The Directors: Daniel Lundh
Daniel's bold comedic work is elevated through brilliantly observed performances, attributed to his obsession with casting and openness to improvisation. Daniel’s comic versatility and signature style has seen him create work for Klarna, H&M, Pizza Express and Adidas to name but a few.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Daniel> Scripts often become overly complicated in the client-agency dynamic, overanalysed to the point of exhaustion. In my experience, the most successful scripts are the ones that maintain simplicity, allowing ample space for creative freedom.
LBB> How do you approach creating a treatment for a spot?
Daniel> It’s always about the script first and foremost, finding ways of dialling up the comedy or specific beats. Challenging the idea, questioning myself how much I should challenge the idea, having no ideas and then back again, like a loop. The rest is more about googling and looking at nice pictures.
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?
Daniel> Not much, I obviously need to know the basics, but I'm here to make films, that’s my main focus. If the agency has done their job, it’s all weaved into the idea.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Daniel> I guess it boils down to respect, and respecting each other’s opinions. Each person involved has a different relationship to the client and the idea, the outcome. Understanding that and respecting that is crucial, this goes both ways of course.
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?
Daniel> I tend to be drawn more to comedy than anything else. I’m fascinated by the craft that goes into creating the perfect 30 second comedy spot, the timing, the beats, the details. One particular spot that comes into mind is Apple Detective, directed by by David Shane, for me, that’s perfection.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Daniel> That I'm famous and good looking.
LBB> What’s the craziest problem you’ve come across in the course of a production and and how did you solve it?
Daniel> Scheduling issues, sorry, doesn’t get more exciting than that :)
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Daniel> It’s a bit like being a biased couples counsellor at times, being nice also helps.
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)?
Daniel> Shooting both landscape and portrait at the same time can be super frustrating. But for me, the big thing is always the idea and how we make it happen. Formats come second.
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)?
Daniel> AI is an amazing tool that I use for many tasks, but when it comes to production, I'm a bit old-fashioned. I like to get as much done in-camera as possible. It's important to me that the final result looks timeless.
LBB> Which pieces of work do you feel really show off what you do best and why?
H&M - Here for it
Adidas - Puddle Jumper
