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The Directors in association with<a href="https://info.lbbonline.com/events/calendar” rel=”nofollow noopener” target=”_blank”>Events on LBB
Soleil Denault and Hyper-Sensory Filmmaking
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21/09/2026
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The Stept Studios director looks back on over 20 years in the production industry, and why the more perspectives welcomed behind the camera, the richer the work, as part of LBB’s The Directors series
Soleil Denault has carved out a unique space at the intersection of advertising and music videos.
With extensive experience as an art director, she made the natural leap into directing – bringing a sharp eye for detail and a distinct sensibility to the screen. Known for her meticulous compositions and sophisticated camera movements, Soleil’s visual world is both striking and intentional.
Her work is grounded in passionate creative discipline, a feminist perspective, and a highly collaborative approach. This unique vision has led to standout collaborations with brands such as Square, Canada Goose, Shopify, and Knix.
Soleil sat down with LBB to discuss the director’s role of protecting the integrity of the work, snowstorms on set and visual storytelling obsessions.
LBB> What elements of a script set one apart from the other, and what sort of scripts get you excited to shoot them?
Soleil> It all starts with a feeling. If I can imagine myself bringing something personal to it, I’m excited. Like most directors, I want to bring a unique point of view to a script. It doesn’t have to reinvent the wheel; it can simply make us see something familiar from a fresh perspective.
I also think a good script has to trust its audience. The ones that leave room for interpretation, that don’t explain everything, and where small gestures or quiet moments carry as much weight as the dialogue are the ones that stay with me.
I dig it when a script gives me something meaningful to do visually. I often get approached because of my production design style, which I’m grateful for, but what really excites me is when visual ideas have a true narrative purpose.
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?
Soleil> At the briefing stage, context is everything.
When I work with a brand I’m not familiar with, I research as much as I can. And when I speak with the agency, I never hesitate to ask what might seem like ’dumb’ questions.
Before I start writing an approach, I need to understand what role the piece is meant to play. Is it introducing a new brand? Reinforcing recognition? Reaching a younger audience? Every objective calls for different creative decisions. Even when the differences are subtle, they will shape my approach.
Coming from an art direction background, I also love digging into brand books and previous campaigns to understand where the brand comes from and how it’s evolved. The more context I have, the more intentional my creative choices can be.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Soleil> You gotta love being challenged!
I don’t think a director is supposed to have every answer from day one. But I do think the best directors get a little (okay, a lot) obsessed with understanding what they’re making. As a commercial director, you’re joining a conversation that’s often been going on for months before you arrive. You have to immerse yourself in a new team, a new brand, and a new goal.
At the same time, arriving later has its advantages. You’re bringing fresh eyes to ideas that people have been living with for months. Sometimes that little bit of distance is exactly what reveals the strongest version of the idea.
I’m passionate about sharing my vision, but I also have to stay genuinely open to feedback and new information. I’m happy to have every conversation before the shoot if it makes the piece better.
Once we’re on set, it’s my responsibility to protect the integrity of the project. My role is to know which notes enrich the film and which ones pull it away from its original intention. Ultimately, my goal is to give the agency and the client even more than they imagined.
Commercials have to work across multiple formats and are often watched with only half the audience’s attention. That doesn’t have to lower the creative bar. If anything, it raises it. Bottom line, every creative decision has to support clarity, rhythm, and emotion.
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?
Soleil> I’m always looking for the intention behind every visual choice. That’s why I’m drawn to hyper-sensory filmmaking, where there’s a sense of musicality in every element. I love finding the right balance between an actor’s performance, camera movement, light, production design, colour… I geek out on that stuff. I’m passionate about orchestrating it all into a single emotional experience.
Even if my work is often stylised, that’s never the end goal. It’s simply my language. A camera move shouldn’t just look elegant; it can make us feel a character gaining confidence. A composition can make someone feel isolated or finally reclaim their space. Colour isn’t just aesthetic to me either; it can create tension, comfort, distance, or intimacy before a single word is spoken.
That’s the kind of visual storytelling I’m obsessed with: when every creative choice points to something beyond itself.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Soleil> One misconception I still encounter is that women should direct, and even pitch, the way men traditionally have. Confidence comes in many forms, yet our industry still tends to feel more comfortable with familiar expressions of authority.
I’ve been asked surprisingly technical questions in pitches that I doubt would have been asked of some of my male peers, like how I would light a basic green screen while presenting a treatment built around storytelling.
Over time, I’ve learned that proving I belong in the room (even though I know I’ll probably always have to) isn’t the point. Bringing a point of view is. After 20 years in this industry, I’ve realised that staying true to who you are is far more powerful than performing someone else’s version of authority. And, honestly, a lot more sustainable.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Soleil> We had the biggest snowstorm I’d ever seen in Canada! Our gear truck got stuck, half the crew couldn’t make it in time, and the clients were stranded at the airport. At some point, my producer and I just looked at each other and laughed. It was probably our way of coping with the amount of madness we were in.
Somehow, everyone pulled together, and the energy became incredibly positive. We made the day. Late, but we made it. Those are the productions you never forget.
Shit can always happen on set. A good crew doesn’t panic; they problem-solve. Quick. I obviously prefer order and clarity, but my producers and I learned to be ready for (almost) anything!
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?
Soleil> I wouldn’t be where I am today without people who gave me opportunities before I felt fully ready. I try to do the same whenever I can. I’ve mentored a few young women over the years. One in particular is a remarkable artist from Montréal, Ariana Molly. Go look at her work. She has a truly distinctive visual voice and can handle anything that’s thrown her way. A true warrior, and a beautiful soul.
The more perspectives we welcome behind the camera, the richer our work becomes. It’s simple math: different life experiences lead to different instincts, different questions, and ultimately, different creative solutions.
We’re in 2026. To me, that’s not a nice-to-have; it’s essential.
The Directors in association withEvents on LBB
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