The Directors: Heinz Kobernik
Heinz is a German-Salvadoran film director based in LA. A globetrotting director, whose eclectic approach to his craft is shaped by his cultural experiences, his films are a window into the convergence of cultures in modern life. Heinz is trilingual, proficient in English, Spanish, and German. His artistic vision is a testament to his multicultural upbringing which has been enriched by playing in punk bands, a pure love for classic cinema and collaborating with artistic friends from all over the world.
Name: Heinz Kobernik
Location: I’m based in Silver Lake, Los Angeles, and I relish spending a portion of the year immersed in the vibrant culture of El Salvador.
Repped by/in: I work independently and partner with production companies across different regions and markets.
Awards: Berlin Ciclope Advertising Festival Gold Award Winner x 3 / Best Director at the Hollywood Short Film Festival / Silver Award at Festival Circulo de Oro Mexico / Caribe Latin American Advertising Festival Winner / Mallorca International Film Festival Winner / Hong Kong Indie Film Festival Best Short.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Heinz> I become truly exhilarated when I encounter the chance to craft one-of-a-kind characters. Well developed characters serve as a deep reservoir from which to draw creative solutions. This interplay of characters, setting, plot, and motivation is the essence of solid storytelling. I aspire to craft films that embodies a seamless fusion of style and culture, a creation both distinctive and deeply rooted in my personal experiences.
LBB> How do you approach creating a treatment for a spot?
Heinz> An integral facet of my creative process is infusing a personal voice into my commercial work, as I tirelessly seek those crossroads where my personal experiences intersect with the material. In the advertising space, visual trends ebb and flow like the tides. To ensure the enduring relevance of your work, I've found that the key lies in consistently interpreting these trends through the unique prism of my own perspective.
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?
Heinz> Research is the bedrock. Regardless of the project at hand, delving into a brand's world, seeking those sweet spots where I can forge a personal connection and devise cinematic strategies that ensure the brand's message hits home on a profound level is vital. Context, you see, is absolutely vital in setting the right tone for a film.
Growing up, I was practically raised in the world of agencies because my Mom was an account director for years. This background gave me a deep understanding of the agency's Herculean efforts to get a campaign greenlit and prepped for filming. That's why I'm all about fostering an open and collaborative vibe, searching for ways to add that extra sparkle to a script.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Heinz> What I cherish the most about being a director is the deeply communal nature of commercial filmmaking. The beauty of it is that every project is unique, and so the relationships involved need to adapt accordingly. My aim is to foster a flexible workflow where ideas flow freely, quirks and vulnerabilities are embraced.
Depending on the nature of the source material, I may lean more on the expertise of department heads. It's worth emphasising that every project is an entirely unique adventure in itself.
However, the most pivotal relationship in my book is the one I share with my producer. I find my greatest inspiration when I work alongside producers as creative partners. That sense of camaraderie, of coming together to tackle challenges, is what truly fires me up.
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?
Heinz> I'm driven by the pursuit of fresh horizons in commercial advertising. My true passion lies in exploring narratives that seamlessly blur the lines between branding and entertainment.
I’m looking for projects to uncover innovative ways of forging meaningful connections through branded narrative films, creating what people are calling 'brand-entertainment.' I aim to craft campaigns that not only represent brands but do so in an entertaining and thoughtful manner.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Heinz> What often catches people off guard is my background: I hail from El Salvador and am fluent in Spanish. Born to a German father and a Salvadoran mother in the vibrant district of Neukölln, Berlin, I spent most of my life in El Salvador before moving to Los Angeles.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Heinz> I haven't collaborated directly with a cost consultant.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Heinz> During the lockdown, directing remotely via a computer screen was tough for me. It felt like the work was missing the soul that comes from creating a film in the same space and bouncing ideas off each other.
To address this challenge, I tried to establish a solid connection with the talent over Zoom. In certain cases, we even had to shoot in the talent's actual homes, so I would request their assistance in art directing their surroundings. It gave them a feeling of ownership and turned out to be a great team-building experience in what was quite an unusual filming setup.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Heinz> Being in sync with agencies and clients is a must when it comes to protecting the core idea. That's why the research phase plays a pivotal role in my creative process. I aim to forge strong partnerships with both agencies and clients, actively contributing to the creation of a memorable piece of commercial art. I'm all about co-creation, working hand in hand with them to bring our shared vision to life.
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?
Heinz> My heart is fully invested in championing diversity within our industry, and I actively engage in mentoring young, aspiring filmmakers back in El Salvador. I also proudly serve as a Story Mentor right here in Los Angeles for Ghetto Film School, paying it forward to the next generation of filmmakers from diverse backgrounds.
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)?
Heinz> I'm all in when it comes to making ads versatile across different formats. I see them as canvases that let us get creative with editing in new and exciting ways.
Great art is all about being specific. But in today's ad world, we have to grapple with finding production models that can flex and adapt for different platforms and screen sizes. It's tricky because you risk losing that artistic essence when you're constantly thinking about how the shot will fit on various screens. To tackle this, I treat it like a multi-camera shoot. I imagine each red frame line on my monitor as a separate camera, and I edit with the knowledge of which shots might need to be adjusted for different deliverables.
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)?
Heinz> Back in film school, I used to work at a video store in Madrid, and that experience turned me into a bit of a film romantic. But what draws me to advertising is the need to ride the ever changing wave of the zeitgeist. It's a space that demands constant adaptability. Technology is a toolkit for expressing my artistic vision, so I'm always on the lookout for the next game-changing tools that can help me evolve and enhance my work. Yet, at the end of the day, the core must always remain intact: not losing the art of storytelling amidst flashy visuals.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Heinz> I'm at my best when I'm working on projects that require a collective effort, bringing a group of creative minds together to tackle complex production challenges. These experiences often forge strong bonds within the crew and a sense of seamless teamwork, creating a state of flow.
Zillow 'No Place like Home' - I envisioned this film as a Day Dream that jumps in and out of reality from the first-person perspective of a homebuyer. It was a big challenge but after extensive testing we created a Body Rig enhancing the camera's movements to closely emulate the human experience and field of view.
HP Omen 'Do it all' - My intent was to evoke a deliberate sense of formlessness, showing how the OMEN seamlessly adapts to different situations. Collaborating with the entire team, we masterfully manipulated aspect ratios and interchanged anamorphic and spherical lenses to enhance this concept.
MONDELEZ 'Mujer Escándalo' - For this campaign I got to work with Niurka Marcos - her impact on the entertainment industry and her ability to challenge conventions have led some to see her as a pioneering figure. I wanted to create a stylised reality that paid tribute to Niurka’s unfiltered approach and unapologetic personality.
The Directors Treatment - I've always been fascinated by the intersection between advertising and film. 'The Director's Treatment' is a short comedy inspired by my experiences as a commercials director, having to pitch to clients for a living - while simultaneously trying to find my voice as an artist.
