Let it Rip Pictures Welcomes Lobster to US Roster

Let it Rip Pictures has welcomed LOBSTER to its US roster. Behind the name is Guillermo Madurga, a Barcelona-born filmmaker known for his emotionally-driven, visually inventive commercial work. Why Lobster? “Because it’s the only way I can get the producer to buy me lobster at the end of the shoot,” he jokes.

Lobster’s work spans genres and formats, with standout campaigns for brands like Vodafone, Starbucks and P&G. Whether the tone is grounded and intimate or bold and stylised, there is always a clear throughline. Guille has a unique ability to make each piece feel personal, human and cinematic. “What I love most about advertising is that it lets you play with filmmaking,” he says. “You get to try different tones and styles without having to pick just one.”

That creative curiosity is exactly what drew us in.

Luiza Loures, junior producer at Let it Rip Pictures, shares, “This is such an exciting addition to our roster, not just because of Lobster’s experience and imaginative work, but because of how Guille creates. He’s always exploring new ways to approach a story, whether it’s through technique, technology or tone. There’s a constant drive to push things further and bring a new perspective.”

Let it Rip Pictures is thrilled to bring his creative voice stateside. Between directing, cycling, and sculpting with a 3D printer in his free time, Lobster brings more than just craft to the table. He brings curiosity, care and a constant urge to push boundaries in unexpected directions. And if you ever find yourself on one of his sets, take a peek at the monitor. The one thing you will always find taped underneath is a list of the actors’ names. “Sorry guys,” he laughs. “Nothing personal.”

Curious about where his ideas come from, how he works, and why cycling might be the ultimate brainstorming tool? Let It Rip asked Guille a few questions to find out:

Q> What’s the first thing you do to get inspired when a new job comes in?

Lobster> It might sound obvious, but the pitch process is actually a key moment of inspiration for me. It pushes me into a deep dive of visual research: photography, art, films, ads, illustrations, video games… basically, anything with strong imagery and a solid idea behind it. That avalanche of references becomes a kind of compass, helping me imagine a path that feels true to the project and to my own style, while also opening up space to explore fresh ideas I might not have considered otherwise.

Q> Has your work changed over the years? How so?

Lobster> I like to think so, yes. Over the years I’ve adapted to different styles and trends, and in my case, I’ve always enjoyed exploring a variety of genres. That’s actually one of the things I love most about advertising, it lets you play with filmmaking. The short format gives you the freedom to experiment with different languages and tones without having to commit to just one.

Of course, I do believe it’s important to keep your own voice and not drift too far from it. But in commercial filmmaking, styles evolve quickly and in a way, our creative approach has to evolve with them.

Q> What’s something you’re excited to try in your next projects?

Lobster> Right now, I’m immersed in exploring the possibilities that artificial intelligence offers to enhance the language of advertising. I find it really exciting to reach places that, until recently, might have been unthinkable, whether due to budget, time constraints, or even the way we used to think.

My ambition is to go further, both creatively when it comes to proposing ideas, and in the way those ideas are executed.

Q> Where do you usually go for inspiration?

Lobster> Lately, I’ve found that cycling gives me the perfect space to let my mind wander and explore ideas in a very visual way. Somehow, it’s become a surprisingly productive moment for shaping concepts and letting ideas take form.

Q> Favourite country you’ve shot in so far?

Lobster> Spain is one of the most rewarding places for me to shoot. The crews are top-notch and the whole working experience is just amazing. Every department delivers, the locations are incredibly versatile, the casting is always fresh and diverse… and the catering? Honestly, it’s ridiculously good.

Q> Got a hobby or obsession most people don’t know about?

Lobster> In my free time, I create metal sculptures using 3D printing. It's a completely different process, but it helps keep the creativity flowing but lately I’ve been quite immersed in creating images and videos with AI. I’m constantly searching for a personal style and exploring wild or complex ideas that would be hard to pull off otherwise.

Right now, I’m much more focused on how to express concepts and tell ideas, rather than chasing ultra-realistic results, which, to be honest, seems to be the obsession for a lot of people. That’s not really what interests me at the moment.

Q> AI is becoming part of many directors' toolkits. Has it changed how you work?

Lobster> It’s definitely changed the way I work. I use it to conceptualise ideas, to get inspired, and even to integrate it into postproduction processes. It’s a tool that’s here to change the way we work and I think it opens up a lot of exciting possibilities.

Q> What do you hope AI can bring to your creative process, and is there anything about it that concerns you?

Lobster> Personally, I think AI is going to change everything. In a way, it already is but it still feels like it hasn’t fully settled. It keeps evolving at an incredible pace, surprising us every month with something new and unexpected.

My hope is that once AI reaches a more stable phase, it will become so integrated that our creative processes will take us to places we never even imagined. That would mean a shift in advertising language itself, opening the door to fresher, more exciting ideas, both in big productions and in smaller ones. And I think that’s a truly thrilling prospect.

Q> Do you think AI will ever fully replace any part of the directing process, or is the human touch irreplaceable?

Lobster> These days, I find it really hard to come across work that has a true sense of identity or personality. There are thousands of pieces out there that, honestly, feel kind of soulless.

I want to believe that, as human beings, there will always be a need for a unique voice, someone who can turn ideas and storytelling into something meaningful, something that reminds us why we love what we do.

The idea of fully-automated directing makes me think of mass-produced content, something that lacks voice, soul, and any real point of view.