Production affiliations: US - Bob Industries / UK - Harry Nash / South Africa - Egg / Canada - Industry
Years directing: 4
Shoot days in 2001: 15, "I got married in December so it wasn't typical."
Geography: American, based in New York
Favorite project: FCB Chicago's Coors Original campaign
Number of stunt nipples pierced on set: One. "There wasn't as much blood as I was hoping."
NY rock band tip: "The Faint."

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Lisa Rubisch describes her new guys-night-out spots for Coors as "semi-autobiographical." In both spots a girlfriend asks her boyfriend what he did last night. Cut to footage of the illicit events. Cut to a meek lie from the male.

With Rubisch, the guys go to a bar, a rock show, a karaoke bar, and a diner for breakfast at 5 a.m. In between, a stunt nipple gets pierced, booze flows freely and chest thumping abounds.

FCB, NY let her run with the idea. One can see why. She's got an eye for images that don't rely on context for strength, and a knack for documenting boy/girl interaction.

In late March, she shot a campaign for Polaroid through Leo Burnett, Chicago, called "Let me in," about a girlfriend/boyfriend fight told alternately from his-and-her points of view.

Rubisch also does work that is purely visual. Last year, she traveled to Buñol, Spain to shoot the world's largest tomato fight spot for the Travel Channel, through Modernista!, Boston.

"It was truly a gift to have that spot," the modest Rubisch says of the gorgeous imagery. Setting the scene with stills of an eerily silent Mediterranean town, Rubisch follows a curious little girl who sees a tomato roll her way and follows an empty winding street until she comes across the red-stained throng of people in mid-ecstasy, flinging the juicy fruit. Aerial pullaways confirm that the event has captured the entire town. It's a passionate love poem told in tightly framed shots.

The director has come a long ways since cutting her teeth on promo spots for MTV.

"I'm finally getting the kind of commercials I want to do. When I first started commercials I told my producers I wanted to do spots that are visual and emotional that have a lot of humanity in them, but also have humor in them. My producers were saying, 'That doesn't really exist.' In the last two years, I've really tried to carve out that little niche."

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