The Napkin Trick: Crystal Clear Ideas That Aren’t Afraid to Be Strange with LIAKH

LIAKH is the creative name for work from writer and director Daniel Liakh, who believes that the funniest things in life co-exist with the most tragic.

A proud Ukrainian, his bold style is absurdist, elevated realism that’s rooted in humanity. He has received accolades from D&AD, British Arrows, 1.4, YDA and more.

LIAKH chats to LBB about his upcoming short film, safe waterboarding, and why it’s always more fun working with friends than enemies.

Name: LIAKH

Location: London

Repped by/in: Spindle (UK/Netherlands), Furlined (USA)

Awards: Cannes YDA Gold, British Arrows Silver, Clios Bronze, Creative Circle Silver.

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

LIAKH> I’ve just wrapped up post-production on a short film we managed to shoot between a few other shoots in the summer. It was a great time working with some of my best friends, shooting a rendition of a thriller-comedy just for the hell of it.

As every director, I’m most excited about projects I haven’t heard of yet – whatever they might be and wherever they might come from.

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

LIAKH> Tighter collaboration at the stage of refining and riffing on the script. The way budgets are shrinking, I see directors (myself included) being involved in the writer's room – usually it results in everyone having a much better time. You all are on the same page, there are less conceptual curveballs, and what is possible is getting done to the highest standard.

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

LIAKH> A crystal clear idea that one can write on a napkin – a logline or conceptual summary of sorts. It shows that writers know exactly what they wrote and is the foundation everyone will be building on top.

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

LIAKH> If the heart of the spot is a well defined idea, then I apply the same logic to my treatments – how can my approach be summarised in one sentence on a single slide? Without sounding like a smartass – distilling the approach page to a crystal clear idea is, in a nutshell, my guiding star.

For me, 65 page treatments are kind of a pastiche on the process in itself, but when they are needed then the general concept of ‘what the fuck is this film?’ is a good one to always refer to.

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?

LIAKH> It’s really important, because you want to be respectful on the pitch, right? Someone spent countless hours doing all of that work for the brand to be something, so I better know it to respect it. Otherwise – why would they respect my opinion if I don’t?

It also helps to know which rules you can then break or twist for the purpose of making good work. Respectfully.

Creative teams I had the luck of working with would tell me all I need to know and give me homework – thanks to them the research is a simple active listening exercise.

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

LIAKH> The writers/creative team and your producer.

The producer is my creative partner, so the best sets are us with the other team, not us versus them.

It’s always more fun to work with friends, not enemies.

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?

LIAKH> Smart ideas that aren’t afraid to be strange – this would be the abstract answer to this question. I love doing genre-mixing work, both from execution and concept. It’s a fun puzzle, where your own ideas get put through the meat-grinder of best-in-class work to hopefully make a good sausage in the end.

But most of all, I am passionate about good ideas and good writing.

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

LIAKH> I don’t think I am anywhere close to being of the level where people have ‘misconception’ about my work. As I make more work, I’d love to not just be type-cast as a comedy director, as no directors probably should be, instead trying to bring my own sensibilities into every script regardless of the genre. Serious topics can be funny and funny ideas can be played super straight – stuff like this is what I want to do more of.

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

LIAKH> No. To be frank, I still don’t know what they do. Is it like an independent money judge who doubles up as an executive on payroll for the client?

I only remember this name from my days as an ad creative, their shadows crawling towards my creative partner’s and mine pages….

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

LIAKH> We had to safely find a way to waterboard an Irish comedian.

All for the sake of a Seal Rescue charity.

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

LIAKH> You agree on things that are important to death to others and you.

Then you respect them. And when they clash, you talk about them like normal people.

I think when we treat each other like people, you don’t need any political tricks or strongman tactics.

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?

LIAKH> Did anyone ever answer this question negatively?

What we should stop doing is talking about it and unlocking opportunities and selling ideas, and making ideas… A diverse pool of talent can survive only if there is work out there.

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)?

LIAKH> ‘Why would anyone care?’, – this is the only thing I keep in mind.

It’s not always possible, but at least there is a question for everyone to answer.

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

LIAKH> I sometimes use ChatGPT to proof-read a lot of what I write. This is the only new technology I have the budget for!

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

LIAKH> Seal Rescue Ireland – 'The Sealman': It’s a crystal clear idea that isn’t afraid to be strange.

Virgin Active – 'Leave the Cult': It’s a crystal clear idea that isn’t afraid to be strange.

Weroad – 'The Holiday Reaper': It’s a crystal clear idea that isn’t afraid to be strange.

See, I told you this is what excites me!