Director Paul Newton
Director Paul Newton

The US and UK have long enjoyed a close relationship, in spite of that rocky start back in the late 1700’s. So many aspects of the familiarity between the two is intuitive, but that doesn’t mean it’s necessarily without obstacles. In the case of bringing the massive UK hit series Love Island from Great Britain to America, creators of the show enlisted director Paul Newton to ease this transition and land the series to a successful introduction for the new market. Having already worked on the show’s BAFTA award-winning/National Television Award/Royal Television Society–nominated version in his homeland, Newton’s familiarity with both the show and the “yank mindset” has delivered an intoxicating first season of Love Island as evidenced by its recent win of the MTV Movie + TV Award for “Best International Reality Series.” No story is as fascinating and entertaining as what love, or a far more base-instinctual motive, will cultivate on a tropical paradise among beautiful participants. 

On the set of Love Island season #1 (L-R) Paul Newton, Arielle Vandenberg, Ben Thursby-Palmer
On the set of Love Island season #1 (L-R) Paul Newton, Arielle Vandenberg, Ben Thursby-Palmer

  All of us have experienced the scenario in which we ask someone else to tell a story because they can tell it better than anyone. This makes the experience of hearing the tale more enjoyable for all those involved. Paul Newton is a preeminent storyteller regardless of the subject matter. Success as the head of such a task doesn’t mean avoiding hindrances or difficulties; to the contrary, it means using those as a catalyst for the final desired destination. Paul describes, “There were many challenging scenarios during the filming of season one of the American version of Love Island but none quite so daunting as the day we shot the finale. Tropical storms rolled in, presenting its own last minute complications and contingency plans for me to deal with. Facing Mother Nature is not something you can take lightly because it effects everything from the shooting environment to the safety of cast and crew. In the end, I managed to successfully pull everything together directing, not only the host Arielle, but also the whole camera crew and other team members to get everything shot in time. We quickly turned around the footage to present it to the US audience as the season finale. The challenge was to maintain that celebratory atmosphere and make it feel just as special and live, even though it was pre-recorded, which probably felt even more like a huge event than the usual live broadcast does. Adapt and deliver became my credo as a result. The expectations were high and we more than met them.”

PDN7
PDN7

  Love Island USA Executive Producer Ben Thursby-Palmer professes, “Paul Newton really is at the top of his game in this industry. He’s an amazing visual storyteller. Paul is always exploring new technology to capture stories in a fresh and exciting way. He is incredibly calm under pressure and his attention to detail is second to none. He never stops surprising and impressing me with his talent and creativity.” Though he’s a self-described tech nerd with an affinity for emerging state-of-the-art cameras, lenses, and sound gear, Mr. Newton stipulates that his most valued commodity as a director is the relationship he shares with his crew. He imparts, “One trait which I believe is crucial is the ability to connect with people on an individual level. As a self-confessed tech nerd, I have a deep appreciation and understanding of the technology and equipment we use in the TV industry. I love all of that stuff, so my extensive knowledge of things like lighting techniques/lenses/cameras/setting, workflows, and edits significantly aids in any discussions with all technical departments. When it comes to contributors, hosts, and potential egos, I find it’s vital to respect and understand the world they’re coming from individually, recognizing potential pressures and exposure they might be conscious about, while also not downloading onto them all pressures I might be facing as a director such as needing to shoot multiple angles or to tight budget or time constraints.”