Curriculum Vitae
(This is an edit of data collected by Google Gemini)
Brumby Boylston is a multi-faceted, versatile creative director, musician, and film maker. He is known for his work in high-end commercial advertising, music videos (David Bowie), award-winning Sundance short films. An early fixture of west coast motion design, his work spans the raw, DIY energy and attitude of 1980s Texas subculture which helped shape his mixing of subversive concepts with stylish imagery and the sophisticated digital craftsmanship of 21st-century motion design and global branding. He is known for his work in high-end commercial advertising, music videos, award-winning short films
Texas Hardcore Scene
His Music History: Before his professional career, Brumby was a fixture in Texas’ late-80s underground music scene, an era when hardcore punk began to fuse with heavy metal. Brumby was the vocalist for the Houston-based, Dresden 45 (often shortened to”D45”), who helped pioneer the “Crossover” genre (a hybridization of hardcore punk’s political rage with the technical guitar solos and “moshable” breakdowns of thrash metal). Despite the economically depressed atmosphere of mid-80s America, Houston was a hub for fast, aggressive music. D45, emerged alongside other legendary Houston acts like D.R.I. (Dirty Rotten Imbeciles), dead horse, and Verbal Abuse. His band's discography has been reissued in recent years as interest in that era of hardcore has persisted.
DIY Ethos: Bands often recorded in unconventional studios—D45 famously recorded their LP in Studio West known for handling traditional country acts and radio jingles
After the last EP’s release and an American tour Brumby left D45 and moved to Los Angeles, attending USC’s Film School and transition from making music to making the worlds that both music and the then-new digital media live in. As an early adopter of digital production, he began making homemade, experimental promos for networks and brands. while building a career centered on innovation, creativity and invention to become one of the emerging industry's "directors' directors."
Starting his own Studio/NATL.TV
After working on many award-winning projects with Los Angeles' top-tier creative studios, Brumby teamed-up with two LA motion veterans to co-found his own animation and design studio, National Television. As the shop's creative director, he led major campaigns for brands like American Express, Budweiser, Coca-Cola, MTV, Nike, Honda, Toyota, Volvo, and VirginMusic. His network design work was extensive including the relaunch of ESPN-U and the launch of ESPN's SEC Network.Co-founded with partners Dooley, and Won the studio became a "director-driven" powerhouse that bridged the gap between traditional animation and live-action. It was known for its "boutique" feel but global reach, handling massive rebrands for networks like MTV and VH1 Classic.
After working on several award-winning projects with Los Angeles' top-tier creative studios, Brumby teamed-up with two of his co-creators to co-found their own production company, National Television. As the shop's creative director, he led major campaigns for brands like Google, Apple, Adobe, and Schwab. His network design work was extensive, including the launches of ESPN-U and ESPN's SEC Network. NATL.TV became a "director-driven" powerhouse that bridged the gap between traditional animation and live-action. It was known for its global reach but "boutique" feel.
ESPN-U Launch and Identity
When ESPNU launched in March 2005, the goal was to create a network that felt distinct from the main ESPN brand—something that resonated specifically with the high energy, traditions, and "school spirit" of college athletics. Creative Role: Brumby and his team at National Television were tasked with developing and revamping the on-air visual identity for “the U.” This wasn't just about a logo; it was about the entire motion language of the channel, including graphics, transitions, and promotional teasers.
The Aesthetic:
The design moved away from the sleek, polished corporate look of the flagship network. Instead, it leaned into a collegiate-meets-modern style. Like the M in "MTV” THE U in Espn-U became an ever-changing visual anchor for the network They
used textures that felt like varsity jackets, school banners, and stadium architecture, combined with fast-paced, high-impact animation - echoing the unique enthusiasm unique to big-time college sports
1987. Originally a 5-song demo cassette, released on Odis Records, as the “Liberators” EP
1988. “Swiss Bank Account” 7" EP: Released on Jackleg Records, released soon after "Liberators
1989. “Paradise Lost” LP: As their primary full-length album, it compiled their first two 7"s
1991. “Blooddump” originally conceived as a new demo to showcase the band's current sound. The 7" EP: was released later on the German label, HeartFirst Records.7" EP: This was released later on the German label, HeartFirst Records.
1992 “Double Against“ EP Never made it to press when the French label folded before any copies went to vinyl. These recordings were later included as part of Arclight’s CD reissue.
2003. "Paradise Lost Expanded” CD reissue on Austin’s Arclight Records, which compiled all tracks from across their various vinyl releases.
secret lay-out retaining text about the dude
Short Form
His student film Machines In Love won a Gold Award at 94’s WorldfestHouston (or "Gold Remi Award," as they are often called today) in the Student Film/Experimental category. The Context:. This film helped establish the signature style he would later refine—mixing subversive concepts with stylish imagery.
His short film "Cruising Electric" was an audience award nominee at the Sundance Film Festival selection the audience award winner at NewFest, New York's premier LGBTQ film festival.Music Videos
Films & Music Videos: He gained significant recognition for directing David Bowie's music video/art film for Bowie's song "New Killer Star" and later, the Scissor Sisters'' cinematic "Land of 1000 Words."
Music Videos
Films & Music Videos: He gained significant recognition for directing “New Killer Star" for David Bowie a music video/art film for Bowie's song and later, the Scissor Sisters'' cinematic "Land of 1000 Words."
Short Form:
“Cruising Electric”
This is perhaps his most famous standalone subversive work. It is a fictional 60-second commercial for a toy line based on the 1980 William Friedkin film “Cruising “ (a gritty thriller about a serial killer in the New York City’s gay underground leather scene).
The Subversion: He perfectly replicates the hyper-enthused, street-lit aesthetic of a Saturday morning toy ad from the early 80s.
The Dark Twist:
He uses the "innocent" format to market action figures of leather-clad men and road racing playsets. It’s a masterful commentary on the absurdity of movie merchandising and how corporate marketing can sanitize even the darkest subject matter.
Success: The short was a viral hit and screened at the Sundance Film Festival in 2014, where it earned a nomination for the audience award. It received widespread critical acclaim for its technical precision and satirical depth, often cited as one of the standout "micro-films" of the festival. The film also won the Audience Award for Best Short at the 2014’s NewFest (New York's premiere (LGBT Film Festival).
⁃"Arthur the Weatherman" More than just a one-off clip. “Pretty much everywhere it’s gonna be hot” is actually part of a much longer promotional film for Brian De Palma’s Mission to Mars, a surreal effort to create a "fake" broadcast history. “Arthur” has become a timeless lovable internet legend. By mimicking the low-budget, grainy look of public access or small-market news, Brumby and his collaborators created something that felt "found" rather than "made." Cultural Impact: It succeeded so well that for nearly a decade, millions of people believed Arthur was a real person having a genuine breakdown on television.Cultural Impact: It succeeded so well that for nearly a decade, millions of people believed Arthur was a real person having a genuine breakdown on live television with 15 million views Vice deemed Arthur the “best video on the youTube” beating out my personal favorites and made New York mag to rave, “God, I love this video.”
HBO's "The Leftovers"
The "Concept-Driven" Campaign
Working through his studio at the time, Brumby was responsible for several high-profile teasers and trailers for the second season.
Brumby’s primary involvement with The Leftovers was to promote the second season of the acclaimed HBO supernatural drama—where 2 percent of the world’s population has vanished. Brumby created an earnest advertisement set in the unique reality of the show’s world creation of a distinctive on-air marketing and promotional identity. Responsible for several high-profile teasers and trailers for the first season. Brumby created key promotional content that helped establish the series’ haunting, mysterious atmosphere before its
Establishing the Tone:
The challenge for The Leftovers was to market a "post-apocalyptic" show that didn't have zombies or aliens, but rather a haunting sense of absence. Brumby’s work focused on the "Sudden Departure" itself, imagining the mundane ways a cataclysmic event would appear in everyday life. And utilizing”camera-friendly brooding" (as noted by critics) to pique viewer interest.Visual Craft: Much like his work for Google and Apple, Brumby utilized his background in design to ensure the trailers felt "premium" and cinematic, fitting for the HBO brand.
AWARDS & Brass Radness
As a Creative Director at Brand New School and National Television, Boylston has been part of teams that have won some of the most prestigious awards in the world:
The Shorty Awards: He recently served as a Creative Director for the campaign "It's Time For Supreme Court Term Limits," which won in the Animation category and was a finalist for Social Good Campaign.
Cannes Lions: Work produced under his direction has frequently appeared on the shortlists and winner circles at the Cannes Lions International Festival of Creativity, particularly in the Film Craft and Design categories.
AICP Awards (Association of Independent Commercial Producers): His commercial work has been honored for its production value and visual style. The AICP awards are particularly notable because winning entries are archived in the Department of Film at the Museum of Modern Art (MoMA) in New York.
Clio Awards: Recognized for innovation and creative excellence in advertising, specifically for his work on network rebrands and high-tech product launches (like those for Google and Apple).
The BrennanCenter’s "It's Time For Supreme Court Term Limits," was a Webby-Winner (2024): Public Service & Activism (General Video). Brumby served as the Creative Director for the project through Brand New School. The film was a standout in the "Video & Film" category, taking home the prestigious honor.