Brenton Gieser's Passion For Human-Centred Storytelling

Brenton Gieser is a first-generation, biracial Korean-American film director straddling space between identities, cultures, and class. Brenton aims to craft stories that explore a nuanced yet grounded humanity through larger themes of inequity, healing, and the complexities of self. His first feature documentary, ‘The 50’ (acquired by Grasshopper Film), tells the story of 50 men who became the first substance abuse counsellors to come out of the prison system.

Brenton is a DOC NYC 40 Under 40 honouree, a distinction celebrating the top emerging talent in the documentary industry. His films have screened at DOC NYC, Mill Valley Film Festival, Santa Barbara International Film Festival, Big Sky Documentary Film Festival, CIFF, SF Indie Fest, amongst others.

He lives in the San Francisco Bay Area with his wife Cat and two young children, Amélie and Brixon.

Name: Brenton Gieser

Location: San Francisco, CA

Repped by/in: Invisible Collective, US

Awards: DOC NYC 40 Under 40

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

Brenton> I have a commercial campaign upcoming (that I can’t talk too much about yet) that pushes me lightly into a nuanced form of commercial comedy that I’m really excited about. 

Besides that, I just wrapped an ambitious sci-fi short film called 'LOOP' that fed my soul and pushed me as a director immensely. The film is set in a world 20 years from now where the human workforce is no more, yet a major tech conglomerate invites an exclusive group of people to take part in a radically immersive experience called the ‘UNIverse’. 

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

Brenton> I know that working on campaigns that move across broadcast, social, and sometimes other channels can be a challenge, but I like that challenge. It gives us as directors an opportunity to speak to different audiences and focus on the nuances of different versions while serving the ethos of a larger campaign.

I enjoy the challenge of crafting content that maintains artistic integrity while adapting to different platforms – creating work that can be appreciated for its cinematic craft on broadcast while still resonating through the immediacy of platforms like Instagram and TikTok.

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

Brenton> I love when you receive a script and the story beats (and beat shifts) are super clear and potent. Where you can really visualise the script while still having room to explore beyond what’s on the page. It’s hard to define boards that put ‘story first’, but you know it when you feel it. And when you get those boards it’s always a treat! 

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

Brenton> It’s not so different from creating a lookbook for a movie. First, you need to find your way in. What you LOVE about the creative and how that love can be translated filmically. From there, it’s about communicating that theme across all parts of the campaign and departments.

For me, a great treatment shows the agency its already rich creative work further actualised, while letting it see my personal take and how I'll contribute as part of the team.

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?

Brenton> There is always a personal way into a brand, even if you’re not personally familiar. A problem that it solves, that you or someone you know has had before.

Also, as a former marketer, I’m big on doing market research and understanding both the macro of the industry it serves and the minutia of understanding the psychology and lifestyle of its customer base.

Sometimes it’s understanding the brand’s competition, both legacy companies and new. Other times, it’s being on social and seeing what both its fans and critics are saying. Everything helps when trying to get a picture of a brand. 

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

Brenton> Typically director and creator director. They are often one and the same. The director can be an extension of the CD while growing a relationship of trust to a place where they can expand the creative together. 

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?

Brenton> Human-centred storytelling, emotional narrative, stylised vignettes. I’m also excited to push more into creative VFX work and comedy. 

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

Brenton> Coming from a documentary background and having done lots of social issue-based brand and commercial work, I think it's easy for people to place me into that narrow box. While I love that space, my aim as a filmmaker is to push the envelope visually, draw out rich performances, and connect with wider audiences.

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

Brenton> It's always TIME on set. Recently, there was a project where I got stuck shooting one shot for double the amount of time scheduled. Turns out we needed that time and I wasn't going to rush the technicians and the actor (bad for morale). But, I also knew we had to combine shots to make our day.

Most of the shots we had planned were on dolly, but we decided to instead stage a steadicam shot that could either play as one or be cut in two. The DP, actor and I talked for three minutes, rehearsed for five, and then were able to really create something special on our first take (and make our day 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?

Brenton> The idea comes from the client/agency. As directors, we need to realise that the CD and their team have often been crafting this idea for months. So, like a screenwriter who needs a filmmaker friend to jump in and see beyond the page, that's what I like to do.Not to change for change's sake or augment for augmentation's sake, but to see from a fresh perspective. When you start from there, true and expansive collaboration is possible.

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? 

Brenton> The world is a better and more fully-actualised place when people from diverse backgrounds can flourish. This holds true for the creative and advertising space as well.

Here in the Bay Area where I'm based, I'm dedicated to mentoring the next generation of creatives and have been fortunate to work with people from a wide range of backgrounds.

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)? 

Brenton> I think it's easy to resist formats that don't feel like ‘cinema’ or ‘film’. However, if we let that resistance take over, we lose so many rich opportunities to engage meaningfully with audiences. When I have the chance to pre-visualise for each deliverable, add frame lines on the monitor, or take any other steps to plan for all the formats a campaign will exist in, I do.

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

Brenton> I think new technology can be a slippery slope. Being from Silicon Valley, I understand the culture and its potential. There is undeniable power in many of these tools, and when used thoughtfully, they can improve workflows.

However, relying on them as a crutch can result in work that fails to truly connect with audiences.

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

Brenton> 'The 50' – A feature documentary that tackles serious subject matter, including healing and mass incarceration. I made the decision to prioritise the emotional content of our character’s journey, which is something I aim to emphasise in all my work.

'Mass General Cancer Center' – Here, I drew from my personal experience to create this spot. The goal was to craft something honest and immersive.

'Specialized' – A fun project where we built this garage/museum from scratch. It also carried a strong social and environmental message at its core.

'Heart of the City' – A celebration of the city I love, featuring lots of heart and a stylised edit. This piece helped shift the narrative around San Francisco tourism in 2024.