The Directors: Mar del Corral

Mar del Corral’s work is informed by an acting background, a passion for honest storytelling and a desire to use her films as a platform for positive change. She champions inclusivity and empowerment, inspiring talent to boldly shine on screen through authentic, impactful performances.

Name: Mar del Corral  

Location: UK  

Repped by/in: Spindle  

Awards: Vimeo Staff Pick, Bronze at Ciclope, Gold at Gerety Awards, Shortlisted for Cannes Lion, Gold Shiny Awards  

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

Mar> I’m all about scripts that make me challenge myself. I love a good challenge. There’s something very powerful about taking a script with a strong concept, being able to imagine striking visuals for it and create a whole new world with my vision. I love making films! But what really gets me excited is when the script is carried by a brand that hits home with my values. My work for Adidas is the perfect example for that. A perfect blend of creativity, visuals, storytelling and a message that truly spoke to my soul. When all of that happens I’m all in!  

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

Mar> First things first, it’s all about listening. I dive deep into what the agency and client are looking for. My gig is to sprinkle my vision onto their approach. And when you click with the creatives you’re collaborating with, that’s when the magic happens.  

After that, it’s research time. I dig into all sort of stuff while listening to a good album, let my mind wander, and then ideas start popping up. Then it’s all about writing. I mean, I could write all day, every day. That’s when I'm in my element - just me, my thoughts and a keyboard. 

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? 

Mar> It's my responsibility to demonstrate my commitment to understanding the brand and the market; I feel that’s key for my job. Every project is like diving into a new adventure. Even if it’s a brand I’m not super familiar with, I always prioritise research. Understanding the contextual side of an ad is crucial to make It work.  

When it comes to working with brands that I may not have a strong personal affinity for, I’ve been quite lucky. I think it's because of the close bond I share with the production companies I work with. Whenever I’m pitching for a project, there’s usually a natural connection between the brand and my work or my vision. And I feel very lucky because of that.  

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

Mar> You know, one of the things I love the most about this job is how collaborative it is. My work wouldn’t be possible without the crew’s dedication, and that’s a blessing and the beauty of filmmaking - and what makes it very hard too. Every person from pre production to post production plays an essential role and I take pride in taking care of my working relationship with everyone, making sure everyone feels important because everyone is. 

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? 

Mar> I'm super passionate about portraying human emotion. There's something extremely powerful about capturing moments that feel honest and translating them into stories. Making that happen really fuels me. It doesn't really matter if I'm working for a fashion brand, or a sports commercial, if it's a drama or a lighthearted film. I'm drawn into true performances. 

LBB> What misconception about you or your work do you most often encounter and why is it wrong? 

Mar> Haha, that's a good one. I guess it's a misconception many female directors encounter. People often assume we're exclusively good for feminine brands, beauty commercials, and so on. Don't get me wrong; I absolutely like working on those projects, and I feel truly blessed to do so. But I also have a desire to break through stereotypes too. Believe it or not, for example, I'd enjoy talking about aeroplanes, because there was a time when I dreamed of becoming a pilot. So, it's not exactly a misconception, but it's something I'm eager to challenge and demonstrate that we can excel in different genres and industries too. Thanks to that discourse, I’ve had the opportunity to work on projects that speak about women in football, for example, and I absolutely adore those experiences. 

LBB> Have you ever worked with a cost consultant and if so how have your experiences been? 

Mar> No, I haven't had the chance to work with a cost consultant yet, but I think it could be a valuable experience. I don't see them as someone who would cut my creativity; instead, I view them as someone who can help me make the most out of the budget. It's all about finding creative solutions and maximising the resources we have, I guess.  

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

Mar> Oh, there have been quite a few challenges, and it's what keeps this job exciting, haha. One recurring challenge I've come across when working with big-name artists, is the limited time available with them. Imagine having just three hours to shoot a minute-long film. How do you solve that?  

It's all about having a super well coordinated crew. We rehearse with stand-ins, I ask for makeup time to connect with the talent and explain the plan in advance. Having two camera units to avoid time-consuming changes is a very good solution too. Being hyper-aware and attentive to every detail helps everything run smoothly, so the talent feels comfortable too and not rushed.  

Problem-solving is a big part of our job. They happen all the time and you have to be aware and prepared to find the best solution.  

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

Mar> It's all about transparency, having clear and honest communication. Active listening is key, so agency and client feel heard and understood too. I work towards alignment in our goals and vision from the very beginning, and I also know how to take creative ownership too. In the end it's all about diplomacy, flexibility and always being open to alternative solutions. Finding a middle ground where everyone’s interests are served is the sweet spot. Building trust is also a part of my job too, and if they trust me, most of these problems are solved.  

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? 

Mar> Absolutely, I believe opening up to a more diverse pool of talent is not just necessary but also incredibly beneficial for the world we live in. But while a bit of progress has been made, there's still a long way to go. 

As for mentoring and apprenticeships, that's how I started in this industry, and I owe a lot to the directors who allowed me to enter their worlds and learn from them. So I want to pay it forward and share everything I know with anyone interested in my journey. For example, my current assistant reminds me a lot of myself ten years ago, 

he is very talented and I also learn so much from him. I make sure to pass on everything I know and offer guidance to help him overcome challenges and reach his goals. 

I firmly believe that what you give always comes back amplified, and it's a motivating factor in my life. 

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?  

Mar> The pandemic has forced us all to adapt and find new ways of working. While I'm relieved that things are returning to normal, there are some lessons that I believe will stick around. For example, embracing remote communication and technology. We've learned how efficient video calls are even though I prefer real meetings. But I see this as a valuable tool too. It allows for more flexibility and it can facilitate collaboration with talents and teams from all over the world.  

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)?  

Mar> While working, I primarily focus on the main format I'm dealing with. However, I always keep in mind the need for adaptability to ensure that my approach can be 'different format' friendly as well.  

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)? 

Mar> I absolutely love embracing new technologies. For me, it's all about staying open to innovations and recognising that every technological advancement presents a learning opportunity. New technologies enhance the creative process and also open up new possibilities for storytelling and visual experiences. I’m working on a project right know that tackles the pros and cons of AI and I’m loving it so far. But I do still feel that on top of that, we should preserve human touch in order to communicate. That's where the importance of our soul and existence lies, in humanity. 

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

Mar> I always have the feeling that my best work is yet to come. While I appreciate the progress I've made and the recognition I've received, I tend to move on quickly and rarely revisit it. I'm always looking forward to what's next and how I can continue to grow and evolve as a filmmaker.

But what I love about the projects I'm about to share with you is the passion I poured into their making. It was essential for me to connect with both the crew and the cast, and the entire process was truly beautiful. In each of these projects, at least one person told me I managed to evoke emotions in them, perhaps a little tear or a goosebump, and that means the world to me.  

Adidas x Common Goal

Adidas x UEFA Women’s Champions League - The Del Piero’s

For Hemma

Jaime Lorente - Corazon