s Creative 100 of professionals behind the "most innovative work" in 2018.[28] In 2020, he was nominated by the Directors Guild of America for Outstanding Directorial Achievement in Commercials.[29]

Wilson has received two Best Video nominations at the 2004 and 2007 MTV Europe Music Awards for directing The Streets music video for "Fit but You Know It" and Bat for Lashes's "What's a Girl to Do?".[30] At the 2008 UK Music Video Awards, the music video for Goldfrapp's single "Happiness" earned him nominations for both Best Director and Best Pop Video.[31] At the 52nd Annual Grammy Awards, he was up for Best Short Form Music Video with Coldplay's "Life in Technicolor II".[32]

He was also pictured on the front cover of the March 2009 edition of Creativity magazine wearing a jet pack and seemingly hovering a few feet above the ground in front of a car park. Inside, he led the edition's main article, "Directing 101", in which "15 top directors" dispensed advices learned on the job.[33]

Filmography

[edit]

Short films

[edit]

Feature films

[edit]

Music videos

[edit]
Year Title Artist Notes
2002 "Carbon Kid" (featuring Brian Molko) Alpinestars
"Year 3000" Busted Co-directed with Tom Gravestock
"Satisfaction" Benny Benassi
2003 "Remember Me" British Sea Power
"Three Girl Rhumba" Klonhertz
"She Moves She" Four Tet
"As Serious As Your Life"
2004 "Fit but You Know It" The Streets Nominated for the MTV Europe Music Award for Best Video
"Friday's Child" Will Young
"Dream" Dizzee Rascal
2005 "Cash Machine" Hard-Fi
"Tribulations" LCD Soundsystem
2006 "Who Am I" Will Young
"Take Me Back to Your House" Basement Jaxx
"Assassinator 13" Chikinki
2007 "Don't Let Him Waste Your Time" Jarvis Cocker
"What's a Girl to Do?" Bat for Lashes Nominated for the MTV Europe Music Award for Best Video
2008 "A&E" Goldfrapp
"Happiness" Nominated for the UK Music Video Award for Best Pop Video
2009 "Life in Technicolor II" Coldplay Nominated for the Grammy Award for Best Short Form Music Video
2010 "Love Lost" The Temper Trap
"Psyche" Massive Attack
2012 "Party Pom Pom" Adam Buxton
2015 "Apparition" Stealing Sheep

References

[edit]
[edit]
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Dougal Wilson

View on Grokipedia
from Grokipedia
Dougal Wilson is a British director renowned for his work in and music videos, with a recent transition to feature filmmaking. His commercials, often blending whimsy, emotion, and surreal elements, have garnered international acclaim, including multiple Christmas campaigns such as The Long Wait (2011), The Journey (2012), Buster the Boxer (2018), and Excitable Edgar (2019). Wilson's music videos include the Grammy-nominated (2009) for , featuring innovative puppetry, as well as works for , , and . His advertising projects have earned top honors, such as the Grand Prix for Film at Lions in 2017 for Channel 4's We're the Superhumans Paralympics spot and numerous D&AD Pencils, including four Yellow Pencils. In 2024, Wilson directed his first feature film, , continuing the beloved franchise with a focus on adventure and family themes, marking a significant expansion from short-form content.

Early life and education

Academic background and initial career steps

Wilson studied physics at , where he developed an interest in visual design through creating posters for university theatre groups alongside his scientific coursework. His academic focus included elements of and astronomy, reflecting an early fascination with themes drawn from films like 2001: A Space Odyssey. After completing his degree around 1992, Wilson entered the advertising industry as a copywriter at The Leith Agency in , marking his initial professional steps away from scientific pursuits. There, he transitioned into directing by helming his first commercials, leveraging his skills to craft visually engaging content. In 2001, seeking expanded opportunities, he relocated to , where he continued building his directing portfolio with early music videos and advertisements.

Influences and inspirations

Wilson's early fascination with science stemmed from childhood exposure to science fiction films, particularly Star Wars and Stanley Kubrick's 2001: A Space Odyssey, which ignited his interest in and led him to study the subject at , graduating in 1992. Transitioning from academia, Wilson found inspiration in advertising after creating posters for university events and the Festival, which honed his skills in ideation and visual communication. He entered the industry as a copywriter at The Leith Agency in , where collaboration with directors on low-budget television advertisements for clients such as Tennent's, , and further fueled his ambitions. A pivotal moment came when he heard a interview with and discussing their paths from advertising copywriting to directing, prompting him to pursue directing himself—his first effort being a 1996 Christmas advertisement featuring a comedic concept.

Professional career

Advertising and commercials

Dougal Wilson began his professional career in advertising as a copywriter at The Leith Agency in Edinburgh before transitioning to directing commercials, where he developed a reputation for blending whimsy, emotional depth, and precise craftsmanship. His early commercials included work for clients such as the Scottish Health Board, Virgin Mobile, and others, earning him the Best Director Award at the 4minutewonders pop video festival in 2002 for related short-form content that informed his advertising style. Wilson's breakthrough in advertising came through high-profile campaigns that emphasized narrative storytelling and visual innovation. For , he directed multiple advertisements that became annual cultural events in the UK, including "The Long Wait" in 2011, depicting a boy's impatient anticipation of the holidays; "" in 2016, featuring a young girl befriending a ballet-dancing ; "" in 2018, reimagining the Queen song through a department store's animated displays; and "Excitable Edgar" in 2019, showcasing a dragon's mishaps in toymaking. These spots, produced via agencies like adam&eveDDB, consistently topped viewer engagement metrics and garnered praise for their heartfelt, family-oriented narratives without overt . Other landmark commercials include Channel 4's "We're the Superhumans" in 2016 for the Rio Paralympics, a two-minute montage celebrating athletes' resilience set to , which won the Shots Award for Commercial of the Year (TV, Over 60 seconds) and multiple Lions. For , Wilson directed "" in 2019, a Western-themed spot earning a 2020 Directors Guild of America nomination for Outstanding Directorial Achievement in Commercials, and "Wild West" in the same vein. Apple's iPhone campaigns under his direction, such as "Barbers" for iPhone 7 Plus in 2017 highlighting Portrait Mode and "Unlock" for in 2017 featuring facial recognition, demonstrated his ability to showcase technology through relatable, humorous scenarios. Additional notable works encompass ' "The Race," Lurpak's "Adventure Awaits," IKEA's "The Joy of Storage," and spots for , , and , often prioritizing emotional resonance over hard sells. Wilson's advertising oeuvre has earned extensive accolades, including major D&AD Awards, UK Creative Circle honors, and inclusion in AdWeek's 2018 Top 100 Creatives for innovative work; he has also been named Director of the Year by in 2019 for his whimsical yet meticulously executed style. His commercials, frequently produced through outlets like Blink Productions and Furlined, have amassed over 70 features in industry publications like Shots magazine, underscoring their influence on commercial directing standards.

Music videos and short films

Wilson directed music videos for a range of artists, spanning electronic, indie, and pop genres, often incorporating surreal visuals, , and narrative storytelling. His credits include Coldplay's "Life in Technicolor II" (2009), featuring painterly synchronized with the track's instrumental build. He also helmed Goldfrapp's "" (2008), depicting a woman's euphoric in everyday settings, and "A&E" (2008), which uses split-screen effects to explore emotional turmoil. Earlier works encompass ' "What's a Girl to Do?" (2007), a dreamlike sequence with a wolf-masked dancer, and Benny Benassi's "Satisfaction" (2003), known for its high-energy club visuals. Additional notable music videos by Wilson feature Massive Attack's "Psyche" (version 1, premiered 1999 but re-associated 2010), Basement Jaxx's "Take Me Back to Your House," Dizzee Rascal's "Dream," The Temper Trap's "Love Lost," and Stealing Sheep's "Apparition" (2015). These projects, totaling over 20, frequently blend live-action with stylized effects, contributing to his reputation in the UK scene during the 2000s. In short films, Wilson co-directed Rubbish (2007) with Ed Roe, a 10-minute piece starring , , and , in which a man covertly disposes of neighbors' trash, inadvertently impacting his budding romance. Produced for , it premiered on July 9, 2007, and explores themes of waste and interpersonal consequences through comedic realism. Wilson solely directed No Pressure (2010), a 1-minute advocacy short written by for the 10:10 climate initiative, starring figures like and featuring graphic depictions of non-compliant individuals exploding. Released October 8, 2010, it drew immediate backlash for its violent imagery, leading to its withdrawal within hours amid accusations of alienating audiences from environmental causes. The film aimed to humorously enforce a 10% emissions cut but was criticized for undermining the campaign's goals through shock tactics.

Transition to feature films

Wilson's entry into feature filmmaking came with his selection to direct Paddington in Peru (2024), the third installment in the Paddington franchise, succeeding Paul King who helmed the first two films. Announced on June 13, 2022, the project marked Wilson's first full-length theatrical feature, building on his established reputation in short-form content where he demonstrated proficiency in blending humor, , and narrative pathos. Producers chose him for his quirky, cinematic style evident in commercials like the holiday ads featuring CG characters and the Paralympics spot emphasizing energetic action sequences, as well as music videos such as Coldplay's "Life in Technicolor" with its and whimsy. The transition presented challenges inherent to scaling from 30-second spots to a 104-minute family adventure, including managing larger crews, extended shoots across and , and integrating practical sets with VFX for Amazonian sequences filmed partly on a hydraulic at in the UK. Wilson expressed initial trepidation—"flattered but terrified"—due to the franchise's prior global success exceeding $500 million and the pressure to maintain its tone of charm amid high-profile casting like and . He encountered imposter syndrome during scenes pairing Walters and Colman, Britain's acclaimed actresses, highlighting the leap from directing animated or short-form elements to live-action orchestration on a feature scale. Despite no prior feature credits, Wilson's prior shorts, such as No Pressure (2010) for the 10:10 climate campaign and Rubbish (2007) starring , showcased his capacity for concise storytelling and visual innovation, easing the shift by aligning with Paddington's requirements for adventure, chases, and emotional depth in a natural South American setting distinct from the urban focus of earlier entries. The production emphasized practical effects blended with digital enhancements, reflecting Wilson's ad-honed efficiency in achieving high production values under constraints, ultimately resulting in a film that premiered on November 8, 2024, in the UK and expanded internationally.

Directorial style and techniques

Visual and narrative approaches

Dougal Wilson's visual style emphasizes cinematic beauty and drama, often incorporating surreal and whimsical elements to evoke emotion within constrained formats like commercials and music videos. In works such as the Temper Trap's Love Lost (2010), he prioritizes heightened and to blend raw sentiment with subtle magic, drawing from influences like and . His approach relies on meticulous , including detailed storyboards and "crap-o-matics"—rough test videos—to refine feasibility and visual execution, as seen in the Orange Dance commercial where evolving choreography replaced traditional boards. Narratively, Wilson excels at compact, heart-tugging stories that leverage understatement for humor and pathos, rooted in British middle-England sensibilities rather than overt glamour. He enhances agency scripts collaboratively, focusing on emotional arcs that span life stages or celebrate overlooked humanity, such as in John Lewis's The Long Wait (2011), where a child's boredom resolves into familial joy via simple, location-shot realism with a single young actor's performance. In the We're the Superhumans Paralympics idents (2012), he weaves diverse participant stories into a punk-infused anthem of resilience, prioritizing and difference over didactic messaging. This short-form expertise translates to features like (2024), where Wilson integrates —live-action, , and —into episodic sequences that maintain narrative momentum through humor and cultural specificity, such as Andean adventure motifs. His techniques avoid self-editing in ideation, using sketchbooks for unfiltered brainstorming to foster authentic, underplayed revelations, ensuring visuals and stories align without forced .

Technical innovations

Wilson's commercials frequently incorporate advanced visual effects to blend practical elements with digital enhancements, as demonstrated in the 2013 Honda "Hands" advertisement, where live-action footage of engineers' hands constructing scale models of vehicles and engines was augmented with CGI to depict seamless transformations between product iterations, emphasizing human craftsmanship over overt digital fabrication. This approach minimized visible artifacts, achieving a tactile realism that highlighted the ad's theme of iterative through over 200 individual hand-built prototypes filmed in sequence. In collaborations with visual effects houses like MPC, Wilson has pioneered hybrid techniques combining , live-action, and for surreal scenarios, such as the 2015 "T-shirts" spot, where CG-simulated fabric physics allowed shirts to autonomously fold and manipulate objects, integrated with physical puppets to maintain kinetic plausibility without relying solely on green-screen . Similarly, his Christmas campaigns, including "Buster the Boxer" (2016), employed full-CGI animal characters rendered with motion-captured behaviors to interact convincingly with live environments, using for dynamic crowd simulations of bouncing puppies that responded realistically to physics-based interactions like trampoline rebounds. For narrative-driven shorts and promos, Wilson has adopted single-take cinematography to heighten immersion and technical precision, as in the 2025 "School's Back" film for , executed as a continuous shot traversing a chaotic school environment with coordinated choreography of over 100 extras, avoiding cuts to convey unfiltered energy while concealing practical rigs through meticulous blocking and lens choices. This method extended to black-and-white styles in Telstra's 2025 cinema shorts, shot on 35mm with desaturated grading and exaggerated intertitles to evoke early cinema aesthetics, innovating phone-silencing PSAs through period-accurate optical effects rather than modern digital filters. Transitioning to features, Wilson's direction of (2024) leveraged Framestore's VFX pipeline for expansive jungle sequences, integrating photorealistic CG environments with practical sets via LiDAR-scanned topography and volumetric rendering for mist and foliage dynamics, enabling fluid bear-human interactions across scales without compromising the franchise's handmade charm. These applications reflect a consistent emphasis on technique-serving-story, prioritizing verifiable physicality and computational accuracy—drawing from his training—to ground fantastical elements in causal fidelity.

Recognition and impact

Awards and accolades

Wilson's commercials have garnered significant recognition at international advertising awards, including multiple Lions at the Lions International Festival of Creativity. For the 2014 "Monty the Penguin", he directed the spot that secured the Grand Prix in the Film Craft category. In 2017, his direction of Channel 4's "We're the Superhumans" for the Paralympics coverage won the Grand Prix in the Film category, a Gold Lion for Direction, four additional Gold Lions, and six Silver Lions across Film Craft, Integrated, Entertainment, and Media categories. The 2018 Apple "Barbers" commercial, featuring a father-son , earned a Gold Lion in Film Craft. Overall, Wilson has accumulated Gold, Silver, and Bronze Lions at for various projects. His body of work has also been honored by the (D&AD) Awards, where he has received multiple awards, including major accolades for commercials and . In the music video domain, Wilson won the inaugural MirrorBall Best Music Video Award at the for his direction of a video. Industry publications have further acclaimed Wilson: he was named Director of the Year by AdAge's Creativity Awards in 2019, recognizing his whimsical and craft-focused approach across projects like 's "Train". He was included in AdWeek's Top 100 Creatives for innovative work and nominated for a (DGA) Award in 2020 for Outstanding Directorial Achievement in Commercials for the same spot. Wilson's accolades extend to the Creative and Design Awards, where he has won major prizes. As of 2024, no major feature film awards have been reported for his directorial debut Paddington in Peru, released that year.

Cultural and industry influence

Wilson's direction of multiple John Lewis Christmas advertisements, including The Long Wait (2011) and The Journey (2012), has contributed to their status as cultural fixtures in the , where the annual unveilings evolved into a highly anticipated noted for evoking widespread emotional resonance and setting benchmarks for seasonal in . These campaigns, often featuring surreal narratives and heartfelt themes, amassed significant viewership and social media shares, with one 2016 effort becoming the most shared commercial that year according to Campaign magazine. In the advertising industry, Wilson's work has elevated standards for craft and innovation, earning him recognition as one of the most awarded directors with major prizes at D&AD, Cannes Lions, and the Ciclope International Festival of Craft, including a Grand Prix for the 2014 Lurpak "Adventure Awaits" spot. His distinctive approach—blending humor, emotion, and technical precision—has influenced filmmakers and artists worldwide, as evidenced by his viral commercials like the 2013 Three "Pony" ad and the 2016 Channel 4 Paralympics campaign. This acclaim facilitated his 2019 designation as Director of the Year by AdAge/ and his subsequent transition to feature films, such as Paddington in Peru (2024), underscoring broader industry impact beyond commercials.

Filmography overview

Key commercials

Wilson's commercials gained prominence through a series of heartfelt, narrative-driven advertisements, particularly his contributions to 's annual campaigns, which often feature whimsical storytelling and emotional resonance to evoke holiday sentiment. His 2011 John Lewis spot "The Long Wait" portrays a boy fixated on the moon, symbolizing anticipation for , and marked his entry into the retailer's festive series. This was followed by "The Journey" in 2012, which animated a snowman trekking across landscapes to reach home, set to Gabrielle Aplin's cover of Frankie Goes to Hollywood's "The Power of Love," blending stop-motion elements with live-action for a fantastical effect. Subsequent John Lewis ads directed by Wilson include "Monty the Penguin" (2014), depicting a boy's animated penguin toy coming to life in dreams, emphasizing imaginative play; "Buster the Boxer" (2016), where a practices bouncing on a to join neighborhood children; and "Excitable Edgar" (2019), featuring a young dragon learning fire control to avoid mishaps during . "The Man on the Moon" (2015) reunited Wilson with the campaign, showing an elderly man on the lunar surface receiving a from his family, underscoring themes of and connection. These spots, produced via Blink and adam&eveDDB, consistently topped viewership charts and sparked public discussion on advertising's emotional impact. Beyond retail, Wilson's work includes the 2012 Channel 4 Paralympics idents "We're the Superhumans," a high-energy montage of athletes and performers synced to Public Enemy's "Harder Than You Think," which promoted the London Games' diversity and ability. For Apple, he directed "Barbers" (2016) showcasing the iPhone 7 Plus's portrait mode through a seamless haircut sequence, and "Unlock" (2018), employing practical effects for synchronized explosions to highlight device durability. The AT&T "Train" commercial (2020) earned a Directors Guild of America nomination for its depiction of a father-son reunion on a remote-control train track, blending nostalgia with technical precision. Other notable efforts encompass Stella Artois's "The Race" (vintage cycling narrative) and IKEA's "The Joy of Storage" (humorous organizational chaos). These projects demonstrate Wilson's adeptness at integrating visual effects, music, and concise storytelling, often yielding awards from D&AD and Creative Circle.

Music videos

Dougal Wilson directed a range of music videos primarily in the 2000s, collaborating with artists across genres including electronic, indie, and pop. His credits encompass works for , , , and others, often featuring inventive visual storytelling and practical effects. The following table lists selected music videos directed by Wilson, ordered chronologically:
YearArtistTitle
2002"Year 3000"
2003"Satisfaction"
2004""
2005"Cash Machine"
2006"Who Am I"
2007"What's a Girl to Do?"
2008"A&E"
2008""
2009""
2010"Psyche"
2015Stealing Sheep"Apparition"
Additional videos without specified release years in available credits include Basement Jaxx's "Take Me Back to Your House," Dizzee Rascal's "Dream," Jarvis Cocker's "Don't Let Him Waste Your Time," LCD Soundsystem's "Tribulations," The Temper Trap's "Love Lost," and Will Young's "Friday's Child." These works contributed to Wilson's reputation for blending narrative depth with stylized animation and live-action elements before his shift toward commercials and feature films.

Films and shorts

Wilson made his feature film debut with (2024), the third installment in the franchise, following the bear's journey to in search of his Aunt Lucy amid a mystery involving an ancient Inca curse. The film was released in the on November 8, 2024, and in the United States on February 14, 2025, grossing over $192 million worldwide. Directed by Wilson after a in commercials and , it received positive reviews for its visual style and family-friendly adventure elements, though some critics noted it lacked the charm of predecessors directed by Paul King. Wilson's short films include Rubbish (2007), co-directed with Ed Roe, a comedic piece starring , , and , depicting a man whose refusal to properly recycle neighbors' waste strains his budding romance. Produced for the environmental awareness event, the short humorously highlights recycling challenges and interpersonal consequences. In 2009, Wilson directed Largo al factotum, a silent black-and-white comedy featuring , reinterpreting the energetic aria from Rossini's through fast-paced, slapstick barber shop antics as part of ' Opera Shorts series. The four-minute film emphasizes visual synchronized to the music, showcasing Wilson's knack for concise, music-driven . No Pressure (2010), a controversial environmental advocacy short commissioned by the 10:10 climate campaign and written by , features celebrities like and in vignettes where non-committal individuals to 10% carbon cuts graphically explode. Intended for promotional use, the film was pulled within a day of release on October 1, , after widespread backlash for its violent imagery undermining the message, with critics arguing it alienated audiences rather than persuading them. Despite the fiasco, it demonstrated Wilson's ability to blend dark humor with , though the campaign's approach was faulted for prioritizing shock over substantive dialogue on emissions reduction.

References

  1. https://www.johnlewis.com/content/gifts/every-john-lewis-christmas-advert-ever-aired
  2. https://www.campaignlive.com/article/john-lewis-taps-dougal-wilson-2016-christmas-ad/1413939
  3. https://grammy.com/artists/dougal-wilson/14576
  4. https://imvdb.com/video/coldplay/life-in-technicolor-ii
  5. https://www.creativereview.co.uk/the-monthly-interview-dougal-wilson-director-paddington/
  6. https://www.dandad.org/creative-community/directory/dougal-wilson
  7. https://www.studiocanal.com/news/studiocanal-and-heyday-films-announce-dougal-wilson-to-direct-paddington-in-peru/
  8. https://www.itsnicethat.com/features/dougal-wilson-interview
  9. https://www.directorsnow.com/dougal-wilson/
  10. https://screendollars.com/celebrity/dougal-wilson/
  11. https://magazine.shots.net/news/view/91771-dougal-wilson-on-science-superhumans-john-lewis
  12. https://www.campaignlive.co.uk/article/adlands-mr-nice-guy/1342662
  13. https://www.campaignlive.co.uk/article/heroes-dougal-wilson-ben-priest/1401086
  14. http://www.directorsnow.com/wp-content/uploads/2020/09/DIRECTORS_NOW-1.pdf
  15. https://www.campaignlive.co.uk/article/gallery-40-ones-watch-dougal-wilson/175914
  16. https://www.youtube.com/watch?v=R8VC0QpEtSk
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  18. https://www.youtube.com/watch?v=mOMDhjzU7oY
  19. https://www.youtube.com/watch?v=myqVLRRQN-U
  20. https://www.imdb.com/name/nm2756007/awards/
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  23. https://finchcompany.com/directors/dougal-wilson/
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  25. https://adage.com/article/special-report-agency-list/creativity-award-2019-director-year-dougal-wilson-furlined/2163706/
  26. https://magazine.shots.net/news/view/dougal-wilson-on-his-best-spots-as-chosen-by-shots
  27. https://imvdb.com/n/dougal-wilson
  28. https://www.imdb.com/title/tt1090264/
  29. https://www.youtube.com/watch?v=7GZC_qeC400
  30. https://letterboxd.com/director/dougal-wilson/
  31. https://www.hollywoodreporter.com/movies/movie-news/paddington-3-peru-1235161582/
  32. https://www.motionpictures.org/2025/02/from-acclaimed-ads-to-the-andes-director-dougal-wilsons-charming-feature-film-debut-paddington-in-peru/
  33. https://www.adstasher.com/2013/07/honda-hands-commercial.html
  34. https://www.fxguide.com/fxfeatured/vfx-in-tvcs-jaw-dropping-and-truck-dropping-effects/
  35. https://campaignsoftheworld.com/ooh-campaigns/john-lewis-buster-the-boxer/
  36. https://furlined.com/news/dougalwilsonand4creativeletkidsruletheschool
  37. https://www.creativereview.co.uk/dougal-wilson-creates-silent-films-for-telstra/
  38. https://www.instagram.com/reel/DGkq77uBvYE/
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  40. https://thelift.mx/cannes-wrap-up/
  41. https://lbbonline.com/news/blink-wins-grand-prix-at-cannes-lions-for-were-the-superhumans
  42. https://www.dcm.co.uk/news/cannes-lions-2017-film-and-film-craft-grand-prix-winners
  43. https://www.campaignlive.co.uk/article/bbcs-christmas-ad-wins-gold-cannes-lion-film-craft/1485600
  44. https://cdn.casarotto.co.uk/uploads/files/cvs/Dougal-Wilson_2024-01-04-171134_kqai.pdf?v=1704388294
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  46. https://www.creativereview.co.uk/blockbuster-tv-ad-christmas-super-bowl/
  47. https://www.campaignlive.co.uk/article/dougal-wilson-shares-sneak-peek-modus-operandi/1350213
  48. https://www.itsnicethat.com/news/best-christmas-adverts-of-the-decade-dougal-wilson-mother-stink-wieden-kennedy-anna-mantzaris-021219
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  50. https://magazine.shots.net/news/view/96118-dougal-wilson-on-his-best-spots-as-chosen-by-shots
  51. https://www.promonews.tv/profiles/dougal-wilson-0/189
  52. https://variety.com/2023/film/news/paddington-3-release-date-2025-1235764874/
  53. https://www.rottentomatoes.com/m/paddington_in_peru
  54. https://motionographer.com/2009/02/09/largo-al-factotum-a-la-dougal-wilson/
  55. https://thebioscope.net/2009/05/26/largo-al-factotum/
  56. https://www.theguardian.com/environment/2010/oct/02/1010-richard-curtis-climate-change
  57. https://www.theguardian.com/environment/blog/2010/sep/30/10-10-no-pressure-film
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