Will Felix Clark

Director and creative director, London. Satisfaction guaranteed!!! Or your money back.*

*Money not back.

Selected work

Directing · Commercials

Credits

Clients

Apple · Amazon · Netflix · Google · Jaguar · VW · Vauxhall · Suzuki · O2 · HSBC · Vitality · Plusnet · Unibet · Schuh · Asda · Moju · Fisherman's Friends · The National Lottery · NSPCC · The Scottish Government · BBC · ITV · Channel 4 · E4 · The Sunday Times

Awards

2 × BAFTA · Cannes Lions · British Arrows · D&AD · Creative Circle · Campaign Big · Shots Awards

About

Will Felix Clark riding a dolphin out at sea, framing a shot with his hands

Will Felix Clark is a director and creative director based in London.

He started out making comedy shorts at Camberwell College of Arts, joined VFX house Cinesite, then caught the eye of MTV UK and Channel 4, where his online work on Wimblepong and Dead Set won him two BAFTAs. He went on to become Creative Head of Comedy Central UK, before moving to Channel 4's in-house agency, 4Creative, to make promos, idents and campaigns for Channel 4 and E4.

He writes and directs commercials for brands including Apple, Jaguar, Amazon and Netflix, and has a growing body of work made with generative AI, including Channel 4's first AI promo.

Contact

CALL NOW!!!

Commercials representationMerman London
← All work
The Falling window in a graffitied church, boarded windows either side
Channel 4 · Drama · 2026

Falling

A nun, a priest and a love story God would not sign off. Launched with a stained-glass window made by hand.

Role
Creative Director
Client
Channel 4
Written by
Jack Thorne
Starring
Keeley Hawes, Paapa Essiedu
Production
The Forge
Stained glass
Brian Waugh
On air
19 May – 3 June 2026

The mini doc

Making the window
A hand-painted stained-glass panel of the nun's face, mid-assembly
Falling · Stained glass creationPlay

The show

A nun and a Catholic priest fall in love. Jack Thorne wrote it, Keeley Hawes and Paapa Essiedu star in it, and God is presumably furious about it. Six parts, made by The Forge.

The brief

Sell a quiet, grown-up love story built on faith, vows and forbidden longing, without it looking like a Sunday-night bonkbuster or a Daily Mail front page.

The work

In the age of generative AI, we wanted to make something tangibly real and handcrafted by an expert. We commissioned renowned stained-glass artist Brian Waugh to create a giant church window showing the two leads in a suggestive pose.

The off-air campaign was joined by a run of trailers on air and in social, and I made a mini doc showing how the heavenly imagery was created.

“Spellbinding”The Times · ★★★★★

The verdict

The critics were converted. The Times gave it five stars and Metro called it one of 2026's best surprises. Lots of people watched it.

Press

Televisual ↗ Geektown ↗ Channel 4 press pack ↗
Final Falling poster: stained-glass nun and priest embracing, Keeley Hawes and Paapa Essiedu
Final key art
The window in a graffitied church, boarded windows either side
← All work
Comedy Central UK · Rebrand & idents · 2011–13

Comedy Central rebrand & idents

Bringing Comedy Central's new “C within a C” identity to the UK and Ireland, and giving it a British sense of humour.

Role
Creative Head, Comedy Central UK
Client
Comedy Central UK & Ireland
Logo system
thelab, New York

The films

Rebrand & idents
The Comedy Central C-within-a-C logo in white on black1′25″
Comedy Central brand reelPlay
1′03″
Comedy Central identsPlay

The backstory

A couple of years later, the network gave itself a new face: out went the old skyscraper logo, in came a “C within a C”, designed in New York by thelab and launched in the US at the turn of 2011, before rolling out across Comedy Central's international channels.

The UK rebrand

The job was to make a global logo feel at home on a British channel built on American sitcoms. The idents treat the new mark like a toy: it gets pushed, scrambled, chomped, tugged, see-sawed and stacked around the screen, backed by a full on-air package of “You're watching…” and now-and-next stings.

Read more

Broadband TV News ↗ The Ident Gallery ↗ Wikipedia ↗
← All work
Comedy Central UK · Ad-break takeover · 2011–13

Subliminal messages

We hijacked the ad break with cryptic flash cards. The UK and Ireland lost the plot.

Role
Creative Head, Comedy Central UK
Client
Comedy Central UK
Where
Start and end of every ad break
Ran
2011–2013

The cards

Fan-recorded
A red Comedy Central card of dense white capitals addressed to the Post Office
Subliminal messagesYouTube ↗

The brief

Give Comedy Central UK an actual personality, in the bit of telly everyone hates (the ad break), on a channel mostly made of US imports like Scrubs and Friends.

The big idea

Hijack the ad break with “subliminal messages”. Cryptic, absurd flash cards at the start and end of breaks, sometimes on screen for barely a second, sometimes hanging around for minutes like a guest who won't leave. Warnings like “Breed With Caution. Time To Panic”. Lists of nonsense words. Mock-serious statements starting “According to the internet…”. Rambling thoughts about how bus drivers drive. Some cards hid a second message in their bold words, a reward for anyone committed enough to pause and decode them. Not once did it say “this is an ad”.

Breed with caution. Time to panic.One of the cards

The fallout

The UK and Ireland lost the plot. From 2011, threads popped up all over social media asking whether it was mind control, a conspiracy or a cult. Some people cited the 1958 ban on subliminal advertising. Fans recorded the breaks, uploaded compilations to YouTube and kept decoding them for years.

The internet investigates

boards.ie ↗ NextGenUpdate, 2011 ↗ Blame It On The Voices, 2011 ↗ YouTube ↗
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The Times & The Sunday Times · Film series · 2014

Unquiet Minds

An open brief, unprecedented access to two newspapers and 229 years of archive. I wrote and directed two of the films.

Role
Writer & Director
Client
News UK
Agency
Grey London
Production
Betsy Works
Producer & EP
Peter Maynard
DoP
Canny Richardson
Series CDs
Phil Lind, Dave Monk
Recognition
British Arrows Gold 2015 · Cannes Lions shortlist ×2 · D&AD Graphite Pencil

My films

2 films · written & directed
A Sunday Times journalist interviewed against a dark green background5′42″
Question EverythingJune 2014 · Play
The Doha skyline under construction, cranes over the towers7′05″
The FIFA FilesDecember 2014 · Play

The brief

There basically wasn't one. A handful of independent directors got unprecedented access to The Times and The Sunday Times (the journalists, the newsrooms and 229 years of archive) plus an open brief: capture the essence of the papers on film. No script, no 30-second cutdown, nobody asking for the logo bigger. In advertising, that almost never happens.

My films

“Question Everything” is about investigative journalism and the stubborn, deeply unpopular habit of not believing what you're told, told through two of The Sunday Times' biggest exposés: Lance Armstrong's doping and Andrew Wakefield's MMR vaccine fraud. Two stories plenty of powerful people very much didn't want printed.

The second, “The FIFA Files” (December 2014, film 11 of 13), takes on The Sunday Times' reporting on FIFA, an organisation that has never once enjoyed being asked questions.

Two stories plenty of powerful people didn't want printedQuestion Everything

The fallout

Newspaper sales jumped 16% week on week. Both my films were part of the series that took Gold for Web-Based Series at the British Arrows 2015. The FIFA Files was shortlisted for a Film Lion at Cannes, the series made the Branded Entertainment shortlist too, and D&AD gave it a Graphite Pencil.

Press

Ad Age ↗ It's Nice That ↗ shots ↗ Cannes Lions ↗ British Arrows Gold ↗ D&AD ↗ 4Sales: the Homeland takeover ↗
The Sunday Times page: Flawed fairytale, Lance Armstrong
The FIFA World Cup trophy in a glass display case
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E4 · General Election · 2015

E4 Shutdown

On election day we switched E4 off. Nothing on. Might as well go and vote.

Role
Creative Director, Director
Client
E4, Channel 4
Creative
Jack & Stacy
Starring
Darren

The promo

40″
Darren in the E4 control room next to a screen asking Is E4 on? Yes
E4 Election ShutdownPlay

The brief

Fewer than half of under-25s bothered to vote at the previous election. E4 was the UK's number one digital channel for 16 to 34-year-olds, so the audience was right there, sitting on the sofa.

The big idea

Take the sofa away. On election day, 7 May 2015, we switched E4 off. No programmes, no ads, no promos, just “Darren”, the bloke who runs E4's control room, telling viewers there was nothing on, so they might as well go and vote. A TV channel deliberately losing a day of viewers made the point better than any ad ever could.

“The most powerful weapon we have at our disposal: switching off their favourite TV channel for the day”Dan Brooke, Chief Marketing Officer, Channel 4

Where it ran

Trailed on air across Channel 4's channels from 22 April 2015, then the full takeover on the day. It sat alongside Channel 4's wider youth-vote push, including a text reminder to register and a Youth Leaders' Debate.

The fallout

It broke out of the trade press and into the national conversation.

Press

Channel 4 press release ↗ HuffPost UK ↗ HuffPost UK, follow-up ↗ TechRadar ↗ International Business Times ↗ i-D ↗ The Drum ↗ PRWeek ↗ LBB Online ↗ Democratic Audit ↗ SquareEyed ↗
A hand pulling the big purple E4 switch from ON to OFF
Darren eating in the E4 control room
← All work
E4 · General Election · 2017

Pop your voting cherry

Remember your first time? Getting first-time voters to the polls, with a little help from Armando Iannucci.

Role
Creative Director
Client
E4, Channel 4
Creative
Chris Rice
Directors
Armando Iannucci, John Pape
Launch
30 May 2017
Election
8 June 2017

The film

Brand trail · 3′37″ · 1:1 social cut
Remember your first time? A young man answers to camera: Do I remember my first time?
Remember your first time?Play
A young woman on camera: Remember your first time? I did it in a library.
“I did it in a library.”

The brief

A snap election on 8 June 2017, and another generation of first-time voters who'd rather do almost anything than vote.

The big idea

Voting for the first time is basically losing your virginity. Nervous, awkward, over in a minute, and you'll remember it forever. So we made an innuendo-packed film urging young people to “pop your voting cherry”, and roped in Armando Iannucci, the man behind The Thick of It and Veep, to give the filth some political credibility.

“Innuendo-laden”Campaign

The fallout

Campaign called it an “innuendo-laden election ad”, which we took as a compliment.

Press

Campaign ↗ Campaign: the work ↗
← All work
E4 Extra · Channel launch idents · 2022

E4 Extra idents

E4's slightly feral younger sibling, smuggling purple weirdness into everyday British life.

Role
Creative Director
Client
E4 Extra, Channel 4
Director
Michael Marczewski
Sound
Polyphonia
Launch
29 June 2022
Idents
4 × 20″

The idents

4 idents · 20″ each
A man eating chips on a seaside bench20″
Fish & ChipsPlay
A jam stall at a village fete20″
Village FetePlay
A purple-lit natural history museum20″
MuseumPlay
Giant purple electric eels swarming a bus stop20″
Bus StopPlay

The backstory

E4 Extra arrived on 29 June 2022 as E4's slightly feral younger sibling, and it needed idents with the same attitude.

The launch idents

Four 20-second animations that smuggle “purple weirdness” into everyday British life. A village fete's jam and vegetable contest gets a “most dangerous interdimensional monster” category, and a bus stop queue gets swarmed by electric eels.

Most dangerous interdimensional monsterVillage fete, category of one

Press

The Drum ↗ LBB Online ↗
← All work
E4 · Rebrand & idents · 2018

E4 rebrand & idents

A new logo, and a different ident from a different young talent every time. The more outlandish, the better.

Role
Creative Director
Client
E4, Channel 4
Agency
4Creative
Wider rebrand
ManvsMachine
At launch
19 idents
On air
27 September 2018
Recognition
D&AD Wood Pencil 2019, Branding

The rebrand film

June 2019 · 1′15″
E4 rebrandPlay

The idents

7 idents
TigersPlay
Space StationPlay
PorkanismPlay
Mecha MonsterPlay
E4igyPlay
ChippyPlay
BuildingPlay

The brief

E4 had had the same logo for effin' ages. Seventeen years of loyal service as the place young people went to escape the aggro and nonsense of real life. Time for it to get the kettle on and put its feet up. Meanwhile linear TV was starting to feel “a little like your mum”, so the new E4 had to feel less structured, more dynamic and never quite the same twice.

The big idea

No formulaic set of idents on a single theme. Instead, every ident would be completely unique, each one handed to a different bright young talent with total creative freedom to bring the new logo to life however they liked. The E could rebel against the Lambie-Nairn 4, they could assemble like the ultimate Transformer, or be torn apart like a broken heart. The only rule: the more outlandish, the better.

The more outlandish, the betterThe only rule in the brief

What we ended up with

19 idents at launch on 27 September 2018, as part of Channel 4's rebrand of its digital channels. A miniature E4 space station orbiting Earth (Elliot Dear), tiny figures building the logo out of bold architecture (Alex Grigg), a neon-soaked anthropomorphic kebab (Layzell Bros), and a puppet village burning an E4 effigy (Parabella), all produced by Blinkink. Every one of those directors came off our original wish list of talent.

Press

The Drum ↗ Skwigly ↗ Design Week ↗ Creative Review ↗
← All work
Channel 4 · Off-air & on-air launch · 2025

Get Ready for Married at First Sight

Britain's biggest reality show, dressed up by one of Britain's most iconic photographers.

Role
Creative Director, campaign and on-air trail
Client
Channel 4
Creative
Chris Rice
ECD
David Wigglesworth
Photography
Miles Aldridge
Sponsor
TUI
Launch
15 September 2025
Groom in a hot-pink satin suit framed by a red curtain and golden arch
Bride in a leopard-print dress and bow veil holding red roses
Bride in blush pink with a birdcage veil
Shot on film by Miles Aldridge

The on-air trail

40″ · Creative Director
Get Ready for MAFS · 40″ trailPlay

The brief

Married at First Sight UK had become the biggest show on Channel 4. Reality TV posters usually follow the same trend: cast line-ups, hard bodies in skimpy swimwear, neon fonts. We wanted something that didn't just advertise the show, but made it really stand out from its competitors.

The big idea

“Get Ready For”. The campaign is the bit before the big day, when you're marrying someone you've never met and frankly need all the help you can get. The early scamps had hands lunging into frame armed with spoof beauty products named after the show's chaos: Break Up Bronzer, Eau de Drama, The Ick lipstick, Second Thoughts Shaving Cream and, of course, Mint To Be toothpaste.

Why Miles Aldridge

If you're going to dress up Britain's most iconic reality show, you need a British icon behind the lens. Aldridge does hyper-stylised, cinematic, acid-bright images: film-noir allure meets art history meets pop culture. Our pitch to him was simple: make it “lush, uncanny and a little surreal”, like there's a story going on just out of frame. He shot it on film, and it was his first ever reality TV job. Not bad for a show where people marry random strangers.

“You don't get wedding photos, you get modern art”David Wigglesworth, ECD, 4Creative

The final work

Brides and grooms dialled up to eleven: a beaming bride in a leopard-print dress and bow veil, a groom in a hot-pink satin suit who looks like he means business, and a bride in blush pink peering through a birdcage veil. Each is framed by a theatrical curtain and golden arch, in front of a miniature model village with a chapel, cows and a vintage wedding car, because nothing says “real love” like a toy village. They ran as landscape poster sets and 9:16 digital screens, sponsored by TUI.

Where it ran

Posters across the UK from 15 September 2025, ahead of the series launch on 21 September. The getting-ready gag also spilled into the on-air trail, in-series promos and social, including a spoof French perfume ad for “Give Me Passion Perfume”.

Press

Channel 4 press release ↗ Campaign ↗
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E4 · Series 1 & 2 launches · 2021–22

Married at First Sight UK

Strangers. Altar. What could possibly go wrong? E4's relaunch of the format became one of its biggest hits ever.

Role
Director, Creative Director
Client
E4
ECD
Lynsey Atkin
Creatives
Chris Rice, Greg Carter, Joe Williams, Alex Goddard
Series 1
2021 · “Honest vows” · Director & Creative Director
Series 2
2022 · “From big date to big day” · Director & Creative Director

The films

2 launch films
60″
Series 1 · Honest vowsDirector & CD · Play
A wedding aisle under a floral Married at First Sight UK sign, guests cheering the couple
Series 2 · From big date to big dayDirector & CD · Play

Series 1 (2021): Honest vows

A wedding film with the most brutally honest vows ever spoken, promising every bit of the drama and absurdity waiting for people who marry someone they met five minutes ago.

It ran absolutely everywhere. The film premiered in a Hollyoaks break, backed by social, digital, radio, posters and influencers. And because nothing says “marry a stranger” like a swipe, we slipped wedding-themed ads starring the cast into people's Tinder feeds, right where they were already hunting for love (or at least a Friday night). On launch day we also ran a Twitter Spotlight, a TikTok Top View and a custom Snapchat Lens, and partnered with Kiss, Heat and Heatworld.

Not bad for a bunch of strangersE4's highest non-scripted ratings

Series 2 (2022): From big date to big day

Nought to married in 60 seconds. A woman meets a man at a bar, he proposes, her parents turn up in wedding outfits, and you're left wondering what just happened. Which is roughly the show. It ran on air and across social.

Press

Televisual ↗ The Drum ↗ LBB Online, series 2 ↗
I do… hope he's not a cat person
I do… hope she's not selfie-obsessed
I do… hope he's not a mummy's boy
“I do…” 6-sheets, series 1
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E4 · Title sequence takeover · 2025

The Simpsons, now on E4

We vandalised the most famous title sequence in television history. Disney said yes.

Role
Creative Director
Client
E4, Channel 4
Creative
Chris Rice
ECD
David Wigglesworth
Director
Richard Sclater
VFX & sound
Lucky Cat
On air
2 July 2025

The film

Title sequence
The Simpsons on their couch, the living room wallpaper covered in E4 logos
The Simpsons · Now on E4Play

The brief

After years on Channel 4, The Simpsons was moving to E4. Millions of viewers needed to know where it had gone, ideally before anyone started a petition.

The big idea

Vandalise the most famous title sequence in television history. We took the iconic Simpsons opening and smothered Springfield in E4 logos, from the clouds to the couch, so the intro itself became the announcement.

“Too good (and too silly) to actually get signed off”Will Clark & Chris Rice, LBB Online

The tricky bit

You don't just graffiti The Simpsons. You ask Disney and Gracie Films very, very nicely. Somehow they said yes to the lot, and every last E4 logo made the final cut.

The craft

Lucky Cat designed, composited and tracked every logo into each scene so they felt part of Springfield rather than stuck on top, and remixed the sound to match.

“We took the most iconic title sequence in television history… and smothered it in so many E4s it bordered on vandalism.” David Wigglesworth, ECD, 4Creative

Press

LBB Online ↗ Stash ↗ Campaign ↗ Campaign: the work ↗ Lucky Cat ↗
← All work
Channel 4 · Factual · 2025

Open House

The Great Sex Experiment, and Channel 4's first generative AI promo. One man becomes half-dolphin.

Role
Creative Director, AI creator
Client
Channel 4
Creative
Chris Rice
ECD
David Wigglesworth
Made with
Adobe Firefly
Films
1 × 40″, 3 × 20″
On air
Spring 2025

The films

4 films
40″ · Launch filmPlay
20″
20″ · Version APlay
20″
20″ · Version BPlay
20″
20″ · Version CPlay

The show

Couples trying out open relationships, on national television, with their mums presumably watching. Series 3 aired in spring 2025.

The big idea

AI is chaotic and unpredictable. So is non-monogamy. A match made in heaven. Couples on cosy romantic dates watch their scenes go gloriously off the rails the moment a third person turns up: drinks get spat out, and one man becomes half-dolphin. As you do.

How we made it

Adobe Firefly, picked because it's trained on licensed data, so nobody's art got nicked along the way. Plus an on-screen disclaimer: “AI was used in the making of this advert… but the show itself features real humans.” Just in case anyone was worried about the dolphin.

“Not to replace ideas, but to test the tools”Alex Mahon, Chief Executive, Channel 4

Why it was a big deal

Broadcast and Campaign both picked it up. Reader, we tested those tools to breaking point and beyond.

Press

Channel 4 press release ↗ Broadcast ↗ Campaign ↗