Guille Comin on the Shift Back Towards Craft and Authenticity

Guille Comin is a creative director, director, and animator currently crafting bold visual stories at BOL Production House. Born in Madrid and shaped by nearly a decade under Barcelona’s sun, he eventually traded palm trees for Berlin’s raw energy - where he became a dad, found new creative fuel, and never looked back.

With a background rooted in animation and a passion for storytelling, he’s collaborated with a range of top-tier studios and global clients, always chasing that spark where concept and emotion meet. Whether directing live-action, crafting animated worlds, or blending both into something uniquely magical, he thrives on bringing ideas to life in fresh, visually striking ways.

When he’s not climbing walls (literally), playing with his dogs or kid, or losing himself in cinema, he’s probably working up his next narrative twist. For him, the best part of the job is simple: shaping great stories that stick.

He sat down with LBB to discuss how he amerces himself in his work, misconceptions about the world of animation and recent work for MiraFast…

​

Name: Guille Comin

Location: Berlin

Repped by/in: Creative Director at BOL Production House, Repped in Device

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Guille> Right now, I’m really excited about a new Christmas campaign for a chocolate brand.

It’s a project crafted almost entirely in stop motion, which feels like the perfect medium for the warmth and nostalgia we want to evoke.

Stop motion has this beautifully tactile quality; it’s slow, imperfect, human, and that’s exactly what we’re leaning into for this story. It’s been a dream to design every little element by hand and see it come to life frame by frame.

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Guille> I’m excited to see a shift back towards craft and authenticity. After years of hyper-polished visuals, there’s a renewed appetite for texture, imperfection, and storytelling that feels personal. Also, the democratisation of tools and tech means more unexpected voices are coming into the mix, and that’s refreshing.

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Guille> For me, it’s all about the emotional core. A great script doesn’t just sell; it connects. If I can feel the heart of it, and if there’s room to build a rich visual universe around that feeling, I’m in.

I love scripts that embrace bold visual metaphors or poetic moments, even in commercial contexts.

LBB> How do you approach creating a treatment for a spot?

Guille> I treat it like building a little world. First, I try to find the emotional tone, what should this make people feel? Then I look for visual anchors: colours, textures, and references that speak that emotional language. I’m obsessive about crafting the flow so it feels like an experience, not just a presentation.

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?

Guille> It’s crucial. You can’t tell a story for someone you don’t understand. I like to immerse myself in the brand’s world, what they stand for, how their audience talks, even their cultural blind spots. That context shapes every creative choice and makes the work feel grounded.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Guille> The producer. They’re your partner in making the impossible happen. A great producer keeps you grounded while protecting your creative vision, and that balance is everything.

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?

Guille> I’m drawn to work that blends craft and concept.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Guille> A misconception is: Because I come from animation, I’m only interested in stylised or ‘cute’ worlds.

The truth is, I’m fascinated by grounded, emotional storytelling, and I see animation and design as tools to enhance that, not as a box to stay in.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Guille> In the project for MiraFast, we had an underwater shot that involved integrating an animated character diving into a real pool and swimming below the surface. In the end, it was a mix of live-action (using a water bottle to simulate the splash), CGI to recreate the entire pool interior, and traditional animation. A winning combo!

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Guille> I try to listen deeply first, understand their needs and fears. Then I translate those into creative solutions that still align with the core idea. It’s about making them feel heard while gently guiding the vision.

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?

Guille> It’s essential. Diversity isn’t just a checkbox, it makes the work richer. I’d love to see more mentorship and pathways for new voices. Whenever possible, I open the door to young talent on set because fresh perspectives keep us all evolving.

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)?

Guille> I keep it in mind from the start, especially how a piece will live on social or mobile. But I also believe in crafting a strong core story first; the format is the lens, but the emotion has to translate everywhere.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Guille> I’m curious but selective. I see tech as a tool to serve the story, not the other way around. For example, we’ve explored AI in previsualisation and interactive experiences but always with a strong creative filter.

LBB> Which pieces of your work do you feel show what you do best – and why?

Guille> ‘MiraFast’ (2025) - The second part of the campaign we created for MiraLax, where we combined live-action and animation.

​‘OFFF’ Sevilla Titles (2024) - A bold experiment in visual language and stylish transitions, blending flamenco rhythms with graphic animation.

​‘Primavera Sound’ (2021) - A series of videos for the launch of the line-up of the iconic music festival, featuring a road trip through its different locations, six unique cities, each with their own character and personality.