Erik Morales' Human Approach to Film

Erik Morales isn’t merely a Cannes-winning director – he’s a visionary storyteller, celebrated for crafting commercials that fuse striking visuals with deep emotional impact. Whether it’s the pulse-pounding energy of Cupra’s 'Seven Seconds' or the subtle wit and heartfelt moments in Volkswagen’s campaigns, Erik has an unparalleled ability to blend innovative technology with narratives that connect on a profoundly human scale.

Name: Erik Morales

Location: Barcelona

Repped by/: Stink Berlin, Blur, Primo, Early Man Film

Driving Artistry: Your campaigns for Cupra are a perfect fusion of precision and passion. How do you infuse each frame with both performance and beauty to make your automotive ads unforgettable in a sea of competition? 

Erik> Every campaign is different and has specific needs, but generally speaking, in campaigns based on vignettes, I always try to find the memorable shot, the iconic image that stays in your mind. I strive to discover something new, something that goes beyond mere references.

For an image to be effective, for it to work, it must be born from the concept—it must convey an idea. Beautiful images for the sake of beauty often feel cold and empty. I firmly believe that aesthetics should be a consequence of the idea, of the story you're telling. 

In Cupra 'Seven Seconds', specifically, we were exploring the boundaries between humanity and technology. From the very beginning, I had J.G. Ballard's novels in mind as a backdrop. Obviously, he’s an extreme author to translate directly into commercial imagery, but I believe his spirit is present in some scenes, like the one with the female android on the catwalk. The text says: "Seven seconds to know if you love it or you hate it." When that image came to me, it was in response to the question: Can a metallic android sexually excite you? Is the sensuality of metal something you love or hate?

That’s where Ballard's influence lies, though interpreted in a different way—more elegant and less raw than how he would portray it in his books.

From Documentary to Commercial: Your documentary "Riders of the Well of Death" captures raw, visceral experiences. How has your documentary background shaped the way you approach storytelling in your commercial projects, especially when it comes to capturing authenticity?

Erik> The documentary changed the way I shoot. I was used to shaping reality to fit my camera. The documentary taught me to adapt to the real, to find my perspective on what unfolds in real-time, on what cannot be controlled. That experience truly blew my mind.

After the experience of 'Riders of the Well of Death”, in commercial projects, my priority is to create a small universe first and then choose the best way to approach it. I believe this gives more substance and depth to the story being told.

Tech Meets Emotion: In an age where technology can sometimes overshadow the human element, your work stands out. Take the Cruzcampo ad that brought Lola Flores back to life - how do you ensure that tech innovations serve the story rather than distract from it?

Erik> Cruzcampo was a very unique case. The challenge was to “bring back to life” Lola Flores—a Spanish icon and cultural phenomenon—and have her deliver an entirely new speech. At that time, deepfake technology wasn’t as advanced as it is today, which made this project a fascinating piece of research. We worked closely with the team at Metropolitana, who handled the post-production and delivered truly outstanding work.

The goal was to create a Lola who felt real, flesh and blood, and I believe we achieved it by combining several techniques. Throughout the process, we learned an incredible amount, but perhaps the biggest revelation, as our Lola became increasingly “real,” was realising the vast potential deepfake technology holds—not only for the future of post-production but also, when misused, for harm, particularly in spreading misinformation. Since then, this subject has become something that deeply interests me.

Evolving Aesthetics: Your signature style is sleek, modern, and evocative. How has your visual approach evolved over the years, particularly in your automotive work, and what influences continue to shape your aesthetic journey? 

Erik> As I’ve mentioned, I adapt closely to the concept and what the campaign aims to convey. From there, I start working. I like to build solid films where the concept and visual language are deeply intertwined. 

I consider myself a versatile director, and I enjoy tailoring my style to the specific needs of each campaign. Sometimes I adopt a more premium approach, while other times I lean towards a lighter, more documentary-like style, depending on what works best to communicate the message. However, I always strive to make my films immersive and sensory —not just expressing an idea, but evoking emotions and carrying a certain depth. 

My references change depending on the project and aren’t limited to other ads or music videos. Anything can be a reference if it helps improve your storytelling—whether it’s film, literature, painting, or video games. Anything is valid if it inspires you. 

Tackling Challenges: Every production has its hurdles. Can you share a story from a particularly tough shoot - and how you navigated those challenges to deliver a stellar result?

Erik> I remember a project I shot in India for the Japanese brand Kensai Nerolac, which featured people transporting giant umbrellas—20 meters long—across the rooftops of Jodhpur and the backwaters of Kerala. We spent a lot of time thinking about how to approach the project. I was adamant about not doing it in CGI because I was convinced it would feel fake. I wanted a more realistic, more human approach. 

So, we decided to spend the entire budget building two giant umbrellas and making everything happen for real. With all the money spent on the umbrellas, for the shoot we were left with just two cameras, each equipped with a zoom lens (one operated by the DOP and the other by me), and nothing else. No lights, no grips... we felt like Herzog shooting Fitzcarraldo, but even now, when I watch the film, I’m happy with the result.

The Future of the Drive: With electric vehicles and smart tech transforming the industry, what excites you most about the future of automotive advertising? How are you positioning your directorial style to stay ahead of these rapid changes?

Erik> What I enjoy about automotive advertising is its versatility and the consistently high quality of its creative concepts. One of the things I love most about this sector is how it allows for a wide range of approaches. There are campaigns that are deeply human, others that lean into comedy, and many that stand out by focusing on technology and innovation, prioritising a bold, modern visual style.

In general, I enjoy working with brands that aim to build a strong image, with a unique personality that sets them apart, and a visual style that goes beyond fleeting trends. My style as a director is versatile; I enjoy adapting and refining both the visual and narrative elements to bring out the best in each concept.

Mentorship & Diversity: Opening doors to new talent is vital in today’s industry. What’s your stance on fostering diversity in production, and are you open to mentoring or offering on-set apprenticeships to the next generation of creatives?

Erik> Diversity is a vital topic. I believe that film sets have always had some level of diversity in certain roles, and in recent years, significant progress has been made. Nowadays, you can see diversity in positions like "director" or "director of photography," which not long ago seemed almost exclusively male-dominated. 

There’s still a long way to go, but I believe this shift is already making an impact, both in film and advertising, bringing new angles, perspectives, and sensitivities to the way concepts and ideas are approached. It’s an incredibly enriching process that’s resulting in truly compelling work.

I enjoy collaborating with other directors. The role of a director can sometimes be quite solitary, and I really value the exchange of ideas and the chance to see things from different perspectives. I genuinely enjoy the process of collaboration and mentoring; I find it incredibly stimulating and inspiring.

Defining Moments: Which of your projects best capture your essence as a director?

Erik> 'Riders of the Well of Death' – My first documentary. I learned so much from this experience.

'Immortals' – I think this is where I channelled what I learned in Riders and turned it into something more intimate and personal. 

Cupra "Seven Seconds" – It was an incredibly stimulating process and a great collaboration with Miquel Díaz Pont. I have very fond memories of that shoot.

VW 'Kid' – Even though I might seem more focused on striking visuals, I really enjoy working with actors. This project was particularly rewarding.