The Directors: Luis Aguer

Luis Aguer is a highly acclaimed filmmaker renowned for his expertise in commercial directing.  He holds the prestigious distinction of graduating from the esteemed Masters of Creativity program at Cannes Lions.  Recently, he made waves as the creator of Pandemos, an ambitious collection of short films filmed across diverse global locations in 2020.  Each captivating film masterfully captures the essence of confinement in these unique settings.  Pandemos secured the illustrious Grand Prix of Craft in El Diente, garnering further acclaim on the international film festival circuit.  With an innate flair for crafting visually stunning narratives and a profound appreciation for the evocative power of music, Luis Aguer has lent his directorial talents to esteemed brands, including Coca-Cola, Nike, Honda, Ballentines, and Samsung.  While his career initially began in producing television shows, series, and commercials, it is is unmistakable mark as a visionary filmmaker that has solidified his reputation in the industry.  

Name:  Luis Aguer

Location: Buenos Aires

Repped by/in: Logan Industry (USA) 

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

Luis> What sets one script apart from another, and what really gets me excited to shoot them, is the presence of a compelling story, regardless of the budget, that leaves room for artistic sensibility. It's crucial to have elements that resonate emotionally, regardless of the type, as long as they aim to project and evoke genuine feelings.

This is the heart of it all, what truly matters; a script or message that coexists with the purely commercial and strategic aspects, elevating it to evoke a more universal emotion.

If, in addition to this, there's an added layer of visual and metaphorical poetry, a musical dimension, a technical and artistic challenge, well, what more could one ask for? So, in a nutshell, it's all about that spark of originality, that emotional connection, and the chance to do something creatively out of the box that gets me pumped up about shooting a script.

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

Luis> First of all, I start by reading the script, trying to understand what I like about it and what I feel can be improved. I aim to grasp the main concept and make it my own to enhance it. During these initial readings, the tone and some references come to mind as a starting point. Additionally, secondary ideas often emerge from this process.

Afterward, I like to have a conversation with the creatives to ensure that my initial ideas align with their needs. I also gauge the boundaries and the creative spectrum to understand my creative space in the treatment process. It's a process I truly enjoy, and over the years, I've developed various habits. But essentially, it's an intense search that challenges me as a director. I explore what I can bring to the table that represents me and, at the same time, enhances the campaign.

I always strive to propose and surprise the creatives, whether it's through the overall visual concept, a specific idea, a sequence, or the editing approach, to enrich and sophisticate the piece.

Sometimes I focus more on the text, other times on the images and references. Occasionally, I create video moods to help convey certain aspects, depending on the script's requirements.

My goal is for the agency to feel, upon receiving the treatment, that I understood what they needed and provided a fresh perspective to elevate the script.

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?

Luis> I start by immersing myself in the brand's history, values, mission, and previous advertising campaigns. Understanding the brand's identity is fundamental.  If the ad is targeting a new market or culture, I make a concerted effort to understand the cultural nuances, language, and values relevant to that audience.

By investing in thorough research and understanding the brand's strategic and contextual aspects, I can ensure that the creative direction I take aligns with the brand's goals and resonates with its audience, even if it's a brand or market that's new to me. 

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

Luis> I believe that each stage of the process has its indispensable partners. It's essential to have a top-notch producer who shares a creative vision, someone who becomes your partner in crime, just like Thelma and Louise, ready to take that convertible leap off the cliff.

This role can sometimes seem like a budget cop, but instead, it serves as a reminder of the boundaries, sparking even more creativity when it comes to problem-solving.

Being creatively aligned with the agency and the client is paramount. It ensures the process flows smoothly, fostering trust and a sense of camaraderie.

Next up, the creative team – each member contributes to making the final piece truly unique. It's like in Dragon Ball when various characters unite to create something more powerful; that's who we are. We form a cohesive whole, not just in terms of creativity and craftsmanship but also emotionally. The creative process thrives in an environment where you feel safe to expose yourself and explore, and that's precisely the type of atmosphere I cherish.

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?

Luis> My journey in this industry has naturally led me through a myriad of styles and genres, effectively forging me into a versatile director out of sheer necessity. I've never confined myself to a single specialty. Instead, I approach each project with the aim of discovering what truly ignites my passion. Sometimes, it's the simplicity of a concept that sparks my interest, while at other times, it's the allure of an entirely new and challenging endeavor.

If I had to choose a particular focus, I'd say my heart lies in visual storytelling infused with documentary elements. I'm irresistibly drawn to the opportunity of working with genuine talent, real people, and the art of capturing authentic moments. This passion resonates most deeply when it's embedded within the context of a sports commercial, a social issue campaign, the fusion of various artistic disciplines, or even a heartfelt love story.

For me, the magic happens when I can blend the real and the imaginative, weaving them seamlessly into the fabric of storytelling. This is where I find my true motivation and creative drive as a director.”

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

Luis> I believe one common misconception about me or my work is that the industry often tries to pigeonhole directors into a specific style or genre. There's a tendency to request copies of copies of copies of something we've done before. Because my portfolio showcases versatility and a willingness to explore different styles, it can be challenging for them to categorize me.

In essence, I want to be seen as a visual storyteller who enjoys proposing fresh ideas. I don't want to be confined to a single mold or genre. My passion lies in telling compelling stories through visuals, and I thrive on the opportunity to bring something new and unique to each project.

LBB> Have you ever worked with a cost consultant and if so how have your experiences been?

Luis> I haven't had the pleasure of working with them yet.


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

Luis> The craziest challenge I've encountered during a production was with a project that required filming entirely with FPV drones in a natural environment. We had to modify the drones and attach rotating heads to enable panning and camera movements that would otherwise be impossible. This was the technical challenge.

The second challenge was related to the environment. We had to climb mountains in the Chilean Patagonia with just a drone, hoping that the wind would allow us to lift it and capture the perfect shot at the right time. The physical effort required for this project, combined with the loss of several drones, forced us to pause filming after our last drone went over a waterfall. We had to call in a team of divers from the Chilean army to recover it and continue the filming process.

These challenges pushed us to be resourceful and adaptable, requiring us to find innovative solutions on the spot to overcome unexpected obstacles and complete the project successfully.

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

Luis> I believe it varies with each project, agency, and client, and the possibilities are endless. Sometimes, everyone is perfectly aligned, while at other times, there may be slightly different objectives.

My role is to meet their needs and offer recommendations when I sense that some of the requirements may clash with the story we want to tell, potentially harming the overall project. My goal is for all parties involved to leave satisfied. This involves having the patience to explain, engage in dialogue, and agree on a common path that leads the project to the best possible outcome.

Balancing collaboration and protection of the idea requires open communication, a willingness to compromise when necessary, and a shared commitment to achieving the project's objectives while preserving its integrity.

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?

Luis> I've been fortunate and privileged to have mentors like Pucho Mentasti and Armando Bo (The forces is strong with them), who gave me the opportunity to work and learn from them. I believe it's the best way to grow in the industry, by being the best possible padawan to great Jedi masters.

In my case, I regularly open up the opportunity for mentoring and apprenticeships on set. In many projects, we incorporate young talent from the production company to join me during shoots and handle B-rolls. I aim to give them moments of creative freedom, and they consistently respond with wonderful shots and scenes.

This is how I learned, and I hope to continue that tradition by nurturing and supporting the next generation of filmmakers in our industry.

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? 

Luis> The pandemic was, for me, an explosion of creativity. I was able to channel everything that was happening into a project I did during lockdown with my incredibly talented friend, Diego Medvedocky, 

We created 9 short films around the world with virtually no budget, working with amazing people remotely, the project is called Pandemos you can check it out.

I think the most significant lesson I've taken from this experience is that when there's a strong desire and a sense of purpose behind a project, distances and limitations become secondary. What truly matters is the sense of community and mission that the project brings, and I believe this lesson will continue to influence how I work in the longer term.

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)?

Luis> I bid farewell to anamorphic lenses. Initially, it was quite challenging to manage various formats, but as time passed, I adapted and discovered resources to make it more feasible. For instance, when projects call for versatility, I opt for the Open Gate format, a square format that facilitates adaptation to different requirements.

Indeed, everything is achievable. In the worst-case scenario, a reshoot with a slightly wider lens might be needed, but these are the current demands of the industry. Being able to meet them and adjust accordingly is essential.

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)

Luis> I believe that the emerging technologies are incredible tools that make our work easier. I've been incorporating the use of Chat GPT to develop texts for treatments in different languages, as well as AI for creating video moods, static images, and even animated storyboards for projects.

The sky is the limit when it comes to the possibilities with this new technology. I think we are on the verge of a revolution, and as directors, we need to stay updated on these topics. Today, we have the opportunity to design things like never before, and it's important to embrace and leverage these innovations in our work.

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

Stonewall - Pride Mistletoe

A reminder that Holidays is a time to show your love, no matter who you give that love to.

Despite being a pro bono project with no significant budget, it provided the opportunity to meet incredible real-life couples from the community who wholeheartedly embraced this experience in service of the message.