Director’s Brief – 10 Questions with Psyop’s Kylie Matulick @ Sedona Productions

Director’s Brief: 10 Questions is a new Q&A series from Campaign Brief that shines a spotlight on the broad mix of talent shaping Australia and New Zealand’s commercial directing scene. Australian director and Psyop co-founder Kylie Matulick is an award-winning talent, who uniquely combines live action, design and animation to create magical worlds. Matulick’s work has received numerous accolades from Primetime Emmy, to Clio, Cannes Lions, Annie, Ciclope and D&AD Awards. Matulick, who is represented in Australia and New Zealand by Sedona Productions, answers CB’s 10 Questions.

Sum up your directing style in three words?

Passionate, collaborative, focused.

Was there a specific ad that made you think, “I want to do this for a living”?

It wasn’t a specific ad, but the first time I created my own animated sequence in Photoshop, frame by frame, I knew this was the direction I wanted to move towards. As a designer, my training focused on creating the perfect still image. The introduction of motion added a whole other dimension of possibility that held so much depth and promise. World-building, narrative storytelling, character creation, experimenting with different animation techniques and visual styles—an infinite universe exploded open.

What’s your all-time favourite ad?

That’s a tough one but if l had to choose, of my work: Man & Dog, Coca Cola (i just have a soft spot for that project) and of others work: Ikea Lamp (it’s the perfect ad; memorable, simple, surprising and still holds up after all these years)

In your experience, what’s the secret to a smooth director-agency-client vibe?

My favorite agency/director relationships, many that have spanned over a decade, are all based on mutual respect. When a strong creative team is gathered there are always a lot of individual hopes, desires and expectations in the mix.  We all bring something valuable and necessary to the table and creative success is not a straight line. As a director it’s imperative that you have a strong, passionate vision but you also need to remain open minded: Is there a better idea here? Am l communicating what needs to be communicated? There’s always going to be a certain amount of healthy tension along the way but if the collective goal is to make something great, mutual creative respect will keep you on the same page.

Where do you go (or what do you do) when you need to recharge your creative batteries?

l love working on my DITTO newspaper project. It’s something l started a few years ago in an effort to kickstart a drawing practice and go back to my roots as a designer experimenting with typography and layout. Everything printed in the Newspapers is hand drawn, including the typography and l love the analog and imperfect nature of the paper. The drawing has become a daily meditation practice for me now and the single sheet newspapers (which l publish every 6 months) is my personal poetic and aesthetic gift to the world.

Ever had a happy accident on set that turned out to be a game-changer?

I discovered a ‘conceptual’ happy accident quite early on in my work with the realization that every idea, narrative, character or world needs a little ‘salt’. As they say, salt always brings out flavor and the films/commercials that have been most successful (struck a nerve) are the pieces that allowed a touch of spice, so we always push for that. With character development it’s creating a balance of strengths to aspire to and weaknesses to relate to. With world building and narratives it’s creating a balance of whimsy and with some kind of edge (dark humour, a little tension, something a little naughty or hidden).  When you work with clients courageous enough to embrace that right balance, it’s always a game changer!

What’s an up-and-coming trend in commercial filmmaking you’re pumped about?

The intersection of creative artistry and new technology is always exciting. Obviously the rapid developments in AI offers all sorts of inspiring creative potential but the ideas that get me excited are ones that feel more intimate, like creating bespoke, interactive user experiences.

If you could direct a dream ad for any brand, which one would it be?

I have a few ideas for this one. It would be fun to develop a ‘choose your own adventure’ film/story/game for a brand one day.  We have done it before for KFC and it was a hit but l think there’s huge creative potential to explore here.  I’ve also always love treasure hunts and l think it would be cool if a brand were to develop digital portals to new undiscovered worlds that could be ambiently explored by a user to find treasures.  l also have a magical terrarium concept for the Las Vegas sphere l would love to bring to life.

What’s the best advice you’d give to someone trying to get into directing ads?

Every act of making matters. Just make something every day and move the ball forward.  It doesn’t have to be perfect, it just needs to be something that excites you and expresses your unique vision. Even a quiet whisper can be bold but boldness is required. That and learning how to eloquently pitch an idea!!!

What are your top 3 ads you’ve directed?

I would say the Coca-Cola Happiness Factory campaign, Travel Oregon ‘Slightly Exaggerated’ campaign and the Aldi ‘Get Into the Christmas Spirit’ campaign are the top three. All of these started as ‘one off’ films that launched into multi year projects from their initial success. The Aldi christmas spot is heading into its 10th year now.