For Mikko Lehtinen the Unexpected Is What Gives a Project Its Real Magic
Mikko Lehtinen is a natural born storyteller, and a top-drawer craftsman, with stellar performances, rhythm, and timing being the secret sauce to his compelling directing.
Born in Finland – known for being the happiest place on Earth with thousands of lakes, and silent forests where the air hums with the stillness of things waiting to happen – Mikko’s trajectory has been anything but quiet.
Captivated by the bombast and visceral cinematic storytelling prevalent in America, Mikko delved into production where a twist of fate landed him in the director seat on a project that garnered millions of views, ‘Shoes That Breathe’.
From this epic start, Mikko has forged a directing career built on a refreshingly straightforward ethos: entertain the audience. With a diverse background spanning across marketing, advertising, acting, theatre, and cultural history studies, Mikko has directed hundreds of commercials to date. And while his guitar playing and rock star dreams didn’t land him on the cover of Rolling Stone, music continues to have a massive influence on his stories.
With a deep connection to nature, he has chased the light in all seven continents, and explored extreme terrain all in pursuit of a good story. His work – a combination of witty, heartwarming, electric and thought-provoking – has been honoured with awards – from Cannes Lions to British Arrows.
Name: Mikko Lehtinen
Location: US
Repped by/in: The Board of Directors
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Mikko> Next up: a music video shoot for an Italian artist in Rimini. This one’s especially exciting - we’ll be filming in the very cinema where Federico Fellini saw his first movies as a child, along with other iconic spots featured in his films. It’ll be incredible to step into Fellini’s world, even if just for a week.
After that, I’m off to Oslo for a car commercial, followed by a fascinating fashion and contemporary dance project in Istanbul that I can’t share details about just yet.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Mikko> Even with all the new techniques and trends in advertising, I’m still drawn to strong stories and clear, memorable ideas. The ads that have stayed with me are the ones that were simple, creative, hilarious, or emotionally resonant. I still remember spots from my childhood in the ’80s.
These days, a lot of work looks visually impressive but feels hollow: cameras flying and rotating for no real reason. You could swap out the logo at the end, and it could be for almost any brand. I try to keep the focus on storytelling and distinctive ideas - work that actually says something and connects meaningfully to the product or brand.
That’s the kind of work that lasts. And it’s the kind of work I want to keep alive.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Mikko> I always love working on something I haven’t done before. New genres and styles make this job interesting and keep me creatively challenged. I’m drawn to scripts that leave room for interpretation - where not everything is spelled out to the last detail. I like when there’s space to shape the mood, rhythm and tone through the way it’s shot.
Some scripts are so well written they immediately spark my imagination, and I know right away how I want to approach them. Others take more time. Sometimes it takes a few reads, or even a few days, before they really open up.
There have been many times when I didn’t think much of a script at first, but then something clicked and I saw all the potential waiting to be uncovered.
LBB> How do you approach creating a treatment for a spot?
Mikko> I’m not the kind of person who sits at a desk staring at a blank page. I prefer to read the script and then step away. Go for a walk with my dog, hit the gym, play some guitar, take a shower, cook, watch a movie - always processing the idea in the background. When the light bulb finally goes off, I get it down on paper quickly.
But sometimes, the idea doesn’t come right away. That’s when I have to sit down, start writing, or look for inspiration. Often, just through the act of doing, new pathways emerge. In Rick Rubin’s ‘The Creative Act’, he offers several great strategies for overcoming writer’s block. I’ve been using these methods unconsciously since day one, but I never realised they could be applied so methodically. It was fascinating to read that these techniques can actually be like tools in your kit.
LBB> If the script is for a brand that you 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?
Mikko> I find it very important to thoroughly research and understand the strategic and contextual side. It’s essential to know the brand’s identity, its target audience, and the cultural context surrounding it. This helps me approach the material in a way that feels authentic and connects with the audience.
To start, I usually have a detailed discussion with the agency or client. This helps me get a clear understanding of the brand’s voice, values, and goals for the campaign. I ask a lot of questions. Whether it’s about their past work, the brand’s mission, or specific challenges they want to address. I like to get an understanding of the tone they’re looking for and any nuances in how the brand is perceived.
Next, I will dive into their history, so I’ll go through their previous advertisements. This not only gives me a sense of their style and messaging but also helps me see how they’ve evolved over time.
I also take a deeper dive into market analysis. I check the competitors, and the broader market landscape to see what’s happening in that particular space. Understanding trends, consumer behavior, and even cultural shifts in the target market gives me the context I need to create something relevant. I think it’s crucial to recognise the brand’s journey, as it often informs where they want to go next.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Mikko> I’d say the most important working relationship for a director in advertising is with the agency and clients. In filmmaking, it would be with the writer. Everything else follows once you’ve fully understood and aligned with their vision.
After all, the writer is the only true original artist in filmmaking; everyone else is interpreting their text.
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?
Mikko> Tough question. I’m interested in everything. Not just professionally, I’m a very curious person by nature. I equally enjoy doing contemporary dance pieces, comedy, and emotional films. Each of these genres offers something different that excites me.
Whether it’s the rhythm, movement and lack of dialogue in dance, the clever timing and wit in comedy, or the depth and vulnerability in emotional work. Variety keeps me inspired and challenged. I’m always looking for new ways to tell a story or approach a subject, which is why I’m not drawn to just one specific genre or style.
It’s the unseen creative possibilities that each project presents that truly fuel my passion.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Mikko> A lot of my films or shots are captured in a way that might be hard for a non-filmmaker, or someone used to the typical commercial production setup to fully grasp.
The usual scenario involves sitting behind a monitor, in a heated tent, with an impressive array of snacks at your disposal. For me, though, the sheer physicality of filmmaking is exciting. I love being hands-on. Grabbing the camera, climbing up a hill to capture that perfect shot at sunrise, just me, the DOP, and the actor. There’s something raw and real about that process.
I know I could have made many films much more impressive, if I’d had more freedom to get out of the base camp and push the boundaries of what is considered possible, or acceptable by non-filmmakers.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Mikko> We were shooting in a desert during midday when suddenly, out of nowhere, a massive sandstorm hit us hard. It came in like a wall, engulfing us and destroying the camera and lights. The clients were in panic, especially since they wanted a sunny film.
Luckily, we had a spare camera in the truck. We carefully wrapped it up, taking extra precautions to keep any sand out, and then I decided to re-shoot everything. This time, I shot in chronological order, allowing the weather to take its course and become part of the story.
In the script, the main character was in trouble at the start, with a positive resolution by the end. As fate would have it, the troubled part of the story took place during the sandstorm. Then, by some true miracle, the storm gradually faded away, and we were left with a stunning sunset to capture the resolution.
Sometimes, the unexpected is what gives a project its real magic. Another crazy situation was when a fashion client failed to ship us the clothes by the first morning of the shoot.
With the full crew and talents already waiting in the studio, we had no choice but to drive around town, scrambling to find whatever we could from their label. Ended up using their last collection, and nothing from the new one that we were supposed to showcase.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Mikko> For me, this is one of the toughest parts of the job. I’ve seen some very successful directors who are masters at navigating agency and client relationships. They come across as highly collaborative, but use subtle techniques to plant ideas in a way that makes others believe those ideas were their own. In the end, they shoot exactly what they wanted from the start without anyone realising how they got there. And while that approach can be incredibly effective, I personally believe in honesty. I’d rather be upfront about my intentions than play mind games. That said, it can be challenging; telling someone their idea might not work often feels very personal, and let’s face it, egos in this business can be fragile. I wish we could treat commercial production more like any other job: leave emotions at the door and focus on our shared goal of making the best possible work 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?
Mikko> Welcome! It’s a free world and an open market, and I truly believe in the power of sharing knowledge. I enjoy mentoring younger filmmakers because I learned everything I know from my predecessors. I see it as both my responsibility and an honor to pass on my knowledge to the next generation. The exchange of ideas and experiences is what keeps the industry evolving. In the past, I always worked with people who were older and more experienced than myself. But at some point, I realised that I could also learn a great deal from younger filmmakers. There’s always something new to discover. Since making this discovery, I’ve been hiring younger DPs, editors, and other talent, and they’ve opened my eyes to entirely new ways of thinking.
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)?
Mikko> I have to keep that in mind, framing and staging shots so they work for each and every screen. However, I think it's important to decide on your main source of output early on. Whether it’s for TV, cinema, digital, or social media, understanding where your work will predominantly be viewed helps shape your approach. Once you have that focus, it becomes easier to adapt for other formats without losing the essence of the story. While I aim to create something that translates well across platforms, it’s also important to embrace the specific characteristics of each format, allowing the story to thrive in its most fitting context.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Mikko> I’ve spent a great deal of time experimenting with various AI tools. What I don’t quite understand is why everyone is so focused on whether the output looks 100% real. Personally, I prefer all the weird mistakes that AI makes. I’d love to employ AI to create things that us humans might not even think of. Virtual productions have exploded in recent years, and I feel the same way about them. They can offer fantastic visual worlds, styles, lighting possibilities, camera moves and whatnot - that wouldn’t be possible on location. But if you want something to look real, then shoot it for real. Each tool has its strengths, and I believe they should be used for what they do best, not forced into roles they can’t yet fulfill.
LBB> Which pieces of your work do you feel show what you do best – and why?
Mikko> This is probably my all-time favourite ad. It’s old, but the idea is so wonderfully twisted. I’m not sure if any client would have the guts to buy something like this these days.
REGAINE - ‘Vet’
Idea, idea, idea. A good script doesn’t need a complex execution if the idea is there.
MERRELL - ‘Shoes That Breathe’
I have to include this, as it’s the most famous thing I’ve ever done. This was done before Instagram and the social media frenzy, but it spread like wildfire, gaining over 10 million YouTube views in just a couple of weeks. It was featured on CNN prime time news, UK talk shows, and news outlets around the world. It also earned me finally a Cannes Gold Lion, after 13 years of being stuck on the shortlist.
FRAGILE CHILDHOOD - ‘Monsters’
I love doing things in-camera. For this one, we built a remote-controlled lawnmower, rigged a zipline for a cardboard box, and used wires and fishing lines to pull furniture and other objects. Prepping it all was so much fun, the whole crew felt like kids again.
And that handmade, organic touch gave the film a quality that’s incredibly hard – if not impossible – to recreate in post.
TORI - ‘Keep On Movin'’
