The Directors: Lucas Shannon

Lucas Shannon, a director forged in the lively chaos of Buenos Aires' bustling streets. With a pedigree from The Community agency first and then Landia as Director, Lucas now spreads his storytelling magic and humour to projects around the globe.

His Gaelic last name translates to "skilled storyteller," which is basically just fancy talk for "guy who spins great yarns". Lucas effortlessly mixes narrative wizardry, comedic genius, and visual pizzazz in all his work. A director you want on your team to turn creative visions into extraordinary experiences.

Name: Lucas Shannon

Location: Argentina

Repped by/in: Landia (USA, Mexico, Argentina, Brasil, Spain) Skin & Bones (Canada)

Awards: Cannes Lions x 8 / Ojo de Iberoamérica x 8 / Best Argentinean Director 2023 / Ciclope x 6 / The One Show x 6 / Clio x 2 / Sol Festival x 3 / Fiap x 2 / Andy Awards x 2 / U.S. Hispanic Idea Awards x 2 / Diente (Argentina’s Creative Circle) x 5 / Spanish Creative Circle x 3 / Martin Fierro x 1 / World Cups x 3

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

Lucas> I'm all in for visually ambitious, weird, and extraordinary creations with a strong idea. The best example is the film 'This Is Not a Game' created by VML Mexico for Movistar that I was lucky to direct and won a Gold Film Lion this year at Cannes. The unexpected, the risky, the standout job that you can’t reference right away. Also, films like that ask for great performances and a deep human touch. 

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

Lucas> I whip up treatments crafting one to three powerful ideas that nail the film's vision. I keep them short, sweet, and free of, "Hey, remember that one commercial?" references. Instead, I draw from highbrow art like cinema, theatre, painting, short films, and yes, even those addictive TikTok videos. Streamlined for clarity, my concepts are as easy to digest as your favourite snack and just as unforgettable.

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?

Lucas> If an idea feels like it’s from another planet, I’ll be honest—I usually pass. But if there’s something cool to explore, I dive in headfirst. Sure, it’s more work, but it’s also like a crash course in awesome and relevant new stuff (like that time I did a tourism campaign all over Canada, a documentary about runners in Tokyo, or a short film about a drug cartel recruiting young video gamers).

The first call with creatives is crucial—it’s where we set the treatment’s tone and figure out their vision: are we continuing the brand's saga or taking a wild new turn? Personalisation is the secret sauce for an authentic film.

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

Lucas> The best idea wins, whether it comes from me, the production team, the creatives, the producers. I get everyone in on the script action, encouraging suggestions to elevate it. The director’s job is shaping a cohesive and visually stunning film.

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?

Lucas> I love storytelling, whether it's through comedy, human emotion, or action. If there's a story involved, I can picture the film in my head easily. We're in an age of extremes when it comes to film lengths—everything from 15-second ads to epic short films. People listen to marathon-length podcasts, so why not make longer films? A well-told story is like catnip for humans; we can't get enough of it.

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

Lucas> It's common for a production company or rep to pigeonhole a director based on their reel, like branding them as a "comedy" or "car" director after a few successful spots. However, this doesn't limit their capabilities. It's invigorating when agencies offer projects outside one's usual niche, providing an opportunity to explore new territories and experiment with fresh ideas.

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

Lucas> The night before our shoot, a volcano erupted in Patagonia—because why not? Despite the landscape in such shape, we decided to roll with it. The next day, we were out there in masks (way before it was trendy), snapping photos that turned out to be unexpectedly chic and dramatic, making our original plans look like amateur hour.

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

Lucas> The best partners are the creatives. With their support, I can tackle any challenge. Sometimes, you lose a few battles and that’s ok. My best experiences happen when a brand is up for taking bold risks and trying something different. In a sea of endless entertainment, clients need to know that people will only watch their commercials if they’re creatively original and stand out from the noise. 

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?

Lucas> I completely welcome diversity. And supporting others in their career growth brings me joy.

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)? 

Lucas> It's quite challenging. Sometimes I receive scripts designed for a specific aspect ratio, only to be asked to adapt them for social media formats, which can clash with the original idea. It's a common struggle. A one-size-fits-all approach doesn't always fit. I wish more scripts were tailored with the final showcase formats in mind.

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)?

Lucas> Learning is a constant adventure. I’ve explored virtual production and teamed up with experts, and now I’m diving into AI, where change happens faster than a viral cat video. Soon, AI-powered brain implants might be making footage, and that’s not sci-fi anymore. In this tech whirlwind, the real value lies in craftsmanship and personal touch—people crave authenticity even amid rapid creation.

But there’s no one right way. It’s not about the latest gadgets; it’s about the story you tell with them.

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

Lucas> 'THIS IS NOT A GAME' - Movistar

This year’s Cannes Lions Gold Winner project for Movistar. An awareness campaign focused on creating safer environments for video game players—particularly minors. Designed in a style that mimics the interface of popular video games, 'This Is Not a Game' highlights the risks players face when interacting with unknown online profiles.

'SHAREHOLDER’S TABLE' - Provincia Bank

We had a blast with a delightfully bizarre idea: a table so long it stretches across all of Buenos Aires. Everything—from the table to the extras—was done in real-time, right in front of the camera. It’s like a buffet of absurd comedy meets epic grandeur.

'BENJI’S BIRTHDAY' - Kin Water

We tackled an exhilarating film with a slow-motion chaos sequence that’s basically a tornado in slow-mo. The challenge? Crafting every performance and cut to fit perfectly into 30 seconds.

'OFFICE RHINO' – Cesar

Designing a place destroyed by a rhino was a blast! I enjoyed blending real on-set destruction with a 3D animal.