Samuel Morris on Why the Best Scripts Don’t Try Too Hard

Samuel Morris is a Swiss film director and writer whose work blends emotional depth with bold visual storytelling. Raised between a filmmaker father and a nurse mother, his voice reflects a unique fusion of creativity and compassion. From viral skateboard videos to award-winning short films, Samuel forged his path as a self-taught filmmaker, building a name through standout commercials and boundary-pushing narratives.

Name: Samuel Morris

Location: Basel

Repped by/in: FORM in UK and Unit9 in US

Awards:

• Basel Film Prize for the short film 14
• Swiss Youth Film - First Prize for Schritt für Schritt (young filmmakers category) Swiss Youth Film - First Prize and Audience Award for Doug & Walter (young filmmakers category)
• Zürcher Fernsehpreis for work on the SRF series Nr. 47
• ZagrebDox Award for the documentary film Desert Dogs

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

Samuel> To me, a script is like a living thing, shaped by personal and cultural influences, with traces the writer may not even realise. I’m drawn to stories that are direct and I get excited when a script feels personal and specific but opens up something universal. When it doesn’t try too hard and simply trusts its truth. When it’s simple on the surface but leaves something lingering, that’s when I want to shoot it.

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

Samuel> I love starting by talking with the creatives behind the project, who had the idea, why, and what excited them about it. From there, I immerse myself in the concept, gather visual references, and try to really understand the core. I always try to stay closely connected with the agency and if possible even the client throughout the process. After drafting the first version, I refine it through feedback, sharing with the production company and agency whenever possible. Collaboration is key. I’m a team player.

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?

Samuel> If I’m not familiar with the brand or market, research is essential. I learn about the brand’s values, past work, and target audience through talking with the agency and if possible even the client to understand their goals. This helps me create work that feels authentic and connected.

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

Samuel> The most important working relationship for me is with the executive producer. They keep the production on track and bridge the creative and practical sides. After that, close collaboration with the agency and client is vital to ensure the vision aligns with their goals. And of course, a strong partnership with the director of photography is key to bringing that vision to life visually.

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?

Samuel> I’m most passionate about work that is emotional and driven by a strong story or powerful visuals. Whether it’s a subtle moment or a bold/funny idea, I’m drawn to projects that connect deeply with the audience.

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

Samuel> People often think I only direct sports commercials. That’s a misconception because I’m passionate about a wide range of stories and styles, especially those with strong emotional and visual impact. My work goes beyond just one genre — I enjoy exploring different subjects and creative challenges.

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

Samuel> Oh wow, every production I put my heart and energy into comes with its own problems or rather challenges. My job is to solve them, and I have had many. If I had to choose one it would be when we were shooting a herd of cows that had to sit down. The cows simply would not move even though we had a tight schedule. The cow handler could not calm them, so the whole crew started talking to the cows and trying different things. We ended up spending almost an hour on it. Then it started raining and the cows completely changed their mood and freaked out. Suddenly we had a new problem. But it was fun though, we got the shot in the end.

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

Samuel> I always aim to bring my vision to the project while involving the agency and client throughout the process. I’m here to serve their ideas. It’s important to me to stand behind the project, not in front of it. Collaboration and respect for their input help protect and strengthen the idea together.

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?

Samuel> 100% always and forever.

LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working?

Samuel> I try to talk with the DP about it and we often use guides while shooting.

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

Samuel> I see new technology as a great tool, and I use it that way. I’m open to exploring how tech can enhance the creative process and the final result without letting it take over the story itself.

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

Samuel>

The North Face – Never Stop Exploring

Watson – Blah Blah

AXA – Know You Can

UBS - Ode To Switzerland

Desert Dogs – Documentary Film Trailer