Tatia Pilieva Brings Heartfelt Realism to Wallop Film

Recently, there’s been some exciting news at production company Wallop Film, with the confirmation that acclaimed director Tatia Pilieva has joined the roster for Canadian representation. A move which will see the LA-based talent ply her trade further up the coast – Vancouver, to be precise – her arrival in the market will undoubtedly be one to watch as she and Wallop put their best feet forward together.

Of course, while it’s early days and pitching has not yet started, in many ways, Tatia’s reputation precedes her. Known for emotionally-charged storytelling, heartfelt realism, and a diverse portfolio encompassing brands (Knorr, Delta, Ford and Facebook), branded content and the music video space (U2 and Rita Ora), her arsenal of skills will certainly be a valuable tool for the company to call upon in the months to come. After all, whether she’s capturing human-centred narratives in sports, exploring the world of cars, or just making something beautiful, the mandate is always the same: find the heartbeat in unexpected places and make meaningful work.

To learn more about why she joined, all-time favourite projects, and the kind of craft people can expect from this new partnership, LBB’s Jordan Won Neufeldt sat down with Tatia for a chat.

LBB> Tatia, congratulations on signing with Wallop Film! How did this come about, and what made joining the team feel like the right decision for your career?

Tatia> First and foremost, thank you! I’m thrilled to be working with Wallop Film in Canada.

This opportunity unfolded naturally – Martin Glegg (founding partner and executive producer) initially reached out to both me and my team at Pulse in the US. From the very first meeting with him and the Wallop team, it was clear that we shared a connection. They struck me as true filmmakers, driven by passion and equipped with sharp instincts, which inspired me to dive in wholeheartedly. Sometimes, trusting your gut is all it takes, and everything about Wallop felt right – fun, smart and real.

LBB> Specifically, as an LA-based director, what inspired you to get into the Canadian market at this time? Is there anything about it you find particularly exciting at the moment?

Tatia> It’s the quality of boards and filmmaking that excites me about working in Canada. There, it’s less about the budget and more about pushing creative boundaries. And, the Canadian people are lovely! At the end of the day, I’m a people person – hopefully my work speaks to that as well.

LBB> What have the early days of collaboration been like? How are you enjoying things thus far?

Tatia> While it really is the early days, I’ve already seen some interesting boards, so I know my instincts were right. There’s definitely space to explore creative storytelling in Canada. And, the Wallop team has taken the time to get to know me and my work, so that we can put our best foot forward together.

LBB> Let’s talk a little more about the work. Are there specific types of pieces you’ll be looking to pitch for? What gets you excited to shoot?

Tatia> I’m always searching for stories that explore the depth of human connection. I’m drawn to narratives that centre on vulnerability, using it as a bridge to bring people closer together. This can manifest across all genres and subgenres of advertising, whether it’s in the world of cars or beauty.

I also have a deep appreciation for human-centred narratives in sports. While my work may not immediately scream ‘sports’, I have a genuine passion and knowledge of the field. I’m eager to find opportunities to collaborate with athletes and share their stories – ones that go beyond the physical challenges. I want to capture their hearts on screen, revealing the full depth of their journeys.

LBB> One of the standout elements of your portfolio is the number of projects that centre on human emotions. Why is this type of storytelling so important to you, and how does it influence your approach?

Tatia> It’s always hard to talk about your own work – it feels inauthentic somehow – but if I had to put it in a few words, I’d define my work as heartfelt realism or poetic realism. I always try to see the mundane in a new light and find the heartbeat in unexpected places. That’s what moves me on screen, regardless of length, shape or form.

To answer the second question, I think in my directorial approach, my own honesty and vulnerability inspires those in front of the camera, and that translates onto the screen. I also always search for spontaneity whenever possible and capture those magical moments.

LBB> With all that in mind, what are some of the pieces that you’re especially proud of? What do they represent to you?

Tatia> I’ve always been proud of ‘FIRST KISS’. That’s the project that kicked off my journey in advertising.

The Lufthansa campaign ‘Say Yes To The World’ was also tremendously fun to make – we filmed around the world and I got to know incredible people and cultures.

Finally, there’s the music film/video I did for U2’s ‘You’re The Best Thing About Me’. Not only was I given so much freedom by the band – they were wonderful to work with – but it was a cathartic experience. It was about real people saying goodbye to each other under heartbreaking circumstances. At the end of a long shoot I realised that as an immigrant, I’d been saying goodbye to people I love most of my life.

LBB> Of course, a big point of discussion of late is the rise of AI, which, arguably, runs against the idea of human-based storytelling. What are your thoughts on it, and do you think it has a place in the industry?

Tatia> Right now, I don’t think AI has a place in emotionally driven storytelling. We are a flawed species, and machines don’t understand flaws. AI has no intent – it still needs a human artist to prompt it in the right direction, and until it does, I don’t think it can be successful in emotional storytelling. Let’s use AI where we can’t compete, like to help cure cancer!

As to whether I think it has a place here, the truth is, AI has already made its way into our industry, regardless of our consent. I simply hope that it’s used only as a clever tool to refine the technical side of our work with human artistry and oversight (instead of replacing it).

LBB> Finally, looking ahead through the year, what are you most excited for, both with regards to filmmaking, but also working with Wallop?

Tatia> I’m looking forward to making meaningful work. I know this sounds like the antithesis to the product world, but I believe it’s possible. There are a lot of bright people that work in this industry, and Wallop speaks directly to that level of intelligence and passion.

I’m also developing a TV show and gearing up for a feature film called ‘LIFE’S A PARTY’ for early 2026. It’s a co-production between three countries, including Canada! I’m really thrilled about this!