The Directors: Hannah Lehmann
Hannah is a powerhouse director with a gift for bringing character and narrative to life in every project, whether it’s a high-impact commercial or captivating content piece.
A 2022 finalist for Best New Director at the Shots Awards and a Cannes Catalyst Delegate in 2024, her work has already earned industry-wide recognition. She’s partnered with top-tier clients like Amex, Vogue, Mardi Gras, Westfield, and Coex, not to mention crafting incredible short content series for Snapchat, Instagram, and Facebook.
Name: Hannah Lehmann
Location: Eora/Sydney
Repped by/in: Mint Films
Awards:
Australian Directors Guild - Best Director for Two Sides
Streamy Award - Best Director for Two Sides
Webby Awards - Best Director for Two Sides
NAACP Image Award - Nominated for above
Shots Emerging Director - Shortlist
LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?
Hannah> I’m working on a number of long-form projects both domestically and in the USA which is really exciting. I hope to direct my first feature next year.
LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?
Hannah> I’m excited to see a step toward brand integrated short form series. Meeting audiences where they are with the content they are already engaging in is an exciting step forward in the industry. Well crafted and well executed series with real character development and interesting storylines is so much more exciting to younger and less traditional audiences, and it allows real creative freedom and collaboration with the director.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Hannah> I am really attracted to scripts where there is an emotional buy-in with a really well thought out character or character interaction. Everything I do builds and moves from the emotional response I feel when I read a script for the first time, and I always try to make sure I remain true or honest to that feeling, as a somewhat guiding principle. More often than not, that is what audiences will also cling to.
LBB> How do you approach creating a treatment for a spot?
Hannah> It starts with that feeling and searching for imagery, music, references that will help bring that out even more. Of course, I am a big digital scrapbooker so I often catalogue images and visuals that make me feel a particular way, so it’s always nice to be able to dig those out and use them in my treatments, if they fit the brief. From there it's making sure everyone is aligned on direction. I’ll ask my team at Mint for their thoughts too; I like collaboration and feel it makes my work and approach stronger.
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?
Hannah> It is important! I’ll obviously research the brand, look at previous spots and try and understand the audience they cater to on their socials. How are they interacting with their audience online? What is the tone? All of that is important in gathering intel.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Hannah> I’m not a big believer in hierarchies on set, as everyone has an important job to do. But I am always so thrilled when I work with an amazing AD who understands the creative approach and the time that takes, but who is also going to be keeping the set moving smoothly. I am not a big talker on set - I like to stay focused and clear - and I often feel the director sets the tone, and the AD guards it. Having an AD that just ‘gets’ you is so paramount to a smooth shoot.
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?
Hannah> I love any kind of work that makes me feel something. I‘m always drawn to strong narratives, and anything where I get to play with tension in a scene - and tension is not necessarily the bad kind!
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Hannah> During my career, I have definitely been undermined on account of my gender, but the more I work the more I realise that is not a me problem. I think I am quite affable and talkative when I am not on set, but when I am working I can read more stoic and stern - it's just how I process and keep my mind focused.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Hannah> I directed a series where the lead actor needed to drive, and told us she could - but then the night before it was revealed she couldn’t. Talks of a process trailer were thrown around by my very stressed producer, but I came up with the idea of putting the cast in the backseat and playing that for the front seat - we were shooting tight - and it worked a treat.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Hannah> By listening wholeheartedly and questioning the intention and emotion behind the idea. I work a lot as a screenwriter, and receiving notes is a big part of that. One thing I am always asking is - what is the note behind the note? Often, it's to do with how the ‘reader’ or client wanted to feel in a particular moment, rather than the explicit action being wrong. I try to apply that when approaching an idea.
Everyone's feelings are valid, it's just working out what is right for the project. The success of the project is always going to be coming from the question ‘what is best for the project?’ I put my ego aside and I expect that the people I work with do the same.
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?
Hannah> Great idea! And yes, of course! We learn through sharing knowledge.
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)?
Hannah> It’s important, but the most important thing in my mind is will the content resonate? That has to come first.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?
Hannah> My thoughts are that AI is great for productivity, but should not be used as a substitute for art and ideas from a human being. It’s lazy, and everyone can tell!
LBB> Which pieces of your work do you feel show what you do best – and why?
Hannah> Two Sides! This is innovative, emotional and has a clear drive and intention. I’m proud of it and proud to be a pioneer in this space.
