Ad director Vinil Mathew engaged in a conversation with e4m to understand the craft of direction in the world advertising industry and his journey so far.       

Edited excerpts:

Walk us through your calling of being a creative director. You were passionate about economics, what changed your aspirations?

Growing up, my family's background was deeply rooted in science and engineering, with no ties to the film industry or any creative fields. However, my interests took a different turn; I was captivated by the world of economics and finance. During my school days, I actively participated in quizzes and debates focusing on economics, financial matters, and marketing, finding these topics incredibly engaging and something I wanted to pursue further. Despite this, from a young age, I also had a peculiar fascination with watching TV commercials. Unlike most people who would fast-forward through them, I found joy in watching and even went as far as recording their jingles on audio tapes to listen to them repeatedly, using them as a way to unwind.

I often found myself critiquing these commercials, imagining how they could have been shot differently or how they might look better with certain creative adjustments, despite having no formal knowledge or insight into the field. It was just a hobby like any other kid might have. This interest took a more concrete form in my 11th standard when I was living in Delhi. Eager to explore this curiosity further, I sought out an internship opportunity close to my home, marking the beginning of a journey into a field that was entirely new to me and my family.

During my first year of college, while studying economic commerce in Delhi, I secured an internship. During the holiday breaks from college, I had the opportunity to intern with Bharat Bala, a very famous ad filmmaker known for his work on MRF commercials and other high-profile projects. I traveled to where the internship was located, stayed in a hostel for a year, and assisted Bharat Bala. At that time, he began producing the "Vande Mataram" series with A.R. Rahman, in addition to his commercial work. In 1997, I enrolled for a course in FTII secured a seat in the direction department, and never looked back.

Starting your career in ad filmmaking working with many leading agencies and on many leading brands, how has your experience been? Also, did you think you ever think of joining an agency rather than freelancing?

I've always seen myself as a filmmaker in the advertising world, driven by a passion for telling human stories through the craft of filmmaking. Rather than seeking agency employment, I was drawn to the hands-on experience of directing on set. My career path was clear: direct or assist. 

My collaboration with specific clients and agencies, sustained over many years, underscores my close relationship with these brands, agencies, and clients. This long-term collaboration has led to repeat engagements, illustrating the depth of these partnerships. Moreover, some of my closest friendships today stem from these professional connections, enduring even during periods when we're not collaborating on projects. These friendships have lasted, in some cases, despite not working together for 8-9 years, demonstrating that our bonds extend beyond professional interactions and into genuine friendships.

A personal anecdote Mathew shared while working on Seagram’s Imperial Blue campaign and other creatives

I had the privilege of collaborating extensively with Seagrams and Ogilvy Delhi, particularly with Ajay Gehlot, who provided me with my first big break. Over time, our professional relationship evolved into a close-knit camaraderie, where we co-created many successful projects. One notable example is the Imperial Blue "Men Will Be Men" campaign, where we crafted a catchy song filled with playful ghazal and sensual undertones. Our creative process often involved late-night brainstorming sessions over drinks, drawing inspiration from the vibrant energy of nightlife. Despite the challenges, we always found innovative solutions, fuelled by mutual trust and a shared passion for excellence. 

This collaborative spirit extended to other talented creatives I had the pleasure of working with, such as Sukumar Menon, Agnelo Diaz, and Arun Iyer, resulting in numerous successful campaigns over the years. For me, the beauty of advertising lies in the enduring friendships forged through collaboration, where trust, creativity, and mutual respect are the cornerstones of our shared success.

As a director, can you work with multiple clients, even if they are competitors, unlike agencies, which often have restrictions on collaborating with direct competitors, how do you maintain the confidentiality of the collaboration?

We maintain a high level of professionalism by assigning dedicated teams to each client, ensuring that one team does not work with multiple competitors. Additionally, we operate at the final stages of the client's process and are not involved in their marketing strategies. My focus is primarily on generating story ideas and maintaining strict confidentiality to protect the client's confidence. We adhere to professional ethics, ensuring that we do not share confidential or detrimental information between clients. 

Also, when it comes to agencies are long-term partners, while we are the execution partners, we have short-term or project-basis relationships. So, there is no spillage of information.

What is your view on the content evolution of ads right from being 1 minute long to now being as minuscule as 5 seconds, what should markets do to capture the attention of people?

With attention spans decreasing, many brands are condensing their large TV commercials into short videos. However, this approach often results in losing the essence of the ad. It confuses the audience. Therefore, I recommend that agencies and marketers prioritize creating concepts and story ideas with duration in mind to ensure the message remains impactful.

The budget for the production is expected to be low given the fact that nowadays people shoot on mobile phones rather than those heavy equipments, what is your take on the same? 

Budgets haven't grown as expected, influenced by various factors. In the past, marketers had limited channels to reach audiences, but today, with the proliferation of mediums, they strive to engage audiences across multiple platforms. Earlier one ad used to run for more a year but now they have to make TVCs a campaign in every 3-4 months. 

What advice would you give to agencies being an outsider yet a very integrated part of advertising?

Agencies must trust their directors and fully support them, even when experiments don't go as planned. Unfortunately, sometimes blame is unfairly placed on directors when things go wrong, leading to a culture of scapegoating. Conversely, when things go well, everyone wants to take credit. Agencies should carefully select directors whom they trust and who challenge their perspectives, as constructive criticism leads to better ideas. Directors should feel comfortable expressing their convictions and pushing back against decisions they disagree with, as this fosters a collaborative environment where the best ideas can thrive. Trust is paramount in creating a safe space where creativity can flourish.

Feature filmmaking constitutes a distinct process, requiring considerable time and patience. Over seven years, I've produced two films, meticulously attending to numerous nuances. It demands profound insight and expertise, ensuring complete confidence in the story being pursued. While feature filmmaking is a labour-intensive endeavour, I find working on advertising films to be an exhilarating, adrenaline-fueled process.