The Directors: Michał Misiński

Name: Michał Misiński

Repped:

US: BRAND YEW 

DE: SEHSUCHT

PL: The Reel Friends

Partner at Juice

Awards: CICLOPE Festival, Berlin Commercial, ADC 102ND

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

Michał> Oh, I’d love to share, but those NDAs have me locked up tighter than a bank vault. All I can say is that my calendar is packed with creative chaos, and I’m excited about what’s ahead. One thing I can tease is an upcoming collaboration with Nvidia at the crossroads of gaming and entertainment—stay tuned for more soon!

My recently released project that took me out of my comfort zone in the best way was a Ritter Sport – Love Affair. It’s playful, colourful, and full of humour—basically the opposite of polished car ads. Tackling something so quirky and light-hearted was a refreshing challenge, and I think it turned out pretty sweet (pun absolutely intended hah).

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

Michał> The fact that no two days—or projects—are the same. You’re constantly tossed into new worlds with new people. And the trends? We’re finally moving away from endless “beauty shots” and hunting for something more meaningful. I’m all about surreal ideas in realistic settings—it’s like sneaking a plot twist into a postcard.

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

Michał> It’s all about potential. If a script feels like a springboard for collaboration between the client, agency, and my team—DOP, editor, VFX & post-production—that’s where the magic happens. The trust to experiment or even throw in a curveball is gold. Scripts that feel alive, like they’re just waiting to surprise everyone involved, are the ones that get me out of bed. 

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

Michał> It starts with my iPad and a bunch of chaotic scribbles—ideas, sketches, and random bursts of inspiration. From there, I build a simple one-pager with a mood board to nail down the tone and visual vibe. Once that feels solid, I flesh it out into a full-blown treatment: detailed scripts, visual references, shooting plans, and design elements. Design is a huge part of my process—it’s like my creative GPS. It keeps me aligned with the vision while giving the team a clear route to follow. Without it, we’d be wandering in the dark.

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?

Oh, research is essential—sometimes it’s like cramming for an exam but with better snacks. Advertising throws you into fresh challenges all the time, so I’ve learned to dive in headfirst. Sometimes I even surprise myself by finding new interests. Who knew I’d ever care so much about the aerodynamics, engine tech, or even the tiniest design details that make a car unique?

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

Michał> From the client’s perspective, it’s them, the agency, and production—classic answer, right? :) But for me, it’s the DOP and editor. That’s where the real experimenting happens. Post-production is like the cherry on top if you’ve planned well. And I’m big on planning—not because I’m organized, but because winging it without a plan is a recipe for disaster. Trust me, I’ve learned the hard way.

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?

Michał> I have a weakness for clean, well-designed visuals and stories that put people at the forefront. Minimalist aesthetics? Yes, please. Overdone CGI? Hard pass. My favourite projects feel like every frame has been polished to the max, but not so much that you lose the human touch. I’ve done a lot of car and sports films, and I love sneaking narrative depth and invisible post-production into them—kind of like hiding vegetables in a kid’s meal. Think Fincher's precision in shot design meeting a compelling narrative—that’s the dream combination.

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

Michał> Oh, this one’s easy. We were shooting for a car brand’s winter campaign, and every time we scheduled the shoot, the snow melted—like it was taunting us. After three reschedules, I seriously considered renting a snow machine and calling it a day. But we pulled it off by timing the shoot right. Lesson learned: nature doesn’t care about your deadlines.

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

Michał> It’s all about picking your battles and knowing when to fight for your ideas. Take the Phantom Liberty game expansion credits sequence, for example (which also served as a promotional music video). Working with an IP as iconic as Cyberpunk 2077 could have felt like a creative straitjacket, right? But even though CD PROJEKT RED is a massive organization, they handed me the reins with a ton of trust. It was like being given the keys to a high-tech dystopian kingdom.

Sure, I had to respect the universe, but that didn’t stop me from putting my own spin on it. Projects like this prove that collaboration doesn’t mean watering down your vision—it’s about working with your partners to create something greater than the sum of its parts.

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?

Michał> Of course! I wouldn’t be here without the brilliant people I’ve learned from along the way. Besides, I love seeing new talent come in with fresh perspectives.

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)?

I love new tech—anything that saves time or lets me be more creative is a win. Virtual production? AI-driven visuals? Bring it on. Though, let’s be real, no technology will ever replace a well-timed brainstorm session.

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

Michał> CYBERPUNK 2077 – Phantom Liberty (Dawid Podsiadło, P.T. Adamczyk): A playground for blending the surreal and the real, live-action and CG animation. It’s gritty and vibrant—a visual feast.

Porsche – Macan 2024 (ft. Iga Świątek): Sleek, elegant, and packed with this superstar personality. This one felt like a dance between design and storytelling.

HONDA – Gravity: Minimalist design meets storytelling. It’s clean, precise, and hits all the right notes.