The Directors: Karim Zariffa
Karim Zariffa is an accomplished director in the world of TV commercials, known for his exceptional talent in visual storytelling and creative problem-solving. Hailing from Montreal, Canada, Karim has made a significant impact on the industry with his unique approach and innovative vision.
With a solid background in design, Karim brings a strong art direction and a keen eye for detail to every project he undertakes. His work is characterized by a distinct studio aesthetic, marked by striking visuals, meticulous set designs, and a vibrant color palette. Karim's expertise lies in creating captivating commercials that blend artistry and technical precision.
Name: Karim Zariffa
Location: Montreal, Canada
Repped by/in: 1stAveMachine - US + UK + CANADA
Awards: ADC, Webby, Grafika, Young Guns, Gemini Awards.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Karim> I'm always a big fan of a simple and smart brief. Many agencies try too hard to describe their script, which can lead to decisions that should be taken by a director, resulting in a product that isn't always fluid. My best work has been created with solid, smart, and concise briefs. The simpler the brief, the more original I can get with it. That being said, I do love shooting any good and smart idea, even if the agency described the camera move in the script. ;)
LBB> How do you approach creating a treatment for a spot?
Karim> Creating a treatment is a process that I absolutely love. I usually handle most of it myself, from writing to images to storyboards and 3D renders. After reading the script, I usually have a strong initial vision or direction but I don't lock myself into it just yet. I spend time researching various ideas to find the right angle that complements my original vision. Storyboarding is a crucial step, and I try to explore every creative avenue early on in the process. I want to push the boundaries as much as possible before finalizing the storyboard, as once it's drawn, I find it difficult to make changes. The rest of the time is dedicated to writing copy and creating impactful visuals. Once the storyboard is ready, I spend about two months explaining that vision to all departments and clients.
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?
Karim> Researching and understanding the strategic and contextual side of the ad is crucial when working with an unfamiliar brand or market. I study the brand online and examine past commercials and competitors. I compile a list of questions for the agency, as they usually have the brand information I need. It can be challenging to find those answers online, so I rely on the agency to provide the necessary insights. Understanding the audience, the clients' needs, and the intended messaging is the first thing I prioritize. It's essential to me to communicate the right message for the brand and to the right people.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Karim> The line producer is the first person that comes to mind as an important working relationship for a director. While I am a fast and organized worker, I appreciate having a producer who is one step ahead of me. I value their involvement in the creative process and their ability to think about how to achieve that extra shot or element I desire. The producers I work with understand my working style and know what I need to excel. As a close second important relationship, I would say the one I establish with the agency up until the shoot. Confidence, faith, mutual respect, and trust in one another can really help create a great creative collaboration.
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?
Karim> I specialise in studio jobs with strong art direction and a vibrant color palette. That's what I'm known for and what I excel at. Coming from a design background, I am a visually-driven director. However, these days I also enjoy stepping out of the studio and bringing my vibe to outdoor settings. I always seek a balance of 50% in my comfort zone and 50% new challenges.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Karim> The most common misconception about me is that people tend to associate me primarily with studio jobs, thinking that's the only thing I can do. However, I have worked on a wide range of projects, including location shoots, dialogue-driven commercials, musical performances, live-to-tape productions, choreography shoots, food commercials, and more. Another misconception is that directors should not be disturbed on set. In contrast, I welcome input and opinions from everyone involved. I believe that incorporating different perspectives and ideas can lead to something great.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Karim> I haven't directly worked with a cost consultant myself. However, I collaborate with our in-house bidder during the pitch process, and some of my productions may involve a cost consultant. I always try to pitch my ideas to bidders as soon as I have them to ensure we stay within budget. With my years of expertise, I have developed a good sense of what things cost. However, there can still be surprises along the way.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Karim> In one particular project, the concept was to build a large water slide for a commercial. I quickly sketched the design and handed it to our production designer and engineers for execution. We built a 30-foot high water slide that looked gorgeous. However, the engineers miscalculated the slope angle, resulting in the slide not functioning properly. It was like the slide was just sitting on the ground without any sliding action. To solve this, we enlisted the help of a stunt coordinator known for working with Michael Bay. He came up with an ingenious solution after a night of testing. We lubricated the actor with glycerin and oil, and a sliding pad was placed under the swimming suit. It worked like a charm and saved the day.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Karim> Maintaining open collaboration with the agency and brand client is crucial for the success of a project. To protect the idea, vision, and the film, I strive to be a strong and confident leader. I present the team with a precise plan right from the beginning, leaving little room for unnecessary changes. When a questionable idea emerges, it becomes a matter of politics and building trust so that my explanation against the idea is well-reasoned. Establishing trust in my role as director from the start helps ensure that the team follows the clear plan. However, to achieve this, it's essential to thoroughly understand the agency's and clients' needs, creating a flawless plan.
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?
Karim> I believe it's crucial to open up the production world to a more diverse pool of talent. In the past, I had interns when I worked on more diversified design projects, but I reduced that when I became a director. However, I enjoy having someone shadow me as it can be beneficial for both parties when done right. Recently, I had a young director shadow me on a big set, and my DP had a young apprentice shadow her throughout the entire job. I would love to see more women on set, as I believe it would positively impact the industry. I actively promote a balance and often aim to have female key roles on my projects. It's my way of ensuring that my daughter and future generations have even more opportunities than I did.
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?
Karim> The pandemic has introduced significant changes to the way we work, particularly with the rise of video calls. In the past, we would often have calls with agencies without seeing them until we were on set. However, video calls have become the norm now. While I believe it benefits us to see each other during work-related discussions, I find that the constant use of video calls, even for quick conversations, can be intrusive and disrupt actual work. It takes longer to have a video call compared to a simple audio call. Technology has undoubtedly become a more integral part of our daily routines. Over the past three years, I've experienced a variety of shoots, each with its unique circumstances. However, currently, we are returning to standard shoots with occasional mask requirements in certain countries.
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)?
Karim> Considering the various formats in which my work will be presented is an essential aspect of the creative process. It's crucial to clarify this with the agency and media buy at the project's outset. While it is possible to create a campaign that caters to multiple formats, it requires careful design and planning. I prefer to focus on one primary format and then develop something interesting and usable for the less frequently used format.
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)?
Karim> I have always been interested in new technologies, but my approach to directing is centered around an in-camera style. I value the human touch and the craftsmanship of practical effects, which allows viewers to relate more to the final product. While I find 3D and CGI to be somewhat cold, I acknowledge that technology plays an essential role in our shoots. I use various technological tools such as motion captures, motors, rigs, and innovative lighting techniques with iPads. I also appreciate shooting in volume stages and staying up-to-date with advancements like AI and mid-journey chat GPT. I strongly believe that AI will continue to shape our industry, and I actively participate in this movement. However, I aim to maintain the handmade vibe that drew me to this craft in the first place.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Karim> Google Android Wear 2.0 Commercial: This commercial represents my signature style. The concept involved creating a theatrical set design in a colorful studio with moving pieces, walls, lamps, and props. The entire commercial was executed in a single take, showcasing my ability to choreograph complex sequences and integrate various departments seamlessly.
YouTube's Broadcast Live Event: I directed this ambitious 50-minute fake live event for YouTube. It featured major celebrities like Miley Cyrus, Hassan Minhaj, James Corden, along with YouTube influencers. The project involved shooting in multiple locations, including a large convention center with elaborate set designs. The event included musical performances on a rotating stage, demonstrating my skill in managing large-scale productions and capturing dynamic performances.
Doordash Commercial: In this commercial for Doordash, I created captivating "stress monsters" costumes and choreographed a dancing commercial. This project highlights my expertise in location shoots and choreography. It showcases my ability to bring creativity and visual flair to brand campaigns.
Pennsylvania Tourism Campaign: The Pennsylvania Tourism campaign allowed me to develop seven concepts and locations based on the tagline "uncommon is calling." This project demonstrated my versatility and ability to create visually captivating content outdoors. It showcases my talent for bringing my visual universe to different settings and capturing the essence of a destination.
