The Directors: Dana Campanello
Dana Campanello was born in an industrial city in the Argentine Patagonia. A lot of wind and free hours led her to be bored out of her mind. To alleviate this fun crisis, her grandmother gave her a Minolta pocket camera. A little 12-year-old Dana began to see reality through that tiny lens and her life changed completely.
From that moment on, she took pictures of everything around her and combined those moments with endless afternoons at her aunt's video store devouring all the movies she could get her hands on.
Years later she moved to Buenos Aires and by a very random succession of fortunate events, she ended up filming a commercial for Coca Cola. It turned out that some angelic being, Dana fervently believes in angels, came across one of her short films and decided to invite her to participate in a series of commercials filmed by different emerging directors.
From that moment on, she jumped into the world of advertising making several fashion films and works for various brands such as Amstel, Nike and Corona among others. In 2022, together with David, she won the Grand Prix de outdoor at Cannes, repeating the award at El Círculo De Creativos Argentinos with "El Arte Del Autoexamen" for MACMA.
To this day he still keeps his Minolta pocket camera.
Name: Dana Campanello
Location: Buenos Aires, Ciudad de México, New York
Repped by/in: Poster
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Dana> There are more narrative scripts with a story to tell, others that appeal more to the visual and the sensations that this generates, as well as some that seek to convey something more emotional and connect from that side. Those are the ones I like. As a director I'm quite eclectic because I like to challenge myself, and also by trying out new things you discover new edges that maybe you didn't know you were comfortable with. If I have to choose, I like much more to shoot scripts where I can rely on the real, enhance it and give a visual imprint to each of these worlds that I create, embellishing the everyday. I feel very comfortable and I enjoy shooting sports and creating universes in fashion films that allow you to play a little more freely.
LBB> How do you approach creating a treatment for a spot?
Dana> As soon as I read a script, images pop into my mind. I get very excited about the creative process where I can bring to life an idea originated by someone else and how that combination materialises the project.
Then I start a more inspirational research to begin to connect the dots and understand how I want to tell it: what camera, what framing, how the story will flow.
Each treatment has its essence and not everyone has the same recipe to develop it. I am very detailed in how I decide to tell each brief in order to convey what I want for each project.
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?
Dana> Whether I am familiar or not, I put the same emphasis on all projects. The difference is that if I'm not involved I take the time to investigate and research what I'm talking about in order to create a piece that is true to what we're looking for. As I said before, I also have fun navigating those spaces that I am not familiar with because I find the challenge of the different fun. If we always do the same thing and always talk about the same thing, it gets boring and the interesting thing about advertising is that we have the opportunity to create worlds that are as foreign as they are our own, constantly.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Dana> Above all, communication. A commercial is built little by little and among all. Dialogue between the members of the team is key to transmit the vision of all those who are part of it. The same with the team during the shooting, that each one has their space to develop what they do and support each other to get the best out of each one, basically working as a team... but really. Listening to each other's proposals and building together. Once you work with a team that flows and where everyone feels comfortable, you realize that everything comes naturally.
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?
Dana> I like the possibility of telling more narrative stories but also projects that are a bit more visual where we tell a concept through vignettes. As I said before, scripts where I can rely on something real and have the possibility of elevating it, embellishing it.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Dana> Honestly I haven't encountered any misconceptions about my work so far. I try to be versatile and show that even though I have an aesthetic that I like, I have the ability to tell totally different things with the same passion. On the other hand, unfortunately I did encounter situations where they don't trust filming with a woman, it's changing, but it's still missing.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Dana> No, never.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Dana> I've been on very tight shoots where you have to get a lot out in a short time and when that's the case I try to be pragmatic in what the project really needs, streamline and be very direct with the direction of actors and crew to optimise time.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Dana> If you are chosen to direct a project it is because they like what you want to do and they trust you, that's why it is important that the agency and the client allow the director to explore his vision, but as a director it is important at the same time to listen to their needs. In the end, it's a creation between all parties.
As a director, I have to have the ability to be in the centre and have everyone's needs coexist and come to an agreement so that we are all happy.
I always put my stamp on all the scripts, I try to make them original and that the brand gets a unique piece. From the idea I propose, it is important to dialogue and try to include what we are all looking for.
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?
Dana> Of course, as a self-taught person I think we are constantly learning and we have to be open to that.
LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?
Dana> I feel like everything went back to normal at least on the sets I worked on post pandemic.
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)?
Dana> Nowadays all projects are thought Multi format and it has to be that way because there are many ways of consuming content. The interesting thing is how to make the aesthetic and cinematographic coexist with formats that are very ephemeral and sometimes do not care about the visual. For my part, I believe that no matter the format, you always have to achieve visual quality content because at the end of the day that is what makes the difference. There is so much content that when you see something good, well thought out, well executed, it impacts you in a different way.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?
Dana> At the moment I don't have much experience in this, but I am interested in it and I am open to incorporate it into my work. I think it is a tool that scares many people but instead of alienating us with the idea of incorporating it organically into our work so that it becomes a resource and not a competition.
