Director Nico Poalillo Finds Analogue Joy in a Digital World

Pulse Films’ newest directorial signing, Nico Poalillo, is more than just a fresh face in the UK commercial scene – he’s a force forged in grit, shaped by experience, and hell-bent on pushing advertising into more emotionally resonant territory.

Nico has a multifaceted background – born in San Diego to Colombian and Italian immigrant parents, and creatively raised in Detroit, Nico’s path has swerved through agency boardrooms, post-production suites, and near-death experiences, all fueling a visceral directing style that’s equal parts analogue grit and human vulnerability.

A “sensitive little being,” as he describes himself, raised on heavy metal and Detroit’s industrial undercurrent, Nico’s signature emotional punch has already made waves with brands like Dodge, Audi, and Nike. But with his move to Pulse – alongside a transatlantic push with managing director Jamie Walker and president Mino Jarjoura – his vision is only getting bolder. Now are the days when his work really “slows down,” and he allows the talent to breathe in tune with the scene – a seismic shift in his craft brought on by his journey with fighting cancer.

“My style really feels like it’s gravitating towards just leaning into the analogue joy found in a digital world,” Nico says. “Now the work has really started to find a voice, and a reason for being amongst the advertising noise we all try to cut through.”

Pulse’s collaborative, craft-forward culture is a natural fit for Nico’s ethos – one rooted in prep, respect, and a bit of chaos – and one that he’s been dreaming to be a part of ever since his agency days. Today, he tells LBB about this major step in his career, and what more is coming.

LBB> You’ve had a fascinating creative journey, going from agency creative to now director. Can you walk us through that transition, and what pulled you behind the camera?

Nico> You know, it started well before I was even able to take the agency creative title but back to when I was working in post at The Work Inc in Detroit and then at Conscious Minds in LA, also as a post producer. I think the transition was gradual though, and over many many years. I just always wanted to be in the creative seat, regardless of what side of the agency-production spectrum I ended up on. I was just always making stuff, shooting, editing, writing down little ideas for ads and trying to shoot them with any gear I could find from any of the odd production jobs I had. It was a natural and gradual transition.

LBB> Your work is deeply influenced by personal experience, especially your battle with cancer. How has that shaped your perspective as a storyteller?

Nico> You know, it wasn’t a total battle thankfully, but a very quick fight, which was still… ultra shitty. I think any sort of semi-near death experience will, of course, change one’s perspective as a human and that will impact an individual's form of storytelling.

In many ways, it really slowed my work down for the better. I’m finding a lot more love in my storytelling via just shooting everything as static as possible, and really leaning into my roots of coaching talent in a way that allows them to really be themselves. Creating moments for them to breathe, and leaning into the performance no matter how extreme or mundane it may be.

Cancer was a gift in many ways. It taught me to slow down and it’s absolutely affected how I take on everything in this industry. It’s all about pacing ourselves, and trusting our instincts. It’s been a beautiful journey through quite a lot of pain.

LBB> From Audi to Dodge, your commercial work has a strong cinematic feel. How would you describe your directing style?

Nico> Thank you, that’s very sweet. I think that those projects have taken on an increasingly cinematic feel over the years. For me, my style really feels like it’s gravitating towards leaning into the analogue joy found in a digital world.

So, with anything from automotive, to lifestyle, to documentary, I think less is more, and a lot of that comes from early on in my career when I was trying to smash so much together. And man, fuck that, I am just trying to tell lovely stories, in short form, with the least amount of gear as possible.

So to me, the style is ‘analogue joy’, and trying to take as much of an anthropological approach with my work. Dodge is a great example of me starting to slow down (if you can believe that), and Audi is an even better example of really slowing down for something in the auto space. Now the work has really started to find its voice, and a reason for being amongst the advertising noise we all try to cut through.

LBB> Signing with Pulse is a major move. What drew you to them, and how does this partnership align with your broader creative vision?

Nico> Huge move indeed, and happened at such a pivotal time for Pulse and VICE as business partners. I candidly had always wanted to be signed to Pulse, it was a shop that inspired me from day one. They are a highly creative bunch, down to even how we bid jobs.

Everyone just wants to make the best thing, so it’s a very exciting ecosystem to be a part of. When I got the call from Mino (Mino Jarjoura, president of the newly created Vice Commercials and Branded Entertainment), as he was phasing out of Hungry Man to take over Pulse, it was just hard to say ‘no’.

Mino and the team have honoured my multifaceted experience on all levels, and are working tirelessly to develop me and my craft to ensure it continues to rise amongst these ultra competitive ranks. It’s such a gift, and I feel very lucky to be at home with them, and of course with my boy Jamie (Jamie Walker, managing director at Pulse) in the UK!

LBB> You’re known for blending grit, emotion, and visual punch. Where do you draw inspiration from – be it music, film, art, or beyond?

Nico> I think the emotion comes from just being a sensitive little being, the grit and visual punch even in the most seemingly mundane of frames comes from my time in Detroit.

But beyond just my own lived experiences, I draw so much inspiration from heavy metal too. It’s becoming more of a known thing with me, where I can even get on for a pitch and the agency will ask me what I am currently vibing with in the metal space. Sounds insane but it’s true.

I think the chaotic storytelling in heavy metal (especially black metal) with bands like Mgła and Deathspell Omega helps ground me in my ‘art’ and ‘craft’.

Filmically I have never been much of a film lover myself, which yes, yes, yes, I know, it’s kind of fucking insane. But I love me some Dario Argento, Michelangelo Antonioni and Abbas Kiarostami, and I think slowly, parallels have emerged between my adcraft and their immensely perfect form of narrative filmmaking.

LBB> What’s one lesson from your agency days that still shapes how you work as a director?

Nico> Oh gosh, I think there are many more than just one, ha! But mainly just trying to understand what it took for the boards to get into my lap, and for me to be writing on them. Weeks, months, sometimes years of work for the agency to get things into a spot where a director can take over and provide their vision. It’s absolutely wild to me, so I always try to level with them on this… Like, ‘Hey I got you, this is special to y’all to some degree and I am here to elevate and follow your lead’.

I think in a time of such immense turmoil as well with agencies scared (rightfully so) to lose clients over seemingly nothing, it’s the least I can do as a good partner while of course also trying to push the creative and mold it into its most effective form.

LBB> Now that you’ve joined Pulse’s roster for the UK, how do you see your style resonating with British audiences? What excites you about working in this space?

Nico> Goodness, I sure hope it does, but so far I think it’s taking some time to grow on the British audience.

Myself, Jamie and the entire UK team have been pushing hard to get in on some boards there as I think the work that is starting to come out of the UK again is really, really inspiring.

Tremendous storytelling in the short form, especially in sports, and we’re starting to see more in automotive. The British eye to me, whether it be all the way back to an episode of ‘Midsomer Murders’ or back even further to ‘Blow-Up’ or to all the amazing Nike work, is just top notch. There is something about shooting there that is truly magical and is so aligned with the type of pictures I’d love to paint (cheesy, but you get it). To the point of the work resonating, I think some of the auto work is resonating, and of course stuff like Bandit and Babel that would fit well within the British brand ecosystem. All very much a work in progress.

LBB> You’ve talked about wanting to break through “advertising numbness.” How do you keep your ideas fresh and emotionally resonant in such a saturated landscape?

Nico> It’s tough, and candidly, I am not sure if I am always able to keep it truly fresh but I always try.

As I mentioned prior, it’s important that I lean into what will make the agency happy first. Now, let’s not confuse that statement with being an ass-kisser, but it’s their choice to work with me (let alone shortlist me). So once I’ve figured out what makes them click, then there is a bit of an unspoken, ethereal thing that takes over and it just requires me to figure out where to push things. Sometimes it’s 1% to get more life of the characters, or it’s 20% more aggression on how we shoot the cars, etc.

To keep things as fresh as possible requires the ability to trust yourself, understand the task at hand and just lean into making what you want to make. So far, and since I’ve started doing that a bit more with myself, we’ve seen a greater uptick of the work improving and resonating with more people.

LBB> What does your ideal collaboration with an agency or brand look like?

Nico> Man, just fun if possible? Haha! It’s tough out there, folks are insecure, brands even more, we’re all a bit apprehensive to say what we really want to say in advertising, so it’s amazing when you find partners that just let you have an equal seat at the table, and you also give them the grace to enjoy, and get involved with each step of the creative process. Cheesy but it’s a team sport, always has been, always will be.

LBB> Whether it’s a high-gloss car spot or an intimate narrative piece, how do you build trust – with both your crew and your subjects?

Nico> Much like with the agency or brand relationship, this one is all about leading with respect and being very deliberate with what is needed. I hardly have any issues with crew or subjects because we prep hard, and we use that time prior to shooting to really understand what we are trying to make.

Of course, it takes a lot of time to find a groove with your DOP, producer, first AD, etc., but after a while you know who is right for what job, and who will mesh the best with talent and agency/brand. It’s about always leading with respect, and trusting everyone to their job but assuming they’ve been prepped properly along the way.

LBB> If there were no budget limits, no guardrails, and full creative freedom – what’s the one story you’d love to direct, and why?

Nico> Ooof, great question. I think it would be an expanded film about cancer, honestly. What did it feel like when you first got the news you had cancer, what did it do to you? To those around you? That fascinates me. Humans at our lowest over something we most likely couldn’t control and how our body reacts. It’s amazing and something I am sure people would be curious to see discussed via the filmic medium. Who knows, maybe someday I can put something like that together!