Melissa Silverman: A Study in Comedy
Melissa Silverman, a director based in LA and NYC has developed a reputation for having a unique, idiosyncratic style. She began her career at MTV, where she worked with the likes of Conan O'Brien, Britney Spears, Madonna and a teenage Jennifer Lawrence.
Melissa has directed field pieces for Jimmy Kimmel Live! as well as commercials for Disney, Funny Or Die, Breyers and Starz/DIRECTV. She has received awards and recognition from the Art Directors Club, D&AD, PromaxBDA, RESfest and TELLY.
Melissa was nominated for an Emmy for a Nick Jr. campaign and is currently represented in Australia by The Producers, and by Tessa Films in the US, Sparks Productions in Canada and Groundglass in South Africa.
Melissa has a flair for comedy and believes that real human behaviour is often where comedy hides.
LBB> What type of comedy are you most passionate about?
Melissa> As long as it makes me laugh, I like it — the subtle, the absurd and everything in between, I’m not afraid to try anything. The best source for humour comes from watching people in real life and discovering what’s comedic in human behaviour.
LBB> If the script is for a brand that you're not familiar with, how important is it for you to do research and understand that strategic and contextual side of the ad?
Melissa> Brand research and concept development is essential, obviously, to any successful shoot. But more importantly, it’s an excuse for me to order hotel room service and binge watch local programming.
LBB> What kinds of scripts excite you the most?
Melissa> I like scripts with funny dialogue, memorable characters, and an opportunity for strong production design. One of my first jobs was working in the art department so I know the value of building a world, which can be its own character in a story.
LBB> How do you find balance between being collaborative with the agency and brand client while also protecting your own creativity?
Melissa> Any creative endeavour requires collaboration and compromise. Directing on-air promos at MTV gave me a strong foundation in collaboration. Anything seemed possible. It also helped me to appreciate the importance of addressing the needs of everyone involved, while making decisions built on what is best for the story we’re trying to tell.
LBB> What’s the craziest challenge you’ve ever faced on set, and how did you solve it?
Melissa> I was hired to direct an Italian-language KFC spot shooting in Moscow for the Russian market which involved, among other things, a Milan based casting session that took place on Zoom at 3AM New York-time. I don’t speak Italian but the actors and I all spoke varying degrees of French. On the day of the shoot, I dug deep into my French vocabulary to work with the actors and the on-set translator who then translated back to Russian for the rest of the crew, production team and agency. The day was like a multilingual game of telephone.
LBB> Working around the world must be pretty exciting, what has been your favourite experience?
Melissa> I’ve been lucky to have worked in a lot of different places around the world, but I loved Iceland. It was right after MTV and it was my foray into commercials. It was collaborative, creative, and fun.
LBB> We’ve heard you have worked with Jimmy Kimmel Live!, how did this help you as a director?
Melissa> I directed a handful of segments for his show. It was fast and furious. I would get the script in the morning, cast and shoot that day, edit, get notes, revise, and then it would air that night. It taught me how to move quickly, to think on my feet, not to question things too much. It was exhilarating.
LBB> You casted a teenage Jennifer Lawrence?! Tell us more!
Melissa> It was a campaign for MTV’s My Super Sweet 16. She was a teenager, and perfect for the role. She came in and nailed the audition. Years later, when Jennifer was accepting a Screen Actors Guild Award for Silver Linings Playbook, she thanked MTV for casting her in the role that earned her a SAG card.
LBB> What pieces of work do you feel show off what you do best – and why?
Melissa> The examples here range from the everyday and situational to heightened reality. They all share a common thread of being connected to true human behaviors and real people interacting with each other. That’s where I look for comedy.
