The Directors: Diego Contreras
Hailing from Guatemala and based in LA, Diego Contreras has, since 2014, amassed an impressive and ambitious body of work, consisting of narrative shorts, music videos, and high-end commercial collaborations.
Having worked for several years as an art director at agencies including BBDO NY, Anomaly, and CP&B, his transition to full-time filmmaking and his prodigious output are indicative of a natural-born storyteller embracing his true calling.
In addition to filmmaking, Diego is working on a music album and recently scored the soundtrack for an ESPN sports documentary set to release later this year.
Clients: Apple, Facebook, Ford, Reebok, Expedia, PlayStation, GE, 23 and Me, Renault, Free People.
Name: Diego Contreras
Location: Los Angeles
Repped by: Lovesong, US
Awards: shots, Clios, One Show, Webby Awards, Cannes Lions, Vimeo Staff Picks, etc.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Diego> Originality is everything.
They say, 'Everything’s been done', and it often feels like it. But sometimes, you open your inbox and are blessed with a project that is fresh and cool, unlike anything you’ve seen before. These are rare, but they do come around a few times a year.
If the project is unique, fun, and inventive, if it has a great story, a great character, something honest and important to say, if it’s packed with emotion and makes you feel, think, cry, or smile—I’m all in. The best scripts have legs. They immediately spark your imagination and get your brain firing on all cylinders. You can’t help but daydream all day long, imagining all the ways you can run with the story. Those are the scripts that excite me, and if I get lucky with one, all is well in the world.
LBB> How do you approach creating a treatment for a spot?
Diego> From the get–go, I like to kick things off with the writing. It’s the perfect way to test the strength of a concept and see how far you can take it. I dive into the script before even hopping on the agency call — free writing on it for an hour or so without worrying about limitations like time or budget. I write entirely new scenes and beef up the script in a way that makes it feel new and personal to me.
Then, by the time I jump on the agency call, my excitement is genuine, and the ideas are flowing.
I always prefer a lively discussion on how cool their film can be rather than starting with the usual: 'Please walk me through it'. After all this, I can feel the vision shaping up clearly— how it's going to be filmed, the backdrops, colours, sounds, and the types of faces and personalities behind each actor. The mood, the emotion, the magic of it all.
I take breaks during writing to dive into a music rabbit hole, creating Spotify playlists that I embed into every treatment. I’m very musical in how I think and film, so I write to the beat and mood of these songs, which sets the pacing for the camera work and flow of the edit. As for design and visuals, the process goes deep and varies with every treatment, but the mission is always the same: creating a visual journey for the reader where they can grasp the vibe and story without needing to read a single word.
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?
Diego> This is honestly one of the things I love most about commercials. Every single one is an opportunity to become an expert on something new. One day, I’m diving into American cowboy culture; the next, I’m exploring Argentinian folk music. One week, it’s 3D-printed car engines; another, it can be medieval warfare; and the next, a deeply moving immigrant family story. It’s fun that we get to mix it up. It keeps things interesting.
I go very deep into research for anything I’m working on. I get lost in YouTube wormholes, podcasts, articles, and music, and scroll through infinite photos to really fall in love with the story and culture I’m portraying. This helps me understand and connect to the subject matter in a deeper way, which ultimately translates to better, more genuine work for the client.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Diego> Once, I was granted a visa with incorrect dates to shoot in Kazakhstan. Upon arrival, I wasn’t allowed into the country. Eventually, they gave me a five-day permit with strict consequences if I overstayed. Two whole weeks of prep turned into two days to scout, cast, fit everyone, storyboard, and handle a PPM with people calling in from all over the world. We cut out the overthinking and just made it happen. Somehow, the rush and chaos of it all made it so fun and unforgettable.
Another time, we had a blizzard hit our shooting location every single day, making it nearly impossible to work. Freezing rain kept hitting the lens, and our boots and clothes stayed wet from day to night. I’d never been that cold in my life.
Grueling shoots like that can feel like you’re going to war. They can be thrilling or emotionally devastating. You can spend months perfecting the prep work, but you can’t ever control what the day will bring. All you can do is PRAY, make the best of it, and rely on your trusted team. You have to be ready for the plan to go out the window in an instant. How you react and stay grounded in the midst of it makes a world of difference to the crew. It's in those moments that you truly grow and learn what you’re made of.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Diego> I’ve always advocated for kindness and open collaboration on set, recognising the importance of respecting the creatives and clients who have invested months into a project before I even come on board.
Some shoots are a dream—filled with smiles, camaraderie, and a collaborative spirit that leads to the most amazing work. Sadly, it's not always the case. Sometimes the atmosphere is tense from start to finish. People might show up in a bad mood or be under massive amounts of stress and pressure. Sometimes you get hit with a tsunami of endless notes and feedback, often stemming from fear and insecurity.
As a director, your job is to protect the creative vision at all costs. It's so crucial to know when to set boundaries and nudge the team in the right direction. Being overly accommodating can quickly derail and water down the vision. To make GREAT WORK, you must stand your ground and steer the ship firmly with an unwavering vision, or risk seeing it crash headfirst into the iceberg.
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?
Diego> I don't like to box myself into a specific style or genre. My curiosity is fuelled by life experiences, travel, the music I’m listening to, and the people I meet along the way. For me, filmmaking has always been a way to explore life and the world around us.
Sometimes I’m inspired to create something deep and emotional. Other times, I just want to have fun and make something quirky and colourful. And if I ever feel a little burnt out, I find other outlets like music and photography to express myself. I think it’s all healthy.
Above all, despite the genre, medium, or format, I gravitate to the stories of ordinary people who are often on the sidelines. The ones who don’t usually get their moment in the spotlight but have incredibly inspiring stories that remind us of the good in humanity and that there’s always HOPE amidst the darkness. In the words of True Detective’s Rust Cohle, "Once there was only dark. If you ask me, the light's winning."
LBB> Have you ever worked with a cost consultant and if so, how have your experiences been?
Diego> Yes, a few times. And honestly, it’s rarely been a good experience. When every aspect of the job and budget is scrutinised and slashed to save a few cents, it feels like you’ve already lost creatively. The work and the creative should always come first. Personally, I’d rather they cut back on the ultra-fancy dinners and hotels and pour some of that money where it matters most: the work. ☺
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?
Diego> Mentoring is something I’ve been doing for many years now, and it really brings me joy.
I often invite one or two people to shadow on shoots and sit by my monitor to watch it all unfold—the good, the bad, and the ugly. It’s a great way to give back and open doors for people who rarely get a chance to step on set. I get tons of emails and DMs from people wanting to help out on set, some with little to no experience in filmmaking but a genuine eagerness to learn. I invite them to join me by the monitor and truly absorb the process. It’s funny that by day two or three, they start chiming in with their own notes.
I’ve welcomed a wide range of people, from students and aspiring filmmakers to a retired guy wanting to learn something new. Some have joined scouts, casting callbacks, or PPMs, and one even flew to Europe for an entire shoot.
It’s been a blast to see the positive impact this has had on so many of them. Some are now directing their own projects and have started paving their path into the industry. Just a few days on set can be enough for them to dream and realise that what we do is not magic. It's just a crazy ton of hard work.
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)?
Diego> Despite the resistance in our industry, AI is here to stay, and it's only going to get wilder with the imminent release of new apps like Sora. I’m all for staying on top of it and understanding it — learn to tame the bull before it rides all over you.
AI is just another tool, and it shouldn’t be feared. Some say it’s lazy by simplifying creativity to the click of a button. It’s not that easy. It takes hours of commitment and endless trial and error. No matter how advanced it gets, it’ll always need a human mind to guide it and steer it in the right direction.
By now, I have generated over 16,000 images on Midjourney over the last two years. It’s unlocked a whole new visual world for me, allowing me to visualise entire projects that were once only in my head. I’ve even won commercial treatments made entirely with AI imagery, which were loved by both agencies and clients. I was pleasantly surprised at how quickly everyone on my team — from the production and costume designers to the VFX team –– embraced these AI visuals as the vision to go after.
On the virtual production front, I’ve had the privilege of shooting at several LED volume stages, including ILM’s Stagecraft, where they film 'Star Wars: The Mandalorian'. It’s a mind-blowing experience and undeniably the future of stage work. The process is flipped—most of the post-work is done in advance, involving weeks of photographing locations and creating 3D environments that serve as dynamic backgrounds.
For example, we built a '360 desert where we could control the position of the sun in real-time, transitioning from broad daylight to sunset or a starry night sky within seconds. While I’ll always prefer shooting on location, I can’t deny how exciting this tech is and the importance of staying ahead of the curve.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Diego> There’s nothing more valuable than working with a producer you can fully trust. Making commercials is an endless game of whack-a-mole, with issues and small fires constantly popping up, left and right, every single day, often related to money.
It’s reassuring to have a producer by your side who has your back and supports your creative vision but also knows when to push back and reel you in if needed. When they do, there’s nothing that can give you more peace than knowing you can trust in every word and decision being made.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Diego> Facebook 'Community'
This one started with a simple brief: to celebrate communities around the world. I quickly gravitate towards work that highlights the good in humanity and celebrates togetherness. This project became a perfect canvas to explore my curiosity for unique cultures, places, and people across the globe.
Due to budget constraints, traditional casting and callbacks were not an option, so I relied entirely on extras and non-actors selected from photos. This was initially nerve-wracking, but it ultimately gave the film the genuine and unscripted charm it needed.
Amica 'More Human'
This spot stands in stark contrast to the Facebook one. Instead of community, it focuses on the vast disconnection brought forth by technology addiction. I aimed to portray loneliness via wide-open framing and negative space to emphasise isolation, aiming for a cinematic mood without overshadowing the story.
Casting was crucial for subtle, genuine emotion. I sought actors who could convey a lot of emotion through their eyes and expressions without the need for words.
iPhone 13 Pro
This one combined my love for world-building and sci-fi, set in the striking landscape of a real-life frozen glacier. We custom-built space suits, speeder bikes, and spaceship cockpits, making the experience a total blast.
Bringing a video game world to life on film for 'Requiem' was a dream come true. The film was another chance for highly detailed character and world-building, with sweeping cinematography across Croatia’s medieval castles and mountains. For over a month, we recreated costumes, locations, and items from the game and collaborated with the game's composer for a custom soundtrack that would fit perfectly with every emotional beat in the story.
Wald - 100% Joy
This one was entirely improvised with nothing but friends, shot over two days in the desert with the tiniest of crews.
