The Directors: Kristyna Archer
Kristyna Archer channels her innate curiosity through thought-provoking pieces indulging in both musicality and hyperrealism. Abundantly imaginative and a natural visual storyteller, her keen eye for colour theory and composition is reflective of her extensive multidisciplinary background and education. There’s never a dull moment with Kristyna’s quirky, playful and creative spirit.
Based in LA and NYC she holds a degree in photography from Columbia, which set the foundation for her unwavering creativity.
Working across commercial, branded content and film, Kristyna’s speciality has garnered the attention and respect of a multitude of awards. To list a few: five Telly awards for Pantene’s, ‘Ban the Bun’, a Webby for Mommy Bahama collaborated with 72andSunny NYC and a nomination for ‘Best Fashion Film’ by the London Fashion Film Festival.
Name: Kristyna Archer
Location: US
Repped by/in: UK by Odelay Films & US by Artclass
Awards: Berlin Commercial Awards, Cannes World Film Fest, Telly Awards, Webby’s
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Kristyna> I find my inspiration in powerful and clever ideas or in settings I've never explored before - uncharted territory always excites me. Whether it's a script that immerses me in a fresh narrative or a challenge that demands a unique approach to production, I thrive on the opportunity to delve into the unknown. In my Renew Life project, the creative concept personified gut bacteria in a comedic and sassy tone. The ridiculously absurd backstories I concocted for the main characters was not only entertaining for me, but also allowed my imagination to run wild, indulging in one of my other favourite tasks - worldbuilding.
LBB> How do you approach creating a treatment for a spot?
Kristyna> After a creative call, when ideas are still germinating at a rapid pace, I try to capture that flow state of inspiration quickly! Whether scribbling down thoughts or recording a voice memo - sometimes my mind moves faster than my fingers. This stream of consciousness becomes the raw material, and I infuse it with my personality while outlining and organising those thoughts. From there, I begin visual research from a multi-pronged approach to shape a look and feel that comprises many reference points. It's like uncovering all the ingredients to make the perfect recipe, and discovering unexpected gems along the way.
Throughout the pandemic, I focused on optimising my visual encyclopaedia, leveraging tools like Kive to efficiently sift through thousands of references. Oftentimes my first draft is a lengthy comprehensive 60-page document, and I greatly respect the power of simplicity and conciseness. The best treatments, in my opinion, are those that don't belabour the point. I unleash my ideas onto the pages, and then I tighten up for clarity. This becomes a springboard for collaboration with the creative team.
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?
Kristyna> I am deeply passionate about the transformative power of humour and joy - believing they possess the ability to save the world, flip a perspective, shine a light in the dark, change a life. I also resonate with projects and products that have a strong focus on environmental impact. Examples of this ethos can be seen in both my Green Mountain Energy and Beekeepers campaigns.
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)?
Kristyna> Excited, inspired, curious! Embracing the feeling of being a novice is liberating. Fearlessly making mistakes while experimenting leads to happy accidents. In terms of future-facing tech, I have been using all of those. I wrote an interactive 'choose your own adventure' style branded content series, which was both a whirlwind and incredibly challenging. I've been immersing myself in learning Unreal Engine after a crash course in virtual production. And most recently, I've integrated AI tools into my films and processes, opening a Pandora's box of possibilities yet to be fully discovered.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Kristyna> It comes down to my producer and the creative team. The producer and I are in constant problem-solving mode every day during pre-production, often joking about how I'll end up talking to them more than my husband throughout the production! They've got my back when it's time to trim, understanding what's flexible and what's not. But, of course, the reason we're all there in the first place - the incredible idea from the creative team! They've been strategically crafting a brand voice and shaping the campaign for months leading up to it. So, my initial goal is to dive into their insights and grasp a macro view that I can weave into the storytelling. In my Pantene 'Ban the Bun' project, the creative director and I were very aligned which birthed a tumbleweed of hair whistling through the set! That's where I chime in, “There’s never a dull moment on set.”
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?
Kristyna> It's very important to dive in from the very beginning! Delving into a brand's essence is my treatment-writing mantra. From dissecting past campaigns to decoding their social media banter and product verbiage, it's a strategic immersion. If I can't find a personal hook into the brand's ethos, the treatment risks flatlining. I aim to weave a connection, infusing my writing with that personal touch. This understanding only helps empower the idea with nuance.
For instance, in my script for the Ninja Creami 'Mix up Some Magic,' it was imperative that I comprehended the intricacies of the ice cream maker, considering its versatility in creating a plethora of recipes beyond ice cream itself. The client sent me the product, enabling me to experiment and gain a comprehensive understanding of its features, reflectivity, and other nuances. This hands-on experience not only facilitated my shoot preparation but also sparked creative brainstorming for an array of recipes to showcase in the commercial
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Kristyna> The notion that my work is confined to studios or exclusively involves monochromatic sets is a misconception. While the success of a project can draw clients seeking a similar look, it can inadvertently pigeonhole creativity. My approach is anchored in idiosyncratic characters, absurdity, and whimsy, all seen through the lens of a vibrant palette. The stylised aesthetic, although distinctive, is merely the icing on the cake of a compelling story and intriguing characters. My focus extends beyond visual elements, delving into great stories that hope to bring a little levity into your day.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Kristyna> The most challenging problem I've encountered was figuring out how to portray wind and solar in a studio without relying heavily on post-production. I typically approach things practically, considering in-camera solutions first. I tackled this challenge by combining miniatures and virtual production. The LED volume showcased wind turbines in the backgrounds of virtual environments captured in real-time on camera. Meanwhile, miniatures on the LED volume featured close-up models of both wind and solar elements on a rooftop. The resulting aesthetic seamlessly blended into a playful tone.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Kristyna> I thrive on collaboration, ensuring both creatives and clients feel genuinely heard. My initial approach involves delving into the intricacies, understanding the brand's pain points and the challenges they face. This enables me to craft a campaign that not only resonates creatively but also addresses and overcomes specific obstacles for the brand.
Yet I also feel it's my role to educate clients when they start to backpedal on a bold approach. I often have honest conversations about what it looks like when only committing 50% to an original execution. This half-hearted approach results in a muddled idea, wasted time and money, and an unclear message that won't be memorable.
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?
Kristyna> It's of great importance to me. I've created and continue to build a diverse crew list to ensure diversity thrives in all departments on my sets. I'm always open to mentoring and providing opportunities for young directors on set. Now that I've joined the DGA, I want to take part in their mentorship program, supporting budding directors.
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?
Kristyna> I am not sure habits is the right word, but an entire perspective shift. It’s influenced me existentially, awakening me to what truly matters. Every passion project I embark on now must be fuelled by a thirst for learning new technologies and firmly grounded in my Venn diagram of purpose - sustainability, mental health, and gender equity. This shift in perspective marks a complete restructuring of my body, mind, and spirit, shaping how I perceive life, approach my work, and what I decide should be put out into 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)?
Kristyna> My DPs, production designers, and I are in constant dialogue about the best approach for each unique campaign's deliverables. We are all passionate about our craft and aim for every frame to have the most visual impact without having to shoot twice. This shift has brought forth a myriad of solutions, ranging from clever set builds and shooting on large-format sensors to enable multiple crops, to incorporating post-transitions or 'pan & scans' for seamless set extension. However, I particularly relish campaigns targeting one or the other, 9x16 or 16:9, as they exhibit a concrete intentionality that I believe elevates the creative process and serves the story better in exciting ways.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Kristyna> I ebb and flow between magical realism and 'comedy for good' because I recognise the power of presenting ideas rooted in reality in new stylised, hyperreal ways. This elevated nature has the ability to shift perspectives, nurture breakthroughs, and imagine the seemingly impossible.
My Green Mountain Energy campaign highlights how my creative right brain meets my left brain, inspired by challenges and focused on problem-solving. It also shows I think big, and emphasises my adaptability.
The Sanofi 'Not Today Flu' campaign demonstrates my ability to make pharma fun and funny, breaking outside the boundaries of its prescriptive nature.
Pantene Pro-V’s 'Ban the Bun,' shares my ingenuity, demonstrating how to make a small budget project entertaining, clever, and fun. I believe that restrictions are beneficial for creativity; they push you to places you didn't know you could go!
Lastly, 'The Last Rhinestone Cowboy,' an experimental short, illustrates how I dive into new tech fearlessly, incorporating tools such as the LED volume and AI into my artistic voice without changing my style to match the shiny new 'object.'
