Cole Walliser on becoming a titan of the creator economy

Best known for his glamorous, slow motion videos of celebrities on the world’s most famous red carpets, including at the Oscars, Golden Globes and the Grammys, Cole Walliser was named one of digital media’s most influential voices in the TIME100 Creators list in 2025. Walliser started his career as a filmmaker and music video director and has directed projects for artists like Pink, Katy Perry, Cher and Britney Spears. He works with brands including Revlon, Nike and Uber, and has a combined audience of almost 20 million across TikTok and Instagram. Here, Walliser tells D&AD Editor Madhuri Chowdhury about his rise in the creator space.

Cole Walliser knows a thing or two about creating big moments on social media. His viral red carpet videos using the GlamBOT – an ultra high speed camera setup – for E!, have travelled far and wide, showing movie stars in glamour mode while also giving a glimpse behind the scenes.

His influence has also been felt among the brands he has worked with. In the early 2010s, he began shooting films for cosmetics giant CoverGirl at a transformative time in its content creation journey. “At that time, there weren't many outlets for video content – maybe Facebook had just started using videos. So we were essentially pioneering this content alongside the larger print and TV commercials,” he says. The beauty brand had noticed a shift in their audience's attention away from traditional media to social media, and wanted to adapt to these changes.

A turning point came in 2018, a time when the social media landscape was usually “all about Instagram showcasing the perfect life,” Walliser explains. “You'd see posts of people on yachts during yacht week or in the Swiss Alps – very staged, ‘fake candid’ moments in beautiful locations. We were all captivated by everyone’s seemingly glamorous lives, right?” Walliser understood that content creation was here to stay, but also saw that showing behind the scenes of glossy moments could add something new.

“I remember meeting with CoverGirl at Sunset Tower in LA to discuss the future direction of the content we were making with them,” says Walliser. “It was a pivotal moment in recognising the importance of adapting to the new creator landscape.” By the end of the meeting, he walked away with his own stage at a CoverGirl event, where the brand gave him an entire day to direct content. “I witnessed firsthand the significant shift when the creatives would come to us and say, ‘Our audience doesn't care about traditional media. They don't care about print or TV; they care about your content’,” says Walliser.

Below, we ask Walliser about how he became one of the most recognisable creators in the world, and what advice he has for others hoping to do the same:

When did you first realise that content creation was going to become so important, and how did you respond?

CW: I had been directing GlamBOTs for E! since 2016, but I wasn’t filming any behind-the-scenes content. However, by 2018 and 2019, I began to sense the shifts in the industry and started to see where things were headed. I was already working as a director, and I felt like I had achieved some success, and I didn’t think I needed to focus on social media to maintain it. But then I started asking myself what the next five years would look like. Would we be leaning more into digital and social media or less? I realised it was only going to grow, so I decided to start investing time and energy into social media. Part of that commitment involved capturing behind-the-scenes moments for the GlamBOTs. I wasn't quite ready, I wasn't miked or anything. By the 2019 season, I had it more together, and by 2020, I really had it dialled in.

I began creating process videos because that was what I had access to. I wasn't travelling extensively, but I was doing interesting things on the red carpet. I realised that capturing the before-and-after moments of these films was really cool. I noticed that nobody else was creating process-oriented videos. Eventually, these videos gained traction, and I guess I contributed to this shift. It was sort of a merging of interests in behind-the-scenes content and process videos, and it really took off.

How would you explain what you do now as a creator? And how does it translate to working with brands?

CW: My career pivoted as a result of the process videos. I had built an audience, which gave me new leverage to pitch to brands. Before, I sold my skills solely as a director, but now I sell my skills as a director, my audience, and myself as a talent. So when I take on a job, I'm effectively doing a triple role because I'm marketing and monetising from all three angles. I could focus on just being talent, just being a director, or just selling the audience. Being in this position allows me to tap into all three areas.

Now, when I engage with brands, there are typical brand deals that content creators do, but I strive to keep things as creative as possible. My philosophy is that if the content is fun, my audience won't mind that it's an ad. If the concept is enjoyable on its own, then we all win. But it gets tricky because the algorithm prioritises content quality over follower count. On platforms like TikTok, anyone can gain traction from a great piece of content.

How do you signal to brands that you’re open to work with them while staying authentic for your audience?

CW: For better or worse, my content is quite specific – no one else really does what I do, which insulates me from trends. Chasing trends just to gain views or followers can lead to a loss of authenticity, as you might end up mimicking others instead of staying true to yourself. Personally, this insulation allows me to focus on doing my thing, making it easier to remain authentic without worrying about others or the latest trends. Sometimes, I feel I should pay more attention to what's trending, as participating in certain trends can be fun and add variety to my content.

When I first built my audience, I signalled to brands that I was open to partnerships by showcasing some initial brand deals on my profile. I made it clear to potential partners that I was engaged and available for meaningful work.

What have you learned about negotiating your rate?

CW: It can be challenging to determine how much to charge. In my experience as a director and editor, I learned that my rates should reflect the value of my services to clients, not just what I wish to be paid. I realised this while working with CoverGirl and high-profile clients like Sofía Vergara, Ellen DeGeneres and Katy Perry. I established relationships with the talent, and it became clear that my presence was crucial to their success. If I wasn’t there, it would be a risk, would the new person be as effective, or work with the talent as well as I?” This realisation allowed me to set a rate that reflected my value; I could command a higher price because I was effectively ensuring continuity and trustworthiness in their projects. Consider what your work is worth to them – this mindset can fundamentally change your negotiating strategy.

Check out D&AD’s Full-Service Creator theme in this year’s trend report, where we dive into how creators are rewriting the marketing rulebook.