What Filmmaker Adam McKay Taught Mirimar’s John McKelvey About Tonal Range

Welcome back to Big Ideas, ADWEEK’s series in which we talk to the industry’s top creative minds.

This installment features John McKelvey, founder and chief creative officer of indie agency Mirimar. ADWEEK’s 2024 Breakthrough Agency of the Year is behind work including Rocket Companies’ 2025 Super Bowl ad and the global campaign for Beats Pill’s collaboration with Kim Kardashian. 

McKelvey breaks down how filmmaker Adam McKay’s approach to storytelling has inspired his work in advertising and why tonal range is a vital skill for creatives. He also opens up about what keeps him up at night about the industry. 

What’s a piece of culture outside of advertising that has inspired your work?

The Big Short directed by Adam McKay. It still holds up over a decade later.

What’s wild is that McKay is also behind Anchorman and Step Brothers, the pinnacle of silly. He made Vice and Don’t Look Up, and was the head writer on SNL for several years.

What I admire is his tonal range. He’s apparently one of the best at improv—smart, fast, quick-witted. He once said he was doing comedy improv but no one was doing dramatic improv, which opened up ways to access both sides of yourself and understand the timing for both storytelling vehicles. He’s shown how drama and comedy share so much.

I really admire someone who has a vast tonal range but is fully committed to the story they’re telling at that moment. That unlocks something in the people around him too—famously, Steve Carell.

At Mirimar, we strive for that. We don’t have a set style. We listen closely to what clients want, then come back with a solution that feels right for that moment. Tone comes later. That’s why we can move from fun, pop-silly things, like Beats’ buddy-film comedy, to the emotional Rocket Super Bowl spot about homeownership. Same team, 100% authentic in both genres. 

I admire creatives with range and encourage our teams to access all those parts of themselves. It’s about lowering the fear and letting people feel secure. When you feel secure and open, you’re not just reaching for what you’ve done before—you’re making something original and bespoke for the moment.

What’s your favorite piece of work you’ve made recently?

I’m very proud of Rocket’s “Own the Dream,” a genuinely integrated Super Bowl initiative. It was a 60-second spot about the importance of home, which led directly into a live stadium sing-along as the broadcast cut back.

What’s your favorite recent ad that someone else made?

Squarespace’s Super Bowl ad, directed by Steve Rogers and starring Barry Keoghan, was such a beautiful, restrained, funny piece. When you tap great film actors for the Super Bowl, they jump through the screen with their performance.

What keeps you up at night about your job?

This industry works better with more security in relationships. Brands get more from committed partners who can put all their energy into the work. When it’s a rotating door, it creates instability that hurts everyone.

What’s the most exciting thing about the industry right now?

I’ve always felt grateful for this job. Using imagination and creativity to make funny, beautiful, interesting things that help businesses succeed is rewarding and fun year after year.

Now we’re seeing more creatives with diverse skills and backgrounds entering the industry, especially younger talent who naturally do a range of things. That energy feels less siloed, and it’s exciting.