Nathan Juarez is an Executive Creative Director at Unlock Health with nearly 20 years of agency and brand experience, specializing in healthcare and consumer health. At Unlock, he leads integrated campaigns for health systems and national brands, and has previously partnered with global healthcare organizations to deliver campaigns worldwide. His work focuses on ideas that are strategically sound, creatively sharp, and built to perform in the real world. Nathan looks for work that is human, clear, and effective, not just well produced.

How many years have you been a judge?

This is my first year!

What excited you about judging for the Telly Awards?

I’ve been producing, filming, and editing for over 15 years, and I still love watching great work. Not just how it was made, but why certain decisions were made. For me, it’s all about intent and how those choices shape the final impact. Getting to judge work through that lens is exciting, and it’s a great opportunity to spotlight creators who do that really well in a complex medium.

What was your first job in the industry? What did it teach you?

My first creative job was as a red carpet photographer in Las Vegas. It taught me how to work under pressure and make fast decisions about composition, lighting, and storytelling. More than anything, it taught me that tools matter less than imagination, and that you can create something strong in almost any environment if you’re paying attention.

What project are you most proud to have worked on?

Recently, I worked on a project that challenged the pediatric hypoallergenic nutrition category. The industry had been focused only on efficacy and ignored something important: taste. If a baby rejects a formula, parents need options. We created a simple, disruptive film using AI and baby faces to clearly show the problem and the solution. It stood out creatively and drove real results.

What’s the most challenging part about your job and/or the industry?

I work in healthcare, where trust is everything. People want things to feel proven and reliable, not flashy or experimental. The challenge is finding ways to be creative and differentiated while still respecting that responsibility. It’s a tough balance, but when it works, it’s incredibly rewarding.

What do you look for to determine excellence in video?

A great video should feel like finishing a great book. You might remember specific moments, but what really sticks is the feeling or idea you’re left with. Every choice should be intentional, from the concept to the framing, lighting, music, pacing, and casting. When all of those elements work together to deliver a clear outcome, that’s excellence.

What are your current roles and responsibilities and what do you love most about your job?

I lead a multidisciplinary team of creatives, writers, production artists, and partners. My job is to find great talent, help people grow their confidence and craft, and make sure we’re putting strong ideas into the world. What I love most is helping teams push past the obvious and turn familiar problems into something fresh and unexpected.

What initiatives or projects are you working on now that excite you?

Right now, I’m editing a book I wrote on creative leadership, which has been equal parts fun and humbling. On the work side, we’re helping launch a new organization focused on national patient safety issues. Internally, we’re also building and integrating AI tools into our creative process, which has opened up new ways of thinking and making.

Do you have any specific practices you lean on to spark creativity?

I’m a big believer in distraction during brainstorming. Sometimes we get too locked into the brief and forget that creativity should be fun. I love ideas that live just outside reality. I follow a comedian who say the things people think but never say out loud. Those moments of honesty often lead to insights you can build something meaningful from.

What inspired you to pursue your career path?

I sort of fell into it. When I was about 14, my brother was building websites and asked me to design them. Then I wanted photos for the designs, so I picked up a digital camera and started shooting. It just grew from there. I even spent a few years studying microbiology in college before switching to fine art, which ultimately brought me back to creativity.

In your experience, what is a significant change you are seeing happen in the video, television, and/or film industry, and what insight can you share about how to navigate it?

The creator revolution has been fascinating. Today, everyone has access to powerful tools. Phones are more advanced than the cameras I started with. That’s been amazing, but it’s also made clients think everything can be done cheaply. Sometimes it can, but often that comes at the cost of the idea. At the same time, some of the best shows being made still have massive budgets. Navigating this means selling the vision, explaining the value of craft, and helping clients understand why the details matter so they become believers in the work.