Here are some things you need to know about Fallon creative director Juan Cabral: a native of Argentina, he got his start at creative hothouse Agulla & Baccetti before packing up and moving to Mother, London in 2001. Alongside partner Sebastian Wilhelm, Cabral spent his three-year tenure at Mother working for clients like Orange and The Observer before ultimately leaving for bigger challenges at Fallon's London outpost. At Fallon, he moved up the ranks quickly, scoring big with Sony Bravia's "Balls" and nabbing Cannes' Outdoor Grand Prix for his work on the Tate Britain campaign. Since then, he's been heavily immersed in the Sony account, and is readying a Jonathan Glazer-helmed sequel to "Balls" in which roughly 70,000 liters of paint are slung around a Glaswegian apartment block.

Now, here's something you probably don't need to know about Juan Cabral: he's only 28 years old. We recently caught up with the creative wunderkind and got his thoughts on everything from transitioning from Buenos Aires to London to working with der mighty Glazer.

Tell me a bit about moving from Argentina to the UK. Was there an adjustment in terms of the sensibilities?
The guys at Mother taught me a lot. It's a very cultural agency - they were really good at slowly introducing me to all the small British things. When it came to work and writing an ad, I tried not to be too specific; I wanted to talk to people beyond cultural things, so I didn't struggle with that [side], I just enjoyed being somewhere else. The rules are sometimes different, but I did one spot over there for a telecom company with a person yawning, and the yawn traveled around the city and came back to the same girl at the end, and that was beyond being Argentinian or being English or whatever.

Where did the idea for "Balls" come from?
In the beginning, it was very rational; we had the tagline 'like no other', which I didn't think was very good. But if you took the benefit, it became 'color like no other'. That allowed me to think 'OK, what is the best color celebration that Sony could give as a gift to people'. As kids, we all play with those bouncy balls, so we thought 'Let's make it big, and let's make something that everyone wants to see.'

Can you tell us a bit about this new spot? We've all seen the teaser website...
I was talking about this with a friend, and he was like, 'It's insane that a brand has the confidence to put up a website saying what you're doing so people can see everything', so... it's pretty obvious what we're doing now. (Laughs) There are some slow-motion shots, but overall - it's similar to the other one and very different. I know that sounds silly to say. It's in the same family, but "Balls" was shot in a more caring, welcoming way, whereas this one is more aggressive and has more teeth.

What was it like working with Glazer?
Oh, you know, he's quite good. (Laughs) Those beginning collaborative moments where we talked about the idea were really good; those first two or three meetings of showing him the early script and working with him were fantastic. But then there's a moment where you have to trust him a lot because he knows what he's doing and then you let him run with it. I struggled with that because I like to be close to the work, but he's been great. The crew was something like 180 people - it was massive. The scale of things is so big that when you're on the day, everything's so planned and so talked about that it's not like you can go 'Can we have another angle?'

And you're doing new work with Tate Modern as well...
Last year we did the Tate Britain stuff, and Tate Modern were like 'Can we have something a bit special as well?' The Tate Modern is always full of people, but they said if there were any other people they could have in, it'd be young kids from 14 to 20 years old. All they know about art is graffiti and that's it. They don't care much about art, so we did this thing where we invited musicians to walk around the gallery, choose an artwork and write a piece of music to that. We have Chemical Brothers, Graham Coxon and some other bands who are writing tracks for us. The tracks will go to the one CD on the planet and that will be in front of the piece of art that inspired it, so kids will have to go there to listen to it. It's like a pop promo!

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