Peer Review: Pete Riski

Who are three contemporaries that you admire?

I've been following Denis Villeneuve's work for many years now. He’s a master at seamlessly blending different genres, and regardless of the story, his films always carry a powerful emotional core. His ability to evoke deep emotions is unparalleled.

It might feel trendy to mention him now, as he’s widely discussing his creative approach, but Rick Rubin’s work has always stood out to me. There's a certain emotional depth to many of the records he’s produced. I’ve heard about the tough process behind Danzig IV, one of my favourite records, which made me want to learn even more about his methods, the more they resemble film directing.

Seeing E.T. for the first time made me realise that cinema doesn’t need to be confined to one genre. The best films make you laugh, cry, and feel scared all at once.

I also admire Finnish game studio Remedy for their incredible work in recent years. Games like Control and Alan Wake have been international successes, and I’ve loved every moment playing them. Kudos to creative director Sam Lake and the talented team at Remedy for creating such brilliant, immersive experiences.

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

E.T. (1982), directed by Steven Spielberg. Seeing E.T. for the first time made me realise that cinema doesn’t need to be confined to one genre. The best films make you laugh, cry, and feel scared all at once. It's a slice of life, mixing emotions in the most natural way. This is a film, which I go back to quite often.

Arrival (2016), directed by Denis Villeneuve. Arrival is a massive story told through a very personal, human perspective, and that intimate approach makes the story feel even larger. By grounding such a grand narrative in raw human emotions, Villeneuve amplifies the scale and impact of the film, making it both epic and deeply relatable.

Whether it’s a music video, feature film, or commercial, I love crafting moments that connect on a deeper, emotional level, leaving a lasting impression long after the story ends.

Barry - Ronny/Lily (Season 2, Episode 5), directed by Bill Hader. I'm a huge fan of the Barry series, and this episode stands out as a perfect example of pushing the boundaries of storytelling within the familiar format of TV series. The best comedy is always most effective when it taps into genuine emotionality, and this episode does that beautifully. The visuals are stunning, with some shots reminiscent of Roy Andersson's classic one-shots, making it a truly unforgettable episode.

Cadbury's Garage commercial (2023), directed by Steve Rogers. This commercial is a masterpiece in subtle storytelling. It’s simple, without unnecessary gimmicks, yet incredibly powerful. It feels like a powerful scene from a feature film, capturing raw emotion in such a short span. It’s the kind of piece that leaves you wanting to watch it over and over again.

Above: Trailer for E.T. trailer, 1982

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

For me, directing is all about storytelling—taking the audience on a journey that allows them to escape their everyday problems. Whether it’s a music video, feature film, or commercial, I love crafting moments that connect on a deeper, emotional level, leaving a lasting impression long after the story ends.

The ability to improvise and stay open to new ideas has been essential. No matter how well you plan, something unexpected always happens. 

What was your journey to becoming a director? 

As a teenager, I began by shooting short VHS horror movies and narrative music videos for local bands. After film school, I worked as an editor on various projects, which gave me the confidence to start directing myself. Once I took that leap, I realized just how much I loved bringing stories to life as a director. Each project continues to teach me something new, but I still believe the best way to truly learn cinematic storytelling is by spending as much time in the editing room as possible. For me, editing remains one of the most crucial parts of production.

Above: Trailer for Arrival, 2016

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

The ability to improvise and stay open to new ideas has been essential. No matter how well you plan, something unexpected always happens. Instead of forcing things to go according to your original vision, I’ve learned to keep an open mind and embrace that change. Often, those unexpected moments lead to amazing discoveries that no one anticipated.

Often it has been said that making TV is like running a marathon, while a commercial is more like a 100-meter sprint.

What is one thing every director needs? 

I don’t know what other directors value most, but for me, it’s the moment when the cameras roll and the action unfolds on screen. In that instant, everything else disappears, and I become fully immersed in the world of the story we’re telling. It’s a kind of sensitivity or awareness that helps bring the narrative to life.

Above: Trailer for season 2 of TV series Barry

How have you found the transitions between directing commercial work and TV? 

For me, the transition has been surprisingly similar. Perhaps it's because many of my commercials feel like short films. Of course, the biggest difference is that in TV or feature films, you focus on longer story arcs and the bigger picture. You can also dive deeper into a character's personality and explore their complexities, which might be harder to convey in a shorter format. In commercials, you have limited time to tell the story, so while ensuring it feels complete without being rushed, you're also able to polish the details more carefully.

There will always be a need for storytelling, no matter how much the tools evolve.

Often it has been said that making TV is like running a marathon, while a commercial is more like a 100-meter sprint. Shooting for 60 days is quite different from a couple of long days, but in the end, it’s all about storytelling and creating emotional connections that the audience can relate to.