The Directors: Robert Llauro
Robert Llauro is a Buenos Aires-raised, New York / LA -based filmmaker. He has an appetite for distinguished and sensitive pieces, spanning the broad spectrum of human experience. His work is natural yet stylish, always with a cinematic edge and a visually-driven storytelling approach.
Robert enjoys talking and debating a lot in daily life. But when it comes to storytelling, he relies on atmospheres and evocative visuals to create moods that express much more than what dialogue alone could. He truly believes that the craft of filmmaking is about triggering a strong emotional reaction in the audience so they can process the message on their own.
He has directed commercials in international markets and shot for high profile clients such as Ram, Adidas, Budweiser, Google, Buick, Avon and Smirnoff to name a few. Not only has Robert worked with notorious agencies and clients, he can add world-class athletic talents such as Neymar and Lionel Messi to the list as well (even though he swears he’s not a sporty guy). Above all, he still thinks there’s only one secret: a good idea, with hard work and passion, will always turn into a great film.
Name: Robert Llauró
Location: US
Repped by/in: LANDIA
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Robert> I like unexpected films. Unexpected ideas that I can turn into even more unexpected films. Creating worlds that aren’t 100% real. Adding fantasy to enhance the craft and the overall message. Always mixing genres and aesthetics where you can’t really say if it’s comedy or action; but both at the same time blended together.
I guess if I have to use just two words to describe what gets me excited to shoot would be: Metaphors and Epic.
I believe BK and Bitso Manifesto describe pretty well how I’m feeling lately towards work and what gets me really hyped up.
LBB> How do you approach creating a treatment for a spot?
Robert> I try to avoid reading the script before chatting with the agency.
Creatives have been thinking about this concept and developing it for months. I find it much more inspiring to hear thoughts, feelings, ideas and dreams than reading words. After that, I try to forget about the deadline and just live a day or two with those concepts in my head. And when I’m doing the dishes, or walking my dog, even though not on purpose, I start finding my voice and my POV in how to approach that idea. And just then, I dive into the scripts.
Now that I know how I want to approach the project I work on references. Then I sit down with all that material and I lay it down trying to tell a story with my treatment. Trying to make you feel something. Hopefully delivering the tone by only scrolling my deck. Then I write / submit.
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?
Robert> Rather than important, I believe it’s the correct starting point and fundamental.
As much as we love filmmaking for the sake of filmmaking, this is advertising and everything has a cultural context that we should honour. If you don’t know your product or your audience, you won’t succeed. Advertising has to not only be beautiful, epic and unexpected, but most importantly it has to hit a target. Magic happens when the 'epicness' of the craft works towards hitting that target harder. When your ideas on how to film that script aren’t just 'Instagramable bits' but rather work in favour of making the message stronger, now THAT’S a good campaign.
You can never overlook the context…
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Robert> Pro-du-cers.
It has always been all about the director - producer relationship. Just like a marriage, if it’s good, it will certainly potentiate you and get the best out of you. And if it’s not, there’s no way around it.
Of course, the dynamic you create with the DP or the production designer and the editor is crucial. But for me, way before even booking the team that will practically elevate you and your work, it’s all about mapping out the project with a producer. Understanding each other, working towards the same goal with a collaborative dialogue. These are all fundamental things to succeed in any creative career I’d say. You need to build and cherish that yin and yang balance.
I have it with many of my producers, in different territories and I can assert that my career wouldn’t be the same if it wasn’t for the relationships with my producers.
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?
Robert> I briefly mentioned it before. But epic films where things aren’t real and normal, might be one of the things I like the most when shooting. And when that is mixed with metaphors, or saying things without actually saying them but rather creating a visual expression, that gives the audience the idea we are trying to deliver… well, thats the holy grail to me.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Robert> Oh yes, multiple times. Best experience was when a consultant came on set and told me: “actually, now that I see what you’re doing, it wasn’t that expensive. I won’t give names though, but last name started with L_ _ _ _
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Robert> To quote Einstein, (cause it makes me look clever), “Intellectuals solve problems, geniuses prevent them.” Not that I’m a genius at all, but I truly believe it’s all about preventing problems, rather than solving them. With a team of people that yes, are closer to being geniuses at what they do. And yes, there are always problems. But the more you prep in advance and think and plan accordingly, the less problem solving you’ll deal with. Therefore the better film you’ll achieve.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Robert> Luckily, it’s been many years since I last faced this problem. I guess it’s because I’m chosen by people that find my work and process interesting, and the other way around. I don’t support the idea that once you award me with the project, it becomes MY film. We are a team working towards a common goal. Sometimes they have to trust me. And sometimes I have to trust them. That’s why I believe the treatment process is so important! Because we need to be aligned creatively. Brands and agencies need to be comfortable in allowing me their unconditional trust with some decisions. While I also need to carefully listen to their input, and incorporate it in my storytelling.
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?
Robert> Of course. Who wouldn’t? If you’re reading, this feel free to reach out.
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?
Robert> Yes things changed. But honestly it’s not too different in my personal experience to what it was before. I live between NY and LA and work globally. So I tend to do most of my work from my home until I’m closer to shooting dates. Before the pandemic I’d do eternal phone calls or FaceTimes and now I do Zooms, Meets, Teams… Not too different tbh…
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)?
Robert> Multiple assets are a tricky one really. Because it’s usually not only a format issue, but a usage one. Aside from cropping 16:9 or 9:16 [fairly solved with shooting full frame…] there’s the fact that the timing and the span of attention is different on TV, on an IG story, on a YouTube preroll, etc.
I guess what I'm trying to say is that ‘one size fits all’ isn’t always the best solution. We can’t shoot a single film and use it in multiple formats expecting same results.
What we always do with the team is understanding and sharing the assets beforehand, so we can plan accordingly. Sometimes it’s not too difficult -or time consuming- to do an extra shot especially crafted for a goal/format. And the result is SO much better.
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)?
Robert> I recently did a film for Corona using virtual production and it was awesome. Mixing live footage with virtual and creating unreal worlds literally on UNREAL [the software] was great. I’d love to explore it further in future projects.
Im also in the process of developing my first feature film and there’s a lot of AI going on in the process, which makes me think this will be a crazy helpful tool in the near future.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Robert> Rockstar | Wake Up Zombie!
Olympics + Coca-Cola - My Generation Belongs Here - Tokyo 2020
Acura Integra - Cultura Shift
Bitso + - Blockchain to the Moon
