How Mario Garza Forged His Own Path

Mario Garza is a Mexican filmmaker, creative director, and commercial director based in Los Angeles. He is currently creative director at Monks and the founder of KoolShiiT.com, an end-to-end minority-owned studio. His first feature film, ‘Censurada’, shot in Spain, is set for release in 2026.

Mario’s commercial work is known for its sharp, clever comedy, and he is currently developing two additional feature films while elevating brands through his creative directing work.

Mario sat down with LBB to discuss his upcoming debut feature ‘Censurada’, his love of comedic projects, and runaway horses on set…

Name: Mario Garza

Location: Los Angeles

Repped by/in: Your Mom. JK. I’m a freelance director + i’m the founder of KoolShiiT an end to end minority prod. company

Awards: Too many, again, JK, a few but not sure where they are.

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them?

Mario> I recently completed my debut feature ‘Censurada’, a Spanish LGBTQ period drama which just had its world premiere at Reeling (the second-oldest LGBTQ festival in the US).

That project took me six years to bring to life, across two countries, with limited resources, and it taught me how to deliver under pressure. Now, with that proof of execution, I’m ready to keep growing in both film, TV and commercials.

I’m also excited about a few new spots I just directed. One for Toyota in collaboration with the biggest film festival for Latinos in the US, the Hola Mexico Film Festival. It’s a horror themed spot. That was done through Koolshiit​

LBB> What excites you in the advertising industry right now, as a director? Any trends or changes that open new opportunities?

Mario> Working with smart, creative people. When you find those hidden gems, you do cool shit.

In terms of trends, I mean, being a repped director might not be “it” right now. That’s why I founded Koolshiit To make my own path, my own way which I wasn't finding anywhere else. But I still freelance with other production companies so it’s a win-win no matter what.

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

Mario> I know how hard it is to write. I started my career as a copywriter. I’m a creative director at monks, so I know what it takes to sell something. It is all about the writers. Whoever was able to sell an actually good script, is my new BFF.

For commercials, comedy is my jam. But not traditional American comedy. As a Mexican filmmaker I feel like my comedy relies a lot on improv, and production design.

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

Mario> It’s all about taking what’s already on the page and making it come to life by bringing each and every element of filmmaking. It’s about taste at the end of the day, It’s not rocket science, really.

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?

Mario> Always – but I don't let that get in my way. It’s rare for me to look at past spots from the brand, cause I don’t want that to get in my head. They’re bringing me on board ‘cause they liked my ideas, so i try to keep them as protected as possible.

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

Mario> Your producer and the agency’s creative director. Without them, there’s no ad.

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?

Mario> Commercial comedy. Dark humour. Clever. Not flat. Deadpan, but interesting, smart with room for improv and visuals that take you right into the story.

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

Mario> The same misconception I find for every director is that you can only do what’s on your reel. I disagree, that’s why my reel has a variety of different things, really to prove I can do more than the box the industry puts you on.

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

Mario> We were shooting a horse, who decided to run away at the last minute. A farmer let us borrow the horse, which ended up almost being hit by a car in the middle of the road. The horse is fine, me, not so much. But solved it by taking care of the issue and getting the shot anyway. Is there any other way?

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

Mario> It is a tough one. Most directors don’t put the agency cuts on their reel, and it’s for a reason. But that comes after, and really it comes down to pushing for your vision. For me, since I’ve worked as an insider for so long, I know what it takes for creatives, they came up with it and as a director, if there’s a wall that you can’t go through, just ride the wave.

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?

Mario> I love mentoring and having apprenticeships. At koolshiit we have interns and we’re helping them grow.

100% I’m a Mexican born and raised director who’s spent half of my life in the US. I definitely think diversity is a good thing, but not when it’s just used as a trend. Really the work has to show. The best idea wins.

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)?

Mario> Sure, technically it matters. But if the idea works, it works in every medium.

LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work?

Mario> As long as it makes the story better, I’m down to try it. I like reality.

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

Mario> Mint Mobile – Colourful improv dialogue with relatable casting.

MeUndies – Low budget clever comedy.

Huzzah – Funny, uncomfortable with slick production design.

Toyota -- Commercials that look like movies.

Inappropriate jokes well told -- Tasteful short form dark humour with good casting.