The Directors: Siobhan Mulready
Siobhan Mulready is a director a background in theatre, she works with her actors to produce real and raw performances. Understanding that scripts are layered, the notion of story and the ability to see drama and beauty in all things, is what sets Siobhan apart from the rest.
Siobhan’s skill has been recognised across the globe. Her short films have won numerous awards including Best Director awards at New York Chain and West End film festival, and have screened at the Cannes Short Film Corner, Flickerfest and Hollyshorts in LA.
As well as carrying home a number of awards for her work in the ad world: Silver in Direction: BADC (Woman’s Legal Service - Doug’s Story), Silver in Direction: Telly Awards (Arcare Stars), Silver in Direction: Telly Awards (QLD Gov - Stand by Me), Silver in Direction: BADC (QLD Gov - Stand by Me), Silver in Direction: Telly Awards, Branded Film (The Learner), Silver in Direction: BADC (Instant Scratch Its - Share the Joy), Bronze in Direction: Telly Awards (QLD Gov - Swipe it Away), Bronze in Direction: BADC (Fiji Kava - Feel the Difference
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Siobhan> It’s always performance heavy scripts with real, human moments of connection for me, whether that’s in a simple, character driven scene or something more abstract, cinematic or spectacular. I love art department and design too, but if the brief is to make the audience have an emotional reaction to characters, and the creatives want to do that in a beautiful, exciting or interesting way, I’m pumped.
LBB> How do you approach creating a treatment for a spot?
Siobhan> Depends on how much time I have, but usually I like to create a big mood board of images that capture the feelings of the commercial. Then I go sit in a cafe, order a croissant and do a heap of very nerdy journaling that sometimes turns into the first page of a treatment. I want to find my connection to the idea, then whittle down my approach to it’s essence. Then I expand back out again from there. Without some kind of personal connection to the idea (even just a small one will do) you aren’t having an authentic conversation with your audience.
LBB> 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?
Siobhan> Very. I try and talk to the audience directly. If they aren’t in my network one of the Taxi producers will find them.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Siobhan> The creatives, without a doubt. If trust is there then you have the best shot of making something amazing.
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?
Siobhan> I love the “ads that look like movies” of all types, behavioural change ads, character and story driven ads, montage ads, the big dramatic scenes and the small poignant ones, but I’m also a massive genre nerd who loves working with the art team to create interesting eras, costumes and worlds. I am a tenacious and fanatic mood boarder.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Siobhan> People can be so literal in the way they look at a directors work, it’s very easy to get pidgeon holed. I won awards for youth focused work when I first started out, and it took awhile for people to see that those same skills can be applied to actors of all ages.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Siobhan> Embracing free rain is something most of us have done before, but I’ve also done it with fire. When we were shooting a XXXX ad in FNQ we kept noticing cane fires on the horizon. Did a bit of asking around and before we knew it, the DOP, first AC, and AD-carrying-the-monitor and I were all sprinting after this crazy, roaring wall of flames, screaming instructions back and fourth, capturing this amazing, dramatic footage of the experts that light and control it. That’s more of an “embracing opportunity story”, but was certainly an unforgettable moment.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Siobhan> Pick your battles, taking the time to process feedback where possible so you can pick those battles, and having a very strong sense of what things do really matter and which things don’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?
Siobhan> It’s vital. Commercials are a powerful expression of the zeitgeist and unconscious bias and privilege remains a huge barrier for directors from under represented communities. If we don’t encourage under represented voices we are part of silencing them. I’m always open to mentoring or apprenticeships on set- I wouldn’t have my career if I wasn’t given that opportunity and always love to pass it on.
LBB> How do you feel the pandemic has influenced the way you work? Have you picked up new habits that you feel have stuck around?
Siobhan> Yes I love that we can do more meetings online than we used to. I’d die before doing everything that way, but that flexibility means we can optimise our time far 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)?
Siobhan> That’s all in the planning. As long as we have the info of where it’s going in advance I’m definitely planning for it. I want every delivery to be the best version it can be for its format. A quick reframe for a socials take is far better to have up your sleeve than watering down one delivery for the other.
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)?
Siobhan> You have to start experimenting and learning it before you’re asked about it. I’m currently developing a 360 degree short at the moment, and after making a film in the searing hot outback last year in peek fly season, I’m very keen to start trying out virtual studios.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Siobhan>
Terry White wanted an ad that would encourage a warm, emotional connection that would epitomise the feeling of care. It was also a period piece- the detail in the set, wardrobe and makeup was critical in bringing that idea to life.
Cyber Bullying Parents was a COVID pivot, originally taking place in a big crowd. By moving the scenes to teenage bedrooms, being heavily involved in casting and using Shakespearean rehearsal techniques we made something that connected with the parents we were trying to reach.
La Chat Noir was about creating spunky characters our audience would love to be friends with.
Instant Scratch It’s Christmas was my first TVC and my first directing award so I’m very fond of it. Again it was all in the performance.
