Pete Riski and the Real Strength of Cinema

Pete Riski is a filmmaker from northern Finland, known for creating powerful and personal work, known for its emotional impact. Whether 30 seconds or 90 minutes, his films aren’t just watched, they’re felt.

Pete’s work has received numerous awards over the years, among them the widely recognised Wrigley’s Extra ad, which became a global phenomenon in 2015. With over 150 million views, it was praised as “the most romantic movie of all time” and won multiple honours, including several Cannes Lions. It’s just one of several emotionally powerful works in his reel that have caught the attention of audiences worldwide.

In recent years, Pete has expanded into long-form storytelling, directing acclaimed series such as ‘Bullets’ and ‘Icebreaker’, both winners of the Coup de Coeur Award at the MIPDrama Summit in Cannes, making him one of the few directors to receive the honour twice. His narrative work spans multiple genres and focuses on emotionally driven, character-led stories.

Pete continues to tell stories across the globe, and no matter the format or genre, he remains the same humble guy from the north, only with a few more stories to tell.

Name: Pete Riski

Location: Helsinki, Finland

Repped by/in:

DIRECTORS GUILD HELSINKI (Finland)
RSA (UK)
WILD GIFT (USA)
RADKE (Canada)
LOVE BOAT (France)

Awards: Various awards from ads and films around the globe.

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

Pete> Lately, I’ve been doing more comedy, which seems to open new opportunities for me. I always feel that each good job leads to the next one. When I look at my reel, I can trace how some projects have led to the next one with similar themes, yet they’ve always turned out different in their own ways.

Outside of advertising, I’ve got a few feature films in different stages of development, many of them based on my original ideas. Let’s see if any of those move forward. This industry is funny that way – you can feel like nothing’s happening, and suddenly you’re juggling multiple productions at once.

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

Pete> Everyone’s talking about AI, and there’s no doubt it’s going to reshape how films are made. I see it as a tool, but for me, the heart of cinematic storytelling is still human emotion. What we feel when we watch something is what truly matters. Audiences are incredibly perceptive. It’s not just about what looks real. Even if something is AI-generated and photorealistic, you can still sense when something’s off emotionally.

That emotional core is why I believe all filmmaking roles will remain essential. Live-action production might eventually evolve into something closer to an animation-style workflow, but directors, DOPs and other creatives will still play a vital role.

I’m also really excited about breaking away from traditional commercial formats. We recently made a very low-budget film that served as an ad for a book. Instead of a standard commercial, it was a short scene that could have happened before the story of the book begins. Almost like a prequel. The whole process felt more like making a short film and I think there’s a lot of new creative ground to explore in productions like these.

LBB> What elements of a script set one apart from another, and what sort of scripts get you excited to shoot?

Pete> Sounds like a cliché, but for me, it’s all about the idea. A script can take any form or shape, but if it hits me emotionally, I’m immediately hooked. Sometimes it’s just a small detail that sparks something, and that tiny moment might end up becoming a major turning point in the story.

Other times, the whole concept instantly creates a clear vision for how to approach it.

That first read of a script is always interesting. I tend to read fast because I’m eager to find out what it’s about, and to be honest, I often misread some details. But those misreadings can sometimes lead to new ideas and unexpected directions.

Ultimately, the most important thing in a script is its emotional impact. Too many details can get in the way of fully immersing yourself in the story. No matter the genre, I have to feel something.

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

Pete> Translating thoughts into text can be exhausting, but I really enjoy the whole creative process around it. I usually postpone the actual writing to give myself more time to think. Maybe there’s something about writing that I’m subconsciously trying to avoid. It almost feels like once it’s written, something becomes locked in.

The best ideas often come when I’m not actively working, like when I’m listening to music, reading, or watching something completely unrelated. Most often, it’s music that unlocks new ideas or helps me find the perfect emotion that could work at a certain point in the story. It’s not the track itself, but the emotion it brings out.

Ironically, those ideas never seem to come when I sit down to actually work on the project. Maybe I need to trick my brain into thinking we’re not working. Of course, this way of working tends to blur the line between work and free time, which feels great to me, but maybe less so for my family when I suddenly start scribbling notes during downtime.

LBB> If the script is for a brand you're unfamiliar with, or a market you're new to, how important is research and understanding the strategic context? How do you approach it?

Pete> I often feel it's actually a strength to come in with fresh eyes. We can get stuck in old habits just because ‘that’s how it’s always been done’.

What’s important for me is understanding what the client has done before and where they want to go. That brief can be very simple, just enough to focus on making this film we’re doing now as strong and clear as possible.

I’ve had some weird situations where things changed mid-shoot. One time, the brief shifted completely during production to the almost total opposite of what we were aiming for, and we ended up shooting a huge amount of material. I edited a rough cut myself in my hotel room over the weekend, using a music track I really loved. When I showed it to the agency, everyone teared up. That version, with just minor tweaks, was the one that aired.

That’s also a good example of how hard it is to explain emotional storytelling with words. The best way is just to try to get a chance to show it, and when people feel how powerful it can be, they understand that this might be the right way to go.

Human emotions are universal. Yes, there are cultural differences, but in the end, we all laugh and cry at the same primal things.

LBB> What’s the most important working relationship for a director on an ad? Why?

Pete> As a director, you can often feel quite alone in the process, even when you’re surrounded by a hardworking crew. If I had to pick one person who really makes a difference in that process, it’s the producer.

A good producer is always there for you. They listen patiently to the director’s endless worries, doubts, complaints and all that shit. They’re the voice of reason, but instead of just saying no, they try to find ways to make things happen. Of course, often something just isn’t possible, and that’s when you really need to listen to the producer.

A great producer also helps bridge communication between the director and the agency or client. I think the best producers I’ve worked with have protected me from a lot of unnecessary stress during production. They’ve only brought up problems when there was not a way to solve them on their own. There’s a lot of politics in this business, and the more a director can stay focused on the creative side, the better the outcome will be.

When I describe all this, it almost sounds like the producer is a calm and understanding parent dealing with an unruly child. And maybe that’s actually a fair comparison. Working with a producer you’ve known for a long time allows you to fully focus on filmmaking, because you trust they’ll handle everything else.

I have huge respect for all the producers I’ve worked with. It’s not an easy job.

LBB> What type of work are you most passionate about? Is there a particular genre, subject, or style you’re drawn to?

Pete> I’ve done a lot of human drama and emotional storytelling, so I tend to get offered a lot of that. But for me, it’s never about the genre. It’s always about the human experience.

Even in comedy, horror, or anything else, I always start from a human angle. What are the characters going through? What are they feeling? Sometimes it’s friends sharing funny stories, laughing and enjoying each other’s company, that’s pure comedy at heart. Other times, it’s a grieving daughter trapped on an eerie icebreaker with supernatural events unfolding, a psychological horror wrapped in emotional loss.

Those are completely different starting points, but I’m equally excited to build from them. This makes the comedy more heartfelt and the horror even more bone-chilling.

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

Pete> I’m often pigeonholed as the ‘emotional tearjerker’ guy. But as I’ve said, I believe every story – regardless of genre – should be looked at from a human perspective. If we lose that, we’re only watching from the outside and not really feeling it. The real strength of cinema is making us feel like we’re in someone else’s shoes.

LBB> Have you ever worked with a cost consultant? How was the experience?

Pete> I’ve been lucky. Most of the time, producers have kept me out of those discussions. But of course, I’ve also been part of conversations where we had to justify why certain things were essential. There are many different kinds of people working in this industry, and it’s only fair to make sure that all the money is going into what ends up on screen.

LBB> What’s the craziest problem you’ve encountered during a production – and how did you solve it?

Pete> Maybe this wasn’t such a big problem, but it was definitely a funny one.

DOP Jean-Noël Mustonen, who I’ve worked with for many years, still reminds me of this one time when we were shooting an ad in Argentina, almost 20 years ago, with two monkeys having a conversation at the top of a tree. CGI wasn’t really an option back then.

During the dialogue, one of the monkeys was supposed to make some hand gestures, so we had guys in green chroma suits ready to help move the arms. While we were prepping, Jean-Noël walked behind the set and saw something strange. Instead of dressing the wranglers in green suits, they had actually put the chroma suit on the monkey.

We had to explain that the green would be keyed out in post, which meant we wouldn’t see the monkey at all anymore.

LBB> How do you balance being collaborative with the agency and client while still protecting the idea?

Pete> I think it’s actually a good thing when the director comes in with a fresh perspective. The agency and client have often lived with the brand for a long time. They see the bigger picture, but for me, it’s about what the audience will feel when they see the final film. I try to be honest about that, and so far, it’s worked well.

One thing that comes up a lot is visual gimmicks in storytelling. As I mentioned, for me, it’s always about emotion. These days we’ve seen all kinds of impressive transitions and tricks, but I always ask why we’re telling the story that way. If the only answer is that it looks ’cool’, then I might not be the right person for the job. Often, those conversations help us find the real heart of the story.

For example, we once worked on a film about enjoying summer with friends. The original concept was packed with fast transitions – spinning cameras, whip pans, everything. But when we talked about the emotion we were after, it became clear we should be closer to the people. It’s all about the human side of the story. We should feel almost like part of the group. That shift made the whole film feel more real and grounded. That’s what the process is about for me: figuring out what the story really is, and what we want people to feel.

LBB> What are your thoughts on opening up the production world to more diverse talent? Are you open to mentoring on set?

Pete> I believe equality at every level is essential in our industry. Real change only happens when we actively make sure that everyone has the same opportunity to be part of the process.

I'm always open to mentoring. I tend to be quite focused and in my own bubble while working, so I might not always be the most talkative person on set. But I truly believe that being there, seeing how things happen and observing the process, is one of the best ways to learn. That’s how I got started, as a trainee at a production company, and I learned more from just being present than I ever did at film school. I’m always happy to support new people coming into the industry.

LBB> With so many formats now, how much do you consider each one during production?

Pete> It totally depends on the project. Sometimes you improvise something quickly with the actors and realise it might work nicely on social. But usually, those decisions are made in the edit. For me, the shoot day is there to capture the material, and the edit is equally important when we put everything together.

I started as an editor, and I used to edit all my own work in the beginning. Maybe that’s why I shoot a lot of material and try to avoid that moment in the edit when someone says, "I wish we had shot that." Someone wiser once said that every film is made three times: first you write it, then you shoot it, and finally you edit it. All of these stages bring something new to the final result.

LBB> What’s your relationship with new tech (virtual production, AI, interactive, etc.)?

Pete> I feel like we should never be blinded by technology. It’s always there to serve the story – not the other way around. If there’s a way to shoot something on location, most of the time it’s cheaper and still looks more real. And it also gives you the freedom to focus on the actual story.

There should always be a reason why we’re using the latest technology. Sometimes it’s as simple as wanting to shoot a long scene during sunset, or because the real location doesn’t exist. Many times, the best solution can even be a hybrid – combining the latest tech with traditional shooting. I’m always open to new tools, but we should always compare the benefits of doing it the traditional way.

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

Pete> Extra, ‘The Story of Sarah & Juan’

This might be my most well-known ad. Everything just clicked – casting, music, editing. Big thanks to the client and agency for trusting me.

Colman’s, ‘Break Up’

This started a whole campaign. I shot it before I had my daughter, and now as a dad, it hits even harder. Dreading her teenage years already.

Instrumentarium, ‘Eternal Love’

I feel that this is a perfect example of what I'm looking for in a comedy. It's extremely simple and at the same time there's a very strong human angle here.

‘Icebreaker’, Trailer

This series was shot in 2023 and will premiere later this year. I wanted to show a totally different side of what I can do.