JJ Adler on Directors Experimenting with AI

JJ Adler is an award-winning director and writer who's helped create many comedy spots for brands. She was a founding creative and head director at The Onion’s Peabody award-winning webseries and IFC TV show, ‘The Onion News Network’. Her short films have won awards at Sundance, Vimeo, Short of the Week, and even a Student Academy Award. She also directed Netflix’s ‘Astronomy Club: The Sketch Show’ and episodes of ‘Adam Ruins Everything’.

Her short film ‘The Oracle’ will premiere in competition at the 2026 Sundance Film Festival in Park City.

In 2020, Adler founded her own full service US commercial production company, Ruckus Films. Right now, she's either directing more commercials, working on a feature, or talking to her dog in an embarrassing voice. She holds an M.F.A. in film directing from Columbia University.

JJ sat down with LBB to discuss upcoming exciting collaborations, finding inspiration within advertising, and love for magical realism.

Name: JJ Adler

Location: USA

Repped by/in:

Ruckus Films, US
HOBBY, Scandinavia
The Salmon, Canada
Hunky Dory Films, UK
Soup Film, Germany

Awards: Sundance, Vimeo, Short of the Week

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

JJ> I’m collaborating with one of my favourite brands and one of my favourite film franchises right now. And all I can say is: it should be epic. I’m also excited for the upcoming premiere of my short film, ‘The Oracle’, in competition at this year’s Sundance Film Festival.

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

JJ> Advertising and music videos is where we get to experiment. We have real budgets, short timelines, and more room for risk.

Some of the best DPs and production designers in the world work in the ad space between films. And some of the most creative visual artists and storytellers too. So, I constantly find myself inspired by ads I see.

I’ll also say something that might be a bit taboo: I’m excited by the way some directors are experimenting with AI. The Perlorian Brothers made a smart, really funny series of AI videos that point out the dumb ways AI is being shoved into the creative process, while also showcasing how cool this tech can be in the right hands.

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

JJ> I work in comedy and magical realism, so I look for scripts that make me laugh, land a fun insight, but give me something new to do: a challenging visual idea, a new kind of world or pacing. I’ll always love directing strong dialogue and performances, but I’m especially excited by ideas that leave room to build a cool visual world.

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

JJ> On the briefing call, I’m trying make sure the agency creatives and I love the same things about the idea, and if not, try to see if I can love what they do. Then, I blow the idea out in a way that’s really fun and exciting to me. I refine those ideas to work with all the practical elements of the project (time, money, etc.).

Once logistics are solved, it’s about picture-painting. I don’t explain mechanics. I aim to give the agency a window into my take on their story and why all the choices I’m making add up to the funniest or smartest, or best version of their idea. Then I move through the script in my own voice, adding specifics and alt jokes wherever helpful. The visuals and layout reinforce and clarify all of this at glance.

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?

JJ> It depends on the project. Ads have to work for people who don’t know the brand, but sometimes, there are extra layers for superfans or the product or service is central: maybe there’s a process to simplify or weave into the joke. In those cases, deep brand knowledge helps me melt potentially clunky sales elements into something seamless, additive, or funny.

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

JJ> Commercials move SO fast, so every relationship on set matters. You need instant alignment across all departments. There’s no room for weak links. But most critical is the director–agency creative relationship. If we’re not fully aligned before stepping on set, the shoot won’t run smoothly. I need the creatives to walk away with footage they love, and that starts – and ends – with early alignment that grows throughout the project.

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?

JJ> Comedy and specifically visual comedy that also relies on fun and unexpected performances to work.

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

JJ> Sometimes people connect with my work in ways I didn’t expect or even fully love myself. But understanding what resonates and with whom allows you can refine parts of your voice you didn’t think were important.

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

JJ> Yes, I have. In my experience, cost consultants often rely on reference numbers that are really outdated. Production costs have exploded in recent years. I wish cost consultants would update their benchmarks to 2026 prices.

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

JJ> Well, the first time I worked with a complicated wire rig, the stunt team nearly killed their own stand in. But according to the stunt team, that was just your basic Tuesday. I suppose when you work in production, your idea of crazy problems gets really warped.

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

JJ> I aim to align from the treatment stage. When we share the same North Star, it’s much easier to protect the ideas.

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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?

JJ> In the right context (repeat clients, familiar agencies, lower-pressure projects), I love apprenticeships. But most of the real work happens in pre- and post-production. So I always encourage people who apprentice to be along for the entire process.

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)?

JJ> These days it’s pretty easy to shoot open gate, so you can frame for a beautiful 16x9 (or wider) but still have the visual material to create great looking 9x16 and square formats, etc., as well. Of course, soon AI will solve this problem for us by filling in backgrounds at the tops and bottoms of the frame (and probably creating first passes of all alt aspect ratios too). I focus on the primary place the ad is designed to play but make sure we’re well covered for the rest.

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)?

JJ> I love new tech. I think it’s always exciting. I want to try everything and learn everything. I love complex VFX and incorporating new ways to solve problems.

For my short film, I used AI for research and found it to be an insanely helpful tool.

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

JJ> I love this Manscaped spot. It’s all centered around a really funny visual idea and left tons of room for easter eggs and refinement. The visual style adds to the comedy by treating a kind of gross idea in an elegant way.

This recent IKEA spot is a lot of fun. I love the idea on its face because it’s so silly and earnest. And the visual build of chaos was a lot of fun to execute. I think the cast is adorable. The classic take on the track against the tight pacing keeps the surprises coming.

This GEICO spot is replayed every hockey season. I love the walrus and the hockey dude who yells toward the end.

And this old GEICO spot was really fun to execute. That room transition is a practical effect which I think feels extra fun against the sweet and unassuming performance of the lead.