The Directors: Iñigo Jiménez

As a self-taught 32 year old filmmaker, Iñigo Jimenez seeks to weave complex narratives into seamlessly cut films, blending action with emotion to craft epic and poetic pieces. His work is characterised by striking cinematic visuals and meticulously detailed sound design, developing a profound yet accessible storytelling, defying the limits of a traditional branded content.

Name: Iñigo Jiménez

Location: Madrid, Spain

Repped by/in: Nicholas Berglund, Garage Films (Spain), Rebolucion (Mexico, Argentina, Brasil)

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Iñigo> I only take on projects that are interesting and stimulating to me, which is why I’m always excited to see them through. Of course, some projects are closer to the heart and carry a piece of you. 'Dare to Live More' or Lamborghini is one of those—a recent project where the campaign name became my mantra from day one.

It almost felt clairvoyant: I was framing a tricky shot with my friend and DP, Hugo Prats, when I checked an email with 'Lamborghini' in the subject line. At first, I thought it was spam—haha. But it was Rick Romaniuk from Nicholas Berglund, reaching out with one of the most intriguing and inspiring concepts I’d seen in a while: What if we had two hearts? Such a killer script from the team at DUDE London.

I showed it to Hugo, and we joked, "Can you imagine?" Cut to a few months later, and there we were, drifting wildly and chasing the new Lamborghini Urus SE across a desert near Barcelona, working with the fantastic team of Think Cattleya in one of the most fun experiences of my life.

As Naval Ravikant says, “Do what others see as work but feels like play to you.” Shooting high-speed driving scenes always makes me feel like a kid playing with expensive toys, but that’s just one aspect. The entire project had that effect on me, from treatment to edit. Working on such an inspiring concept made time fly as we entered a flow state, constantly seeking ways to elevate the film. The project took a few months but felt like a blink of an eye.

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?  

Iñigo> The world moves fast, trends come and go, and advertising follows. However, like in any audio-visual work, some things are just timeless. I like to approach a campaign by imagining how it will look in 10 years—or how it would have looked 30 years ago.

This perspective highlights what truly stands out: films that retain their pure, timeless essence without the need to chase particular trends. I believe that’s the key to distinguishing oneself in a world flooded with content, where it’s difficult to separate the genuine from the imitators. That’s what draws me—staying grounded against the current of ever-emerging trends… though I’m, of course, guilty of creating a multi-format film myself, haha.

LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?

Iñigo> Every director has their own tastes, and as they say, one man’s trash is another man’s treasure. What really sets scripts apart, though, is the passion behind them—the excitement that comes through not only in the text but in how the creative team presents it. That enthusiasm is contagious and brings out the best in everyone.

Personally, I’m drawn to challenging scripts that implicitly ask, "What if…?" These scripts ignite the imagination, creating worlds with unique mechanics. Narratively, they invite exploration—and definitely keep you awake at night.

LBB> How do you approach creating a treatment for a spot?

Iñigo> It depends on each spot’s deadlines and needs, but ideally, I’d have enough time to stay in a relaxed state of focus where ideas flow naturally. Sitting in front of a blank page doesn’t usually work for me; sometimes disengaging is the best way to engage when a project intrigues you, the mind works in the background, offering ideas unexpectedly.

That’s why most of my creative work happens in the iPhone notes app, capturing ideas anytime, anywhere. Once I have those seeds, it’s about filtering, developing, and finding visual references to communicate what’s in mind. I believe references should come later to avoid limiting yourself. As Rick Rubin says, turning an idea into reality can sometimes make it feel smaller.

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?

Iñigo> I always try to understand the implicit challenges the creative team faces with their client. However, I make an effort not to let that limit my approach to the project; instead, I use it as a framework to establish guidelines and challenges.

From there, I focus on ensuring that creativity prevails, as I believe my role as a director is to provide a more audio-visual communication-centred approach. I see the relationship with the agency as a collaboration where we must work together to create the best piece possible while also meeting the client's needs.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Iñigo> An ad is the result of collaboration among many talented people, with the director at the centre, connecting the key processes. I’d love to say the most important relationship is with the DP or the editor because that’s where I have the most fun. But, in reality, the most crucial relationship is with the agency’s creative team and the production company’s production team.

When there’s true collaboration and a shared goal to create the best piece for our client, a positive synergy develops, where as a director, you feel everyone is working together to overcome any challenge. This, to me, is the essence of 'creative production.' In these cases, I don’t feel I have to 'sell' anything to the agency; instead, alongside my producer, I’m simply 'showing' progress. Any relationship with creative or financial power should be a collaboration, not a negotiation, and when that happens, the project truly shines.

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?

Iñigo> Over the years, the scale of my projects has grown exponentially, but the genre hasn’t changed that much. In fact, when I look back at earlier work, I can see core elements that I’ve refined over time.

It’s easier to feel than to describe, but I’d say my favourite type of films are those where I can build momentum slowly, blending action with emotion in a constant crescendo that never fully explodes. I guess that’s why I always end up working on car and sports projects—not because of the advertiser type but because these genres let me develop that dynamic.

It’s not premeditated; it’s interesting how my mind instinctively moves in that direction, seeking out locations, actions, framing, camera movements… as part of a meticulous collection that I can later use in editing. In fact, I believe editing is truly the part of the process from which I envision the rest of the film, turning all the previous steps into a capture plan so that when I’m in the editing room, I can chase that feeling I mentioned earlier.

And when it all comes together…it’s pure magic.

LBB> What misconception about you or your work do you most often encounter and why is it wrong?

Iñigo> I don’t often run into misconceptions, though I’m sure it has happened more than once. Everyone tends to form a first impression that’s often biased since our minds love to fill in gaps with limited information. Recently, someone joked that I have the reel of a 40-year-old. When I meet with new production companies, they also tend to think I’m older—though they might think differently if they saw my skateboarding stories on insta hehe. I’m 32 but have been directing ads for a solid 10 years.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Iñigo> Productions are rarely 100% smooth, and sometimes you end up feeling like part of a commando unit with a mission and a mountain of obstacles. Like any director, I’ve had my share of 'war stories' on set.

Once, we arrived at a location to shoot only to find it literally being demolished. It was a street football scene, and we had to improvise on the spot, which turned out to be great. One player ended up doing a backflip against a wall that wasn’t planned.

Another time, shooting a climbing sequence on one of Spain’s highest peaks, my DP and I were so focused that we ignored warnings from production and our mountain guide. We got stuck in a snow storm and had to haul all the camera gear around the mountain. Sorry, guys—the shot was worth it I guess…

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Iñigo> As I mentioned, it’s key to build a collaborative relationship with the agency and client. That depends on all three parties.

My goal is always to make the film shine, so I welcome ideas and suggestions from anyone. It’s amazing to have a good rapport with the agency or a client who trusts your vision.

On one hand, I firmly believe that if I want a film to resonate with viewers, it must first resonate with me—that’s the only way to transmit something authentic, and you have to protect that core.

On the other hand, this is advertising, not a personal film. As my great friend EP Pablo Zorrilla once said to me, “We make ads, but they make campaigns.” The client and agency have a wider vision and greater responsibility; it’s their brand, their business, and their money. So, as a director, you sometimes become a consultant, offering your best advice so they can make informed decisions.

And hey, there’s always the director’s cut, right?

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? 

Iñigo> Often, the line that separates those in the audio-visual industry from those outside it isn’t just about talent. Like any powerful industry, networks and personal connections play a significant role in crossing that line.

However, I believe in the famous Seneca quote, "Luck is when preparation meets opportunity." There were definitely people who gave me my first chances and taught me valuable lessons, and it would be rewarding to close that circle and do the same for others. Theory only goes so far; after that, you learn by doing. I’d be pleased to help new generations cross that line, even though I consider myself still learning and hope to do so forever.

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)? 

Iñigo> I’m a perfectionist with final image and sound quality, and a romantic about cinema, so my reference is always the big screen with good speakers. But in reality, our work often competes for attention on a tiny mobile screen in an endless, fleeting scroll.

To fight that, I focus on elements like the first frame and the first 10 seconds of the piece. When the story allows, I even try a 'James Bond' approach by briefly introducing a representative montage at the beginning so the viewer knows what to expect. I also make sure the audio mix works well on the iPhone’s tiny speakers. That said, I know that just as I seek out work on Vimeo and use headphones for projects that truly interest me, others will do the same for mine.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Iñigo> I've always been a bit of a nerd, and I like to understand all the technical processes, from prep to post. Emerging technologies are valuable tools that streamline and enhance creative processes, but they must always serve the human mind.

I’m constantly looking to scale up my projects, both narratively and stylistically, by integrating CGI and virtual environments. I love starting with real locations that are already visually striking and enhancing them in post to create truly unique worlds.

For example, in my recent Cupra’s 'Dark Rebel' film, the protagonist drives through a mysterious universe where real lakes and mountains blend into a dragon-infused landscape. We went to Iceland to capture a solid, mystic base and then used tons of VFX to make it even more fantastical. In other occasion, In a Turkish Airlines 'Euroleague' ad, we aimed to trap four top players in a labyrinthine prison inspired by the myth of Theseus and the Minotaur.

Our approach was different: we filmed all the interiors on real sets, while the exteriors were entirely CGI, giving the project a scale and context we couldn’t have achieved otherwise.

Text-to-image generators are also very useful at the treatment stage to help visualise abstract or complex ideas and speed up early discussions with post studios. But in my opinion, all AI-generated images still have a certain 'artificial feel' that can’t yet match the sensitivity of a human mind.

LBB> Which pieces of your work do you feel show what you do best – and why?

Iñigo> Lamborghini 'Dare To Live More'

What would you do with two hearts?

Cupra 'Hic Sunt Dracones'

There was a time when unexplored areas or maps where marked with the phrase, “Hic Sunt Dracones” – Here be dragons. 

Turkish Airlines Euroleague 'The Maze'

The dark corridors inside are inspired by Fincher’s Se7en, while outside is a vast, desolate world inspired by Alien: Covenant. There’s only one way out.

Cupra 'Hybrid Motorsports'

What you drive is real. What you see is virtual.