Kate is a filmmaker. Many directors use that title as a work in progress but for Kate the title is hers already. You could also call her a film writer, or a film producer. She has runs on the board and awards to prove it in all those fields, but we’re not here to talk Hollywood or long form as such. We’re talking commercials, where the form is fast and the action is compressed with no time for indulgent cinematic contemplation, usually. So, is the filmmaker title relevant? Of course. From her filmmaker’s perspective Kate Riedl can see where the grab-your-popcorn-and-settle-in moments are in a short form commercial script. She can find the story behind the ad talk and the drama within the product shots and so between the filming of moments that matter and the dark art of the editing room, her films (commercials) emerge as riveting tales of breast cancer survival, heart in your mouth moments on the high trapeze, or the private underwear confessions of a super model. It may be a small story she’s telling, but she packages it up so it looks big, or graphic, or beautiful. It may be a small screen she’s playing with, but she gives you reasons to lean in so it’s all you can see. That’s what makes you reach for the popcorn. That’s what gets you to settle back and watch. That’s the filmmaker doing her thing.