For a brochure-style automotive interior, expect the final look to come from both careful lighting and significant post-production.

Because a car interior is large and reflective, continuous lighting can be very helpful: you can see exactly how the light is shaping surfaces before you shoot. Higher-output continuous lights are useful, and fluorescent-style fixtures such as Kino Flo units can work well inside the cabin to lift dark areas.

If that kind of lighting isn’t available, use ambient light and bracket exposures. Since the car is stationary, you can capture multiple frames exposed correctly for different parts of the interior, then blend them later. Simple HDR may not give the refined commercial look you want, so a better approach is often to combine selected exposures manually in post for precise control.

In short: light the interior selectively, shoot multiple exposures, and plan on detailed retouching/compositing afterward. That combination is a big part of the polished automotive-ad look.