The Directors: Luke Jaden

Raised in a small Michigan town, Luke Jaden is a writer and director. With a background in narrative, he has written and directed several short films as well as a feature and a documentary. Jaden’s work has played at many film festivals and has garnered recognition across the world as well as hundreds of thousands of views and awards.

Jaden is drawn towards sophisticated, complex narrative storytelling that evokes an energetic pulse and deeply explores the depths of humanity. With an eye for visually striking imagery, he seeks to find raw, intimate moments that feel poignant and honest. Focused on telling distinct cinematic stories that carry emotion and feel visceral and highly meditative, Jaden wants us to embrace the poetic nature of the human condition through his work.

He injects his own personal, authentic life experiences into whatever story he is telling. Ultimately, he hopes that his unique imprint leaves you with an indelible feeling that is palpable.

Over the span of his commercial career, Jaden has successfully directed spots for brands like ZARA, Bose, Honda, Ford, Huggies, PETA, Carhartt, (HHP) Heroic Hearts Project and Library Street Collective. Since then his commercial and personal work have earned him Filmsupply’s 2024 Best New Filmmaker, a spot in the 2024 YDA at the Cannes Lions and 2023 SHOOT's New Directors Showcase at the DGA. His work has been recognised by IndieWire, USA Today, The Hollywood Reporter, Variety, Deadline and many more. 

Name: Luke Jaden

Location: Detroit, MI

Repped by/in: Rebolucion / UK

Awards: 

Filmsupply - Best New Filmmaker - 2024

Cannes (YDA) Young Director Award [Hemingway - Documentary Shortlist] - 2024

SHOOT’s New Directors Showcase [Ford ‘Life Elevated’] - 2023

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

Luke> I have a few projects in various mediums (shorts, music videos and commercial spots) at different stages in post right now that we’re wrapping up.

I am very excited about a short film called 'Kids Like Us' that will be coming out soon, which follows a group of twenty-somethings finding themselves in the early 90s underground techno scene in Detroit.

I also recently wrapped a music video produced by FREENJOY (who’s doing some of my favourite music videos right now - shout out!) that we shot for a very exciting artist.

Lastly, I wrapped a Honda spot that we shot out in Oregon… one of my favourite places, just alone for the scenery and locations which were stunning. But, the people in Oregon are just so awesome and accommodating. 

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

Luke> As a director, I am most excited about bold storytelling. Stories that take risks. I feel in our world right now we are drawn to stories that alter a mind. Pieces that carry an identity for sure yet feel authentic and told from a slightly different perspective if that makes sense.

I was very touched to see the Google Pixel spot this past year that showed the perspective of blindness as well as the Apple spot featuring the new hearing aid feature on AirPods. I am really moved by work that feels personal, but also finds a new way to let you into the story and the filmmakers world that we haven’t seen told before.

I also feel “emotion” will always ring true - it’s the most powerful form of storytelling. Emotion is king. 

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

Luke> The script is everything to me. When I am reading - I am looking for voice and also a way that has shape. If I can see that it has shape then I can find a way to sculpt that mold and make it my own.

To me, whenever I see a director make something that feels like them I am drawn into their world because they put their stamp on it. I think that’s the most powerful thing about a script. I hope that when people see my work - even though the stories are vastly different - they can tell that it carries my signature and DNA on it for that reason.

But, I think the scripts to me that stand apart are the ones that tell an emotion that I can relate to on a visceral level - that’s the stuff that feels palpable and keeps me going.

Also, finding new ways to capture something that I feel has been done before challenges me to find a new perspective to tell it from. Everything has been done, but it’s the “how” you choose to tell it, which separates and differentiates it from everything else on the shelf.

I am drawn to emotional stories that involve characters and whether it’s a product or not — how are those characters drawn into that world? I’d rather be drawn into the character’s world and immersed fully into it verse just the product if that makes sense. 

For example, I want to feel the emotions of what makes someone drawn to a vehicle and the journeys they go on within that vehicle versus just seeing the vehicle itself driving through a beautiful world. Maybe that vehicle represents a personal moment, like when I got into the car at the hospital after my mother had passed away and I drove home in silence. Feeling every emotion imaginable. To me, that’s what resonates and hits me, tugs the heart. Apologies for sharing such a personal experience for myself, but I am drawn to vulnerability and how moments like that connect us as humans. 

Sure, some may take it as being too sad or melancholic, but it’s real life and I find that moment still to me this day very empowering and what has shaped me and driven me as a storyteller. It’s human. I also find the battle between emotion and technological advancement like the future of AI to be no match because AI will never reign against emotion.

Emotion is what drives us and our choices as humans.

So, I will always be drawn to spots like that and I think you can see the personal voice in my work like 'Hemingway', 'Sisters' and 'Finley'. They are all authentic parts to me.  

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

Luke> I am always big on visuals so for me finding a narrative told through images is crucial. If I can pick up on a narrative and emotion through images and no sound or words - that’s so powerful and I know I am on the right track.

I’ve always found you should be able to tell a treatment simply through images. So, I challenge myself… do these images tell a story without their being words on the page? I think as a child, I was always drawn to picture books for that reason.

These large pages encapsulated so much emotion and imagination as a kid and they told a story - words were not needed. I think that’s why I’ve learned when approaching a treatment. The images need to be so sharp that the agency/client can easily pick up on the direction and angle from the images. So, my time is heavily spent on researching which consists of finding the right images because images do take up so much real estate aka ’time’ when flipping through, but it’s also what grabs the reader.

Once, I have all of the images in a solid spot and I feel confident that they tell enough of a story clearly I then start threading in gaps of the narrative and mapping out my approach and direction for whatever it is that we’re telling. The images help me find areas that can be strengthened if I can’t find the exact image I am after or if the image simply does not exist in the way I see it. 

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?

Luke> It’s very important and a highly integral part of the process because if I don’t know anything about it - I have nothing at all to drawn from. I also need to find my own ways into it to be intrigued. So, I must dive into the world fully and discover what I can pull from to properly understand the story and the brand.

I initially started in documentary so research has always been a big component to anything I do. I will spend a relentless amount of time doing rigorous research on the brand and also jot down a copious amount of questions during that time.

If I can’t find the answers myself, then I will then ask those questions in the meeting with the brand once that occurs. Never be afraid to ask questions is what I have discovered. Most of the time brands find they do love it because they know you are engaged and you are invested. They like seeing that the director carries those elements. Curiosity is part of the process and what makes this process so fun. Be curious. Always. 

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

Luke> I personally have always found the director and DP relationship to be so vital to any project. You both need to see eye-to-eye and find ways to amplify whatever story you are telling from a visual sense along with its movement. Movement can dictate so much about the rhythm of a piece and so I think creating that visual language upfront to me is highly important when approaching an ad. You are essentially the painters to whatever canvas it is that you are painting.

I’ve been lucky enough to work with a few DPs where I have felt fully confident to be honest when something isn’t working and DPs who respect me and my process.

I have also learned to trust them to compliment the vision at hand. That relationship to me is highly integral because you are also creating the space for your editor to tap into the world you’ve painted for them.

So, I think that relationship is crucial. You need to find a DP who allows you to fully be yourself and opens a safe place to express something if it’s not working. You both need to be on the same page and be able to sharply articulate what it is that you’re after. It must be an open line of direct communication with no barriers. 

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?

Luke> I am drawn to all different genres, but most important I am driven by emotional storytelling and pieces that feel authentic. That’s honestly it.

We live in a world today where so much content is being generated just for the sake of being made and to me the pieces that stand out are either incredibly original and told in the way we haven’t seen before - or they are packed with so much emotion that you can’t forget them.

I also like projects that feel free-spirited where it feels like the filmmaking and characters of a piece drift apart and you are solely immersed into the world and you forgot about everything else.

I am drawn to raw stories that involve characters and following their journey. I’d say that’s what gets my blood pumping. I love when pieces have a style you can feel and I can see the director’s imprint. That’s always a special feeling when you can watch a director who has done a vastly different piece than their last, but their signature shines through. 

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

Luke> I think a common misconception about my work is that some feel my work feels too narrative-driven and or not “commercial” enough for the commercial landscape. I’ve heard some say it's too stylistic and bold in the way it looks because I come from the narrative world of film. I’ve also heard some say it’s “too raw” and “too emotional”. But, to me that’s what truly excites me when I see a spot.

I love when a brands specifically chooses a director because of their “signature” and adapts to that… to me, that’s what feels bold and actually what makes a spot sing and feel so much more unique. I know it may be a turn off to some, but I think that’s what makes it exciting and feel fresh. I always look to Trent Reznor and Atticus Ross and what they have done carving their own path in film scoring coming from the world of making music as a band. It’s all the same essentially you’re just threading a slightly different yarn. 

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

Luke> My problems have more so been related to that I find myself attracted and drawn to things everyone warns you against filming or deem “too challenging” to film. Not because it feels somewhat rebellious in nature, but I like to dive headfirst into environments that feel immersive or that I may not even be totally familiar with because I find that researching them inspires me as a human and I like feeling immersed into different worlds as an artist. I like being in the elements and capturing moments that some may think are “unable to be filmed”. 

To me, cinematic moments rest in corners we don’t always look at or know and sometimes they rest in our own backyard, which we overlook. Kids, animals, ayahuasca ceremonies, woman giving birth, etc. 

I’ve found that I love working with kids because they carry an undeniable innocence and carefree spirit that could never be recreated. I like working with non-actors like children because it's completely organic and natural.

Part of directing is giving guidance and giving your talent the tools to be able to freely be themselves on-location and that’s what reads on-camera. Their spirit shines through and it’s important to protect that. Most kids aren't trained and a lot of the kids I’ve worked with aren’t “actors” at all. Much like what I did with 'Sisters' is what I mean by creating a safe environment for kids to endlessly be themselves and freely explore this sandbox. 

A lot of the time my DP and I were just waiting for the children to fall into a state where they could forget the camera was even there or existed. I remember, we waited for an hour or two for the youngest to find her spot on the beach and ultimately get lost in her own daydreaming imaginary world.

While we were battling against the sun which would be setting soon, we allowed her to explore the beach and by the time she lied down - we gently approached her with the camera and captured a moment that could have never been planned.

As a director, you have to allow for room and space to explore and for spontaneity to arise. It’s much like animals and how I approach filming any animal. Animals are sentient beings and they have senses and so you have to be able to create a space of trust and safety for them to be vulnerable. So, that’s how I approach everything I do. 

As far as the other craziness that I’ve been grateful to capture - everything always has its own set of challenges but I found documenting veterans undergoing an ayahuasca ceremony to be incredibly powerful and it was only right to come at it from a place of deep respect and fragility toward not only them, but the medicine itself. I knew we had to approach it in a gentle way. My team and I did the dieta (a process that you follow weeks/months before one takes ayahuasca) with the vets, so we would be on the same level on their journey.

And then obviously documenting my wife giving birth was incredibly one of the most incredibly personal things imaginable to film because I needed to be fully present with her during that and so it was really giving trust to my DP to capture the honesty and authenticity of THAT moment of capturing new life born in a raw way that was not only cinematic, but handled with tremendous care.

Trust is a big thing with creating anything and especially finding that sharp and sincere genuine honesty on screen. 

You have to learn to trust your HODS and team. They need to feel like family because sometimes the tides can get really rough and you need to be able to learn that you can lean on them during those time and vice versa even during moments you feel you may not need to. Same applies to them.

You’ll need them during the times where it feels like nothing is going right and or even during the times when everything is going right - it’s fun to celebrate together and lift each other up and challenge one another to be better even during those very challenging moments when making something.

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

Luke> I always operate from a very open, collaborative place. I always check-in. That goes a long way throughout your shoot day.

I was recently on a Honda spot and I always made sure to check in with the agency and brand client. I wanted to reassure them and also open up that direct line of communication if they had an idea they wanted to see or wanted to see a shot captured differently or for a different movement.

I also think it helps because sometimes when you’re in it deep it allows you to step back and have a different perspective. It allows you to see a new idea differently. It’s healthy and allows for a very supportive and collaborative environment. 

I would also say that while I do believe the original idea is sacred and must be protected -- it is important to be willing to adapt because sometimes that’s what may be strongest for the idea/concept to grow and to also allow for spontaneous moments to arise. An idea on the page is much different than it being on-screen and so sometimes it can read much differently once it's on screen. So, it’s important to make sure that idea measures and carries the same weight and spirit on-screen.

I’ve likened it to a passage in a book can read very differently than how it’s translated on-screen. Sometimes it can be pronounced by visuals and sometimes it doesn’t always translate in the same way or carry the same emotion.

As a director you must be always be willing to understand but I think it’s important to always keep the intentions of the original idea intact. Instinctually, that original idea always holds something that rings true, but if you can find ways to elevate in an even stronger way and the agency/brand is in tune with it - go for it. I have always been a firm believer if it helps strengthens the vision across the board then that can only help the idea get more clearly communicated. 

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?

Luke> I am very open to it and I am 100% open to mentoring. That’s been the biggest way I’ve learned whether it’s a conversation someone is willing to have with me or a director I look up to and just hearing and learning more about their process or another opportunity to be on set. That’s the only way we grow as an industry and so to me mentoring is highly important and giving any knowledge or lessons I’ve learned to future talent.

Everyone takes their own journey in this industry and it’s a very subjective experience we all face, but I think it’s important to have a community and build those gaps because it can also be a very difficult industry. The highs can feel very high and the lows can feel very low. So, I do fully believe that support is vital for our community to grow and for more talent to emerge. I would not be where I am today without the amount of industry support I’ve received. 

I’ve found it important to surround yourself with artists that can help you grow and challenge you to find your voice. Not only does it spur confidence that you sometimes need to keep going, but it also allows you to stay humble and find your weaknesses and where you can expand as a human. Specificity and finding your own style is critical parts of the process when discovering yourself.

It’s important to watch and consume a lot of content that align with your taste, so you can find what you gravitate towards as an artist. But, I think it’s also good to separate yourself from allowing yourself to feel too influence. I’ve always found when watching things to see what inspires you because that’s what makes you fall in love with a piece.

Creating a place to fail and to learn is crucial whether it’s creating short films or making specs.

I do feel the process of generating is quite important and allows you to discover what you do and don’t like. It can be a meditative process that allows you to step back and examine your creation.

I have definitely learned the most by making things that I feel I must make or else no one else will make them and things that I feel I gravitate toward. Just be you. I would say to any artist out there to just keep making things you believe in and that ultimately feel personal to you that you want to see and by that I mean… your voice… what do you feel only you can tell because it’s so personal and or unique to you.

You’re the only voice that can sing that tune or tell that story in a way we haven’t seen before. Bring your own perspective to you because that’s what makes it special… Don’t be afraid to embrace the idiosyncrasies of yourself and or the things you may find or think are too niche. We need more of those stories to be told and that’s what I mean by voice.

Use that voice as your instrument and you’ll find what notes to play. Embrace that part of process and remember it’s all about the journey. Follow your gut and operate from a place of intuition because that instinct is usually right. Remember, it's a marathon, not a sprint.

Every overnight success story has usually been an accumulation of many, many years stacked with so much trial and error for the most part. We just live in a digital age now that forgets to tell you that stuff and speeds that process up as if the past never existed. 

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)?

Luke> Honestly, this is a very good question and I’m grateful you asked. But. I try to look at every new project I approach differently with a new lens.

I try not to reflect too much on the past or what we created back then. I’ve always said that if I tried to recreate something from my past I don’t think I could do it simple because we captured a specific energy within that moment/time/place that couldn't ever be reproduced again… and if we did I really don’t think it would come across in the same way.

It’s like capturing a sunset, they will always be different.

I try to approach every new project with a new set of tools or things I’ve learned from the past more so than looking directly at my past body of work. I try to not think too much about what I’ve made in the past and I try to honestly separate myself from that. I want to keep finding new experiences and discovering new journeys to take.

I know being in the commercial landscape it can be tricky especially when a client/brand may like what you exactly accomplished in the past with that spot and they may want exactly that thing you’ve already done, but I still try to find a new way in no matter what while still balancing whatever it that originally attracted them to my work in the first place.

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

Luke> Hemingway - It's so deeply personal, raw and honest. It reflects such a monumental moment in my life. It doesn’t try to pull any tricks or anything. It’s just exactly what you see.

Capturing a highly palpable, visceral moment that we can all relate to: creation. Life being brought into the world. I am not sure how I could honestly ever make something more personal or honest than that… It was very raw. Much like how I see a Cassavetes’ film.  It really reflects such a near and dear moment personal to my wife and I.

It was truly a miraculous moment and I am forever grateful to my wife for letting us document this moment that was also her idea. We hope that more mothers and soon-to-be parents have been able to see themselves in this piece and have found comfort in watching it because it really is such an incredible, beautiful moment. 

Sisters - Again, it was such a freeing experience to make this piece. We simply had no plan and that’s how we approached it. The only rule we followed was creating an environment where kids could simply be themselves and run free.

We had a rough outline for the piece, but that was it and the freedom allowed for no restraint and for us to capture simple, genuine moments that brought feelings of nostalgia and warmth between childhood. We chose locations that had endless amounts of space that were outdoors for that reason because that is where a child’s imagination can roam endlessly.

This process allowed for the sisters featured in the film to truly just be sisters and to explore their connection with one another on a deeper level. I will forever hold this piece close to my heart.

Finley - This was based on a real experience that my wife and I had during the pandemic. We had rescued an Australian Shepherd that we ended up gifting to my grandmother down in Kentucky. We had the Australian Shepherd for a brief amount of time and the connection and bonds we built were really not able to fully be understood or comprehended, until we said goodbye. It was a very difficult decision for personal reasons.

Heart-wrenching and it was extremely numbing, but I am proud to say that Finley is still with my grandmother today on her farm and was also the woman who played the lead role in the film. Finely, too, plays the dog. It was incredible to film this because it felt like this cathartic reunion where we could all be together in the same place again.