THE CONCEPT

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How do you tell a story about three icons at once? You find the human truth that connects them. For this collaboration with Range Rover and Condé Nast, that truth was a word: singular.

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As Director Lukas Dong discovered in his first conversation with designer Jonathan Adler, the Range Rover, the iconic architecture of the California coast, and Adler’s own work all share a rare quality: they are unapologetically, confidently themselves. This became the narrative anchor for the project. Our task was to create a film that felt like a conversation between these three singular forces. The drive became a story of design unfolding against a timeless landscape.

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THE CRAFT

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The creative challenge was to capture a feeling of both grand scale and intimate detail. The solution was found in a single, guiding principle from Lukas: unfolding.

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This idea dictated our entire visual language. We wanted the journey to feel like it was constantly revealing itself. Camera moves were designed to flow around corners. Landscape shots would pull back to reveal new vistas. Even running footage would start on one element of the vehicle and move to reveal another, mirroring the way the coastline itself unfolds for a driver.

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With a complex, two-day schedule, Lukas’ process of designing and then stripping down the shot list to its essential, story-driven moments allowed us to be nimble and intentional.

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DIRECTOR SPOTLIGHT: LUKAS DONG

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Q: How did you find that singular storyline that connected Range Rover and Jonathan Adler?

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LUKAS: When Jonathan and I met for the first time he said some inspiring things that informed a good part of my approach. He spoke about his design philosophies and how throughout his life he has been drawn to places and things that are very "singular," and uniquely themselves. He quickly connected this thought to the iconic design of the car and how hearing the name "Range Rover" immediately paints an image in someone's head. One could say the same about the architecture along the Carmel coast, as well as Jonathan Adler's style and work; they are all very clear visioned and confidently themselves. 

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Q: What drew you to this project?

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LUKAS: My work these days is split between automotive commercials and architectural/design brand films. This project was a very natural confluence of the two of those things. Cars, architecture, and design are a big part of my life, and I always embrace a project where I can bring a bit of myself and have fun while doing it.

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Q: How did the Big Sur landscape inspire your ideas for the project?

LUKAS: When I was planning this project, and envisioning the drive up the California coast, I landed on three main thoughts to guide the film.

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Timelessness - the idea that the California coastline is always evolving but always instantly recognizable - similar to the Range Rover's silhouette. 

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A trip full of nuance - Despite being one of the most famous roads in America, amidst familiarity there is always something new to be discovered – how can we capture that through the side roads, detours, and coffee stops?

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Layering - I was really drawn to the idea that whether you’re traveling North, towards the water, or inland, the California coastline is always unfolding and revealing new layers every step of the way. This "unfolding" is also a popular theme in architectural design. This felt like a very natural connection between the architecture in the film and the landscape around us, and even the running footage we captured. We wanted all three elements to speak to that feeling of unfolding - camera moves that flow around corners, landscape shots that pull back to reveal new vistas, and running footage that starts on one element of the car and moves to reveal another. 

Q: What is your process for keeping focus on a fast-paced shoot?

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LUKAS: On fast-paced shoots with limited time, I try to be very intentional with my shotlist. I do a lot of scouts and spend significant time designing shots, and then stripping them down to the essential moments that let me tell the story in a compelling and beautiful way. The clearer I can visualize the end product, the more intentional I can be with a shooting schedule. When it comes to the day itself, a good AD I can trust, and a DP who can lead their team with pace makes everything else fall into place. 

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Q: What was a highlight of the shoot for you?

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LUKAS: The final location of the shoot was this long stretch along Highway 1 that we had from late afternoon through sunset. It was right on the water, and we were blessed with perfectly clear weather. Sadly there is so much more fantastic footage from this light/location that didn't make the cut, but it was kind of a surreal location to have free reign at and I think everyone on the team felt like they were in a dream.

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THE RESULT

In post-production, the theme of unfolding continued as our in-house team wove the narrative threads together. Partnering with colorist Paul Yacono at The Mill, we sculpted a palette that was both true to the golden light of Big Sur and elevated enough for a luxury brand.

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The final output is a cohesive visual ecosystem where every frame feels intentional. The voice-over from Jonathan Adler provides the final layer, tying the story of design, travel, and architecture into a single, elegant narrative.

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