The Directors: Melany Ismail
A South African-born commercials director, Melany Ismail has a recognisable flair for visually engaging storytelling, as well as a knack for crafting unforgettably captivating characters.
Mel started her career in London at The Moving Picture Company, shooting effects elements for commercials (she can credit quite a few shots from ads that you have seen) as well as many many pack shots. This is where she was first introduced to the industry and so upon her return to South Africa, she approached its top commercials production company, started out as a creative researcher and set out to thoroughly learn the craft.
The industry has changed tremendously but it is her history and experience in advertising, having worked alongside and learned from the top directors at the top of the game - that is invaluable when she takes on a job.
Name: Melany Ismail
Location: Johannesburg, South Africa
Repped by: Fort
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Melany> I prefer narrative driven scripts – a beginning a middle and an ending – scripts that provide me with an opportunity to make a little film, and where I can shape characters everyone can relate to or know by taking from what and who I know. I’m always keen to shoot these to see if I can fabricate the ‘real’. The Wimpy ad that I did, for example, is a good demonstration of how I recreate characters and a family dynamic inspired by my real life. With this as the basis it can then be set anywhere, you can visually play in any world and that’s when it gets really exciting.
LBB> How do you approach creating a treatment for a spot?
Melany> Because I come from a research background I deliberately try to avoid starting there. My head is already jam packed with references. Instead, I start by breaking down the script and first identifying the message. Then I work out my approach and get the references that support it.
If the script is for a brand that you're not familiar with/ don’t have a big affinity with or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?
In that case, I would start with research, educate myself and find something I can relate to. However, this also provides a great opportunity to be the ‘wild card’ and pitch something that shows off who you are. I would take the moment to sell myself rather than sell them on something I might be struggling with and leave a bad impression altogether.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Melany> Of course, everyone plays a role and all relationships are important, but I personally enjoy working with the DOP – it’s when I get to see what I’ve imagined. I love the process of working out how to use the camera in a way that helps to tell, and also enhance the story.
LBB> What type of work are you most passionate about - is there a particular genre or subject matter or style you are most drawn to?
Melany> Visual story-telling. Telling stories and conveying emotions through film. It’s what inspired me to become a filmmaker in the first place. I’m often thought of as a performance director because of how I portray people, but I make use of all my cinematic tools to tell a story and convey a feeling.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Melany> No misconception about me or my work. Rather, directors get grouped together and the same directors are often pitching against each other. It’s like by default you end up getting briefs just because you fit a certain demographic.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Melany> I’ll keep that one to myself, but I will say it’s amazing to see how emotionally invested we all get and that can lead to some crazy behaviour. I’ve worked with kids a couple of times and they can make those valuable production hours fly by but I suspect that they sense my endless amount of patience and it sets them at ease and I will get the performance I want out of them. In time, of course.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Melany> By making them feel heard. It creates a more trusting relationship, and they tend to back off a little and follow the director’s lead. And I pick my battles; know what is worth fighting for and what isn’t.
LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?
Melany> Aspiring directors, specifically Black and female ones, must see people that look like them in those positions. So, it’s important that directors who are able to mentor, actually do it. I can be salty so definitely don’t come shadow me, or do, if you don’t mind that.
LBB> How do you feel the pandemic influenced the way you work? Have you picked up new habits that you feel will stick around for a long time?
Melany> The pandemic has made me more aware of what I give my time to and I’ve become more intentional about the kind of director I want to be. I’ve been photographing coloured people and I have a film in development with the NFVF (yes, about coloured people). So, when I feel that advertising has taken everything that’s real and honest and attached it to fabric softener, I have that to make me feel better.
LBB> Your work is now presented in so many different formats - to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?
Melany> By identifying who is on the receiving end of each format from the onset. The messaging will be the same and they’ll likely have the same visual language. Then it’s just tweaking here and there. But to disregard who you are targeting is counterproductive.
LBB> What’s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI/data-driven visuals etc)?
Melany> I used to work at MPC in London, it was a post house and it’s where I fell in love with commercials and decided that I want to direct them. My job was to shoot effects elements, for ads and that was when I believed that advertising was at its best. I shot anything that could enhance the ad, from a snot bubble for Jonathan Glazer’s Ice Skating priest or pigeons for Planchon’s Miller Downhill ad. Anyway, during my time at MPC, I also got to see what is possible in virtual production and watched animators and CG artists painstakingly create these worlds. So, it's definitely something that is not alien to me and I’m keen to incorporate into my work.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Melany> Again, Wimpy because of the dynamic I could recreate between the little family. I also like the characters from the DStv ad; we had a lot of fun conceptualising them and then bringing them to life in casting and wardrobe.
