The Directors: Luna Al Masri
Luna Al Masri has over ten years of experience in the media industry. She received a Bachelor’s degree in sound engineering from SAE, Dubai and focused her early career mainly on post production for TV commercials. She worked with some of the biggest advertising agencies in the Middle East and North Africa like P&G, Saatchi & Saatchi, BBDO and brands like Audi, Toyota, Blackberry, Nivea and many more.
Name: Luna Al Masri
Location: Greece
Repped by: Treacle7
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Luna> I'm thrilled about an upcoming project, a launch video for a new wearable sports technology company. Collaborating closely with their marketing team, we're crafting the brand's initial impression, aiming for innovation and freshness. It's exciting to have the creative freedom to develop a concept that will truly distinguish them. I can't wait to see this video take shape!
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Luna> What excites me most in the advertising industry right now is the diversity of advertising mediums available. Beyond traditional TV ads, brands can explore social media advertising, each platform offering unique opportunities and specifications.
Digital advertising grants greater creative freedom than ever, enabling experimentation and refinement.
Moreover, technological advancements have made high-value productions more accessible. With the right resources, we can now realise even grander ideas.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Luna> What sets one script apart from another for me, is its ability to evoke emotion and captivate the audience.
Drawing the majority of my experience from music videos and having worked closely with brands on developing concepts, I've had the opportunity to create scripts that truly resonate with me. Whether it's a story that challenges conventions, explores meaningful themes, or showcases innovative ideas, I'm most excited to shoot scripts that inspire creativity and have the potential to make a lasting impact.
LBB> How do you approach creating a treatment for a spot?
Luna> When creating a treatment for a spot, my approach revolves around visuals and explanations. I view the treatment as an opportunity to convey my vision for the project to everyone involved. Therefore, I prioritise finding visual references that capture the mood and colours of the project. Depending on the complexity, I may even include a scene-by-scene visual representation accompanied by written explanations. This ensures that everyone is aligned and provides a platform to address any discrepancies.
LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?
Luna> Research is a very important step in my directorial process, regardless of my familiarity with the brand. Understanding the brand's essence allows me to visually translate their message effectively.
My research begins by reviewing all previous advertisements, spanning videos, prints, and social media. I analyse common themes, visual guidelines, and unique selling points. Additionally, I delve into the brand's market, both nationally and globally, to better understand their positioning and competitive edge while also learning the market trends in terms of advertisement. This often involves exploring articles, documentaries, and corporate content to uncover the brand's history, motivations, and messaging.
This research phase is not only crucial but also immensely rewarding!
LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Luna> While I find excitement in all types of work, my passion lies in emotionally evocative narrative projects. I'm drawn to storytelling that resonates with audiences on a deeper level.
Additionally, I enjoy working on larger-than-life, out of the box projects that allow for creativity and exploration beyond the conventional.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Luna> A common misconception about my work, given that my experience is mostly in music videos, is that I solely focus on vibrant visuals and energetic performances.
In reality, even within the realm of music videos, my approach is rooted in storytelling and narrative. I view artists as brands as well, and I strive to translate the essence of the song and the artist's brand into visual narratives that resonate with audiences. Sometimes this is done by creating narratives. These storytelling techniques are equally applicable and integral to my work in commercials.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Luna> One particularly challenging issue came up during a shoot involving oversized chess props. Despite expecting giant chess pieces (a person’s height), we received miniature ones on the day of the shoot (knee high), which was visually underwhelming. With limited time to rectify the situation, I collaborated with the director of photography and set designer to creatively solve the problem.
We strategically placed the smaller chess pieces on various-sized wooden boxes, painted on the spot, and utilised lighting to cast dramatic, oversized shadows on the wall. The result not only resolved the issue but also added a visually captivating element to the scene!
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Luna> In any project, our shared goal is success, and effective communication is the best way to achieve it. I approach collaboration with openness, it's vital for fostering creativity and ensuring alignment with the brand/agency’s vision. I actively listen to their input, incorporating their feedback and ideas into the creative process.
However, if an idea detracts from the project's success, it's my responsibility as a director to explain why and propose alternatives.
By transparently articulating the rationale behind decisions, I've found that everyone involved is committed to protecting the project. Sometimes, compromises are possible—exploring alternative approaches or planning multiple versions when feasible.
Ultimately, my aim is to ensure that everyone on set is aligned and confident in the project's direction.
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Luna> I strongly advocate for diversity in the production world. Embracing individuals from varied backgrounds and experiences enriches projects with fresh perspectives and creativity.
As a self-taught director who has navigated the industry in a foreign country, I understand the importance of first-hand experiences and mentorship. Recognising the scarcity of such opportunities in my own journey, I've made it a priority to open my sets to mentees.
I wholeheartedly support mentoring and apprenticeships on set, as I believe in empowering aspiring talents and fostering a more inclusive and dynamic production community.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?
Luna> I always consider the various formats when approaching a project, beginning with discussions with the brand to understand their goals and preferences. Each project is unique, and the approach varies accordingly.
For instance, if the primary target is a TV ad with an additional focus on social media, I explore options for incorporating both horizontal and vertical shots. This may require additional time and budget allocation, but it ensures a comprehensive presence across platforms.
However, if the brand's main objective is a TV ad with minimal emphasis on the social media campaigns, we prioritise the TV ad while finding ways to adapt content for social media. In such cases, maintaining the quality and integrity of the TV ad remains paramount, recognising that accommodating all formats may not always be feasible without compromising quality or extending production timelines.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?
Luna> I embrace new technology as it opens up innovative avenues for creativity. While I'm curious about emerging tech, my approach involves collaborating with experts in the field to incorporate future-facing technologies into my work.
LBB> Which pieces of your work do you feel show what you do best – and why?
I believe that one of my strengths lies in concept creation, as showcased here. Balancing the introduction of fun elements into a luxury brand requires finesse, and this project exemplifies how I maintain the brand's integrity while infusing creativity and excitement.
Music video with narrative storytelling – the song title means “I’m here for you”
I consider this project to be a prime example of my expertise in emotional narrative storytelling. It's a personal favourite and was very well received by the audience, eliciting an emotional response and great praise.
Social media campaign – promoting a live event for artists.
This project shows my strength in 'out of the box' thinking and creative treatment development. It deviates from local market presentation of live event promotion by adopting a more sophisticated approach, inspired by perfume ads.
I believe this project demonstrates my talent for injecting fresh ideas into familiar treatments. Despite not being an animator myself, I collaborated with a team of animators to seamlessly blend live action with animation, offering a unique and innovative approach.
