Peer Review: John Larigakis

Who are three contemporaries that you admire?

The directing duo Vania & Muggia have been putting out some incredible work lately. Their recent Squarespace campaign has so much craft and charm — I’m a big fan of practical effects, and they nailed the execution. In the Bakery spot, I liked all of the little background touches. The lightbulb eggs. The flour keyboard effects. The pastry that boxes itself. Those inventive, crafty moments are what I seek out in any project. To me, a great spot is all in the details, and nothing is more satisfying than when those clever connections happen. 

I think a great example of direction can also be one perfect shot in a film or one beautifully crafted scene in isolation. 

I’ve also always appreciated Jim Jenkins’ comedy spots. They usually have a completely absurd premise contrasted by performances that feel surprisingly small and restrained in all the best ways. Land Rover - Swords is up there on my list. The situation is wild and unusual, but I believe the characters. The dialogue and comedic timing are spot on. Add the awkward sword clinking SFX through the quiet office, and that’s the cherry on top for me.

The third I would mention are the French directing collective, Megaforce. There’s a palpable excitement they bring to all of their work. It’s highly polished but it also has nice comedic beats and unexpected visual choices. Nike - Nothing beats a Londoner is one of my favourite spots. Odd moments like the woman popping out of the backpack, the comedic relief of the bike rider with one wheel, and the dream sequence with the gushing tears made it so memorable and watchable. Some of these shots are so weird and out there, but at the same time, they also feel like they belong there. 

Please share 3-4 pieces of work that exemplify great direction. 

FedEx—Lipsnot: What I loved so much about this spot was the direction to go very small with the band members' performances. When the scenario is already absurd, and the characters have such a visual intensity about them, the choice to give them earnest and soft-spoken voices makes it so much more entertaining and memorable. To me, it was a perfect direction choice.

It only felt natural to fantasise about what I would create if given the opportunity to direct my own work, especially after I had been exposed to so much of the process already. 

I think a great example of direction can also be one perfect shot in a film or one beautifully crafted scene in isolation. I’ve always thought this short scene from Garden State was a great example of understated comedy. Subtle, dry, and unexpectedly funny in a way that perfectly fits the tone of the film. I always remembered that extra little camera push up to the ceiling, revealing one more framed diploma. It’s how I think about any comedy scene now. Do we stop here, or do we push it a little bit further? 

Finding the right contrast in a spot can sometimes make or break it as well. Especially when it comes to music. This iPhone 14 Tractor spot by Ivan Zachariáš lands the perfect unexpected music track to pair with the visuals. It brings the rugged, rural scene together in perfect harmony and lands a singular product benefit in such a great way.

What do you like most about the work that you do?   

I like bringing something imaginary that was once just a sketch on paper to life in a way that feels real. That will always be a thrill to me. One moment it’s a scribble or a half-serious thought in a brainstorming session. The next, you’re standing with a man who’s sewn into a couch. Or sitting next to a person with a 10-foot-long prop beard and having a serious discussion about it. 

I don’t go into a shoot without having a solid list of alternate takes, jokes, or sequences we can try on any shot.

The other element that excites me the most is seeing people have an emotional reaction to my work. Making an audience feel something will always keep me excited. And the ability to time a small pause perfectly for a laugh still fascinates me. 

What was your journey to becoming a director? You were previously an art director, has this influenced the way you work now?  

I’ve always been very interested in film, and being an Art Director only amplified that interest. I’ve had the opportunity over the past 15 years to be a part of every aspect of production. Concepting ideas, writing scripts, sketching storyboards and bringing visual worlds to life. 

The guiding every step of pre and post-production from prop sourcing to casting to wardrobe to shooting, editing, VFX, sound design, and colour grading. Partway through that experience, it only felt natural to fantasise about what I would create if given the opportunity to direct my own work, especially after I had been exposed to so much of the process already. 

You’ve got to be able to roll with uncertainty, pivot, and problem-solve when necessary, and be ready to learn from every experience to apply it to the next one. 

As a director, it’s really made me think about the full production cycle early. I like to visualise colour combinations, music, pacing, and art direction at the start of a project so that I know the world will all have a cohesive feel.  

Being on the creative team side has also taught me the value of over-preparing, and having a bank of great alts, especially with comedy. I don’t go into a shoot without having a solid list of alternate takes, jokes, or sequences we can try on any shot. You never know which version will be magic in the edit, and each performer will interpret a line or action differently.

What is the most valuable skill you’ve learned in your career?  

I’m not sure if I would call it a skill, but an overall perspective of not being afraid of having a late idea has been one of the more valuable things I’ve learned. I love late ideas now. Once you’re into a project, you are exposed to more variables, you see things from a different perspective and you have new information. Even if you said something was going to be one way at first, don’t be afraid to say, “you know what, now that we see everything in context, this tweak could make it even stronger” and explain why. 

 I think the greatest thing a film can do is take the audience out of their own life for a couple of hours into another world.

If you don’t, you’re going to kick yourself and stare at that one detail when it’s live and know that it could have been better. It doesn’t mean you’re a flip-flopper. Have the confidence to give that late note—it’s probably your instincts telling you that there’s a better solution. Sure, it came at an inconvenient time, but what great idea comes at a convenient time?  

What is one thing every director needs?   

Patience. Weather will change. Technical problems will come up. Your treatment won’t get chosen. A prop won’t turn out the way it was supposed to. You’ve got to be able to roll with uncertainty, pivot, and problem-solve when necessary, and be ready to learn from every experience to apply it to the next one.