Sarah Hamilton

As Head of Global Brand Strategy and Creative, I was tapped to architect Prime Video’s first brand proposition: its mission, positioning, values, personality, tone of voice, logo, tagline and visual expression. After defining and globally validating the new positioning, we introduced a campaign in the U.S., followed with a global campaign and new brand design in ‘22, and have continued to articulate the strategy across every funnel of brand marketing since.

Group Creative Director on the fantasy franchise The Wheel of Time. I led the team setting the creative strategy and brand creation for a new series, in order to grow a small but rabid fan base into a worldwide hit. Working closely with all the cross functional teams, as well as the showrunner, we established the style, the tone, created the Title Treatment and designed all the key assets of the marketing campaign, which led to the series being the #1 most watched streaming series of 2021.

Group Creative Director on the original series, The Underground Railroad, directed by Barry Jenkins. Led the creative team on the creative strategy, established an elevated tone and style across all assets, worked in collaboration with Jenkins, Nicholas Britell, agencies and illustrators to create a 360° campaign worthy of this award-winning series.

Group Creative Director on Carnival Row, responsible for building the world of an unknown IP, and solidifying Amazon Prime Video as a contender in the fantasy genre.

From the photography style, to the music, to the palette, to its sexy stars, we created a unique brand that was recognizable before the show even began. Using the arresting creatures as the door in, we leaned into the star power and social following of Cara and Orlando. Our campaign honed a potentially confusing story to two important takeaways: the unforgiving world and the dangerous affair.

With a massive social campaign, a live experience at SDComic Con, and VIP screening parties hosted by Orlando and Cara, the series gained a large, loyal audience and was a domestic and international success.

Group Creative Director for the groundbreaking awards campaign that garnered 20 Emmy nominations for Amazon's signature series and 5 Clios for the marketing team.

And the momentum continued into the record-setting premiere of the show’s third season. Anchored by the legendary Annie Leibovitz’s beautiful photography, our comprehensive campaign spanned print, OOH, digital, social, TV, cinema, partnerships, and experiential.

Group Creative Director on the launch of the action series Hanna— introduced our teenaged assassin to the biggest audience in tv with a :60 in the Super Bowl offering prime members a limited chance to stream the first episode well before the entire series premiered. From there, we kicked in to action with a trailer and tv spots using bespoke music from Karen O, culminating in an iHeartRadio concert with Karen O, Meg Myers and other fierce female musicians. As promised, Hanna was the girl no one saw coming. . .

Until Season Two, when we ramped up the action and conspiracy to bring back S1 viewers (affectionately known as Fannas) and an all new audience hungry for new content in the days of Covid.

Group Creative Director from the second season to the Season 4 series finale of Amazon Prime Video's beloved and prescient Emmy-winning series. After our ominous and controversial campaign for S2, we shifted to focus on the rising rebellion and created a scripted 3-hour interactive radio experience called Resistance Radio. With an album of ‘60s music reimagined by Danger Mouse, San Cohen and notable indie artists, and an audio drama of three pirate radio DJs, the audio experience earned an Emmy nomination, and its storylines were written into the next two seasons of the show.

In Season 3, we dismantled a symbol of oppression to create a symbol of hope, but it wasn’t until the final season when we could truly promise that the good guys were going to win, and that history wouldn’t remember the traitors fondly.

Group Creative Director on this campaign for the sustain phase between Season 2 and Season 3 of The Man in the High Castle. Resistance Radio is a scripted 3-hour interactive radio experience telling the stories of three pirate radio DJs in the Neutral Zone of the country alongside a full album of ‘60s music reimagined by Danger Mouse, San Cohen and notable indie artists. The audio experience earned an Emmy nomination, and its storylines were written into the next two seasons of the show.

Group Creative Director on Season 2 of Goliath. Led the creative development of a custom painted campaign.

Billy McBride hits the streets (and the beach) to take on another giant: the justice system itself. And shit gets weird. Billy is the most colorful character in Venice; he’s grungy, has questionable morals, and he’s unlike any lawyer we’ve seen. Like the urban murals around his beach home, he’s totally unique and rogue.

For our campaign, we commissioned a noted urban artist, Joel Artista, to create an original mural on two 15x30’ walls. In it, Season 2 comes to life in beachy corals and blues, depicting a lawyer up against another giant and out of his depths. But even as he’s about to be swept away in a sea of vices, he remains, as always, confidently unscathed.

Group Creative Director on both seasons of the creepy podcast sensation-turned-series. Season 1 of the series was a mixed media style, so we commissioned original illustrations from the show’s artists and animated them as teases and static art. With narration from Aaron Mahnke, the podcast creator, they came alive.

Season 2 was more cinematic, so our campaign was modern and photographic, and bloody fun.

Group Creative Director on this anthology series based on stories by Philip K Dick. With the author’s trademark mashup of past and future, we explored what will make us human hundreds of years from now. We designed a real headdress made of vintage wires to encircle the head of our model-turned-robot, symbolizing the kinetic energy and color of our dreams.

Group Creative Director for the final season of this indie favorite. As John said, “We have a jellyfish situation. You try to solve one problem, you get two.” Season two, that is. Patriot didn’t last, but we sent the show out with a splash.

Group Creative Director who asked an old John Claude Van Damme to sit on a 12’ statue of a young JCVD in the famous splits pose. I don’t really need to say anything else about this campaign.

Group Creative Director on this gripping international thriller, where Kate Beckinsale braves jungles and terrorists with skill and a perfect ponytail.

Creative Director on the AV portion of the campaign for Jill Soloway’s artsy, sex-fueled study of a love triangle in Marfa Texas. I went to Marfa and shot a shirtless Kevin Bacon riding on a horse through the streets, so.

Group Creative Director on the only season of The Last Tycoon, based on a novel by F. Scott Fitzgerald. Led the team on a glamorous old Hollywood-style campaign. With Janie Bryant’s costumes, Matt Bomer’s face, and Marc Hom’s lighting, we didn’t have to do too much else but say “Print it!”

Creative Director on the AV portion of the campaign for F. Scott Fitzgerald’s Zelda. She was a beautiful mess, but well-behaved women never make history.

Creative Director/Director/Writer

Creative Director. Having FX/X as a client is awesome because they say: make something cool and it doesn’t matter at all if it’s true to the movie, as long as it feels like FXX.

Creative Director. These four sports spots are the sum total of my knowledge of sports.

But there’s also an Academy Awards :60 and that’s basically my Super Bowl.

Director/Creative Director/Writer