The Directors: Manny Bernardez
Starting his career in Miami Beach Florida working for MTV Latino, Discovery Networks, and HTV among others, the Venezuelan-born director went on to form a highly awarded and influential design and animation studio based in Miami's Design District. Looking to expand his skill set, Manny relocated to NYC, and took an art director position with Teamheavy/Heavy.com, the pioneering company of digital brand integration and branded content, where his true passion for filmmaking was sparked.
Name: Manny Bernardez
Location: Austin TX
Repped by/in: ALTERED LA
Awards:
As a director: Promax, Shoot DGA New Director Showcase, Rosey Awards & Stash.
As a creative director: Promax, BDA, IDN Decade Design Awards, BAFTA, LIAA, Kinsale Shark, EPICA, British Arrows, Telly.
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Manny> I love scripts that have mainly two things. Firstly, well developed characters. I love characters who have layer upon layer of depth to them. This makes them pop, feel relatable, real. When paired that up with an actor who can channel the richness and bring out all the little nuances; is nothing short of amazing to witness. Granted, in the commercial world this is close to impossible to achieve. The medium and screen time allotted serves only one purpose–to deliver a brand or product message. But as a director one can dream too, no?
Second item on my list– well let me preface this with the fact that I grew up watching TV ads and music videos by the likes of Spike Jonze, Michele Gondry, David Fincher, Chris Cunningham among others. Back then TV ads were more than just a two act story to sell us a product. It was a brief moment of conceptual and visual delight that lived in between our favourite TV show’s commercial breaks. So when a spot came on I would actually watch them and if taping the episode I would rewatch these little advertising marvels that came up over and over again. I think the reason consumers dislike commercial breaks these days is because advertising has become too functional and quick to drive to a sale. Versus the approach we had back in the day when there was more respect for the viewer. It was clearly understood that if we are going to interrupt your show let’s at least do it in a manner where we entertain you or offer something delightful to watch. So whenever I see a script that has this element of fun, wonder, excitement I jump right in head first!
LBB> How do you approach creating a treatment for a spot?
Manny> I approach each treatment with a CD, writer and director mentality. Through my process I gain powerful insights as to how to not just honour the brief, but I look for opportunities to elevate it and make a stronger statement for the brand.
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?
Manny> My background as a brand and agency creative director has taught me the power of research. This to me is where everything starts. A combination of market research, where I learn as much as I can about the brand, where they are, where they have been, what their competition is doing–and the other part is a deep visual research where I build detailed moodboards that visually crystallises the vision I have in my mind. Cinematography, lighting, wardrobe, set design, camera techniques and even final grade all go into it. This then becomes super helpful for the cinematographer, production designer, wardrobe and stylist. I believe in sweating the details and really getting as much fleshed out in the treatment phase. Get the ball as close to the end zone. And then armed with my cast and crew we cross the end zone together.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Manny> It takes a village to make a successful project. I’m a huge proponent in collaboration and partnering with the agency, client and ultimately with my cast and crew. One of the most important relationships is with the cinematographer since that role is responsible for how every single frame will ultimately look, my producer is basically a tie on first. A producer makes what’s on the page real. Then a close second is actors you want to have a rapport with your cast so they feel comfortable interpreting the material and free to give their honest take. Then we can work together to further hone it if necessary.
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?
Manny> My favourite work is the one that pushes the envelope. There’s too much cookie cutter creative out there. I want to be challenged and feel like what we are creating feels fresh, ownable and unique. And boy do I love a little unexpected twist in the end.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Manny> I have in the brand and agency side. I understand why they have a role to play. But to be honest. Artistry and the soul of a project can very easily die in the hands of a cost consultant. As an agency CD I had to step up and defend the work and the best team and bid to deliver and do right for the creative. Sometimes I won, sometimes I lost that battle.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Manny> Well… there’s always something going down during a shoot. Commercial production, it's like an ongoing dance of solving challenges – it's just part of the game. I remember one in particular… We were days away from shooting in Mexico City, as protests erupted in the heart of the city, throwing us a nice little curveball.
This forced us to change our location three times. Landing us a completely different place North West of Mexico City. To top it off, one of our cast decided to bow out due to the protests. Remember… I like plot twists. So we adjusted our approach on the fly and managed to pull it all together. And honestly, looking back, it's almost as if fate had lent us a hand. The new location and the single character focus, born out of necessity, ended up transforming the piece in a way we couldn't have predicted. The challenges became the secret ingredients that made the final product a hundred times tastier.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Manny> In my role as a director, I often find myself as the final bastion of creative decision-making. In production there’s always room for adaptations and adjustments. However, the core building blocks of the creative need to remain strong for the idea to stand. If say the client is vacillating during our shoot or in the days leading to our shoot and wants to do a drastic change that could potentially risk the outcome of the job–I immediately team up with the agency creative and come up with the right work around, define where we have flex and where we need to stay the course. In the end we need to trust and revere the creative we all have worked hard to build.
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?
Manny> It’s long overdue. We need more diverse POV’s creating and producing commercials. This only enriches the final outcome and the industry as a whole.
I love mentoring. But on set I need to do the job that I’m being paid to perform. So on set I could see a situation where the apprentice is simply being a sponge absorbing as much as they can. They can formulate their questions and then a few days after wrapping the job we can do a debrief session.
LBB> How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?
Manny> The pandemic gave everyone a taste of some work+life balance. Which is super important to upkeep. As a former workaholic I can tell you that life is for living. Yes work is something I love, actually adore… But sharing and building memories with my friends and family fuels my soul like nothing else.
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)?
Manny> I believe the key to creating successful social content lies beyond simply creating an alternate edit with centre cuts or pan-scans and considering the job done. Done at its best the process involves crafting a dedicated script for a TVC or branded content, alongside a distinct yet interconnected extension tailored for social media platforms.
Our media consumption patterns fluctuate depending on the app or platform we're engaged with. How we watch TV is different from how we consume content on Instagram, YouTube etc. Incorporating this behaviour into the creative process is pivotal for achieving a successful campaign. Yes it will cost more to produce. But it’s the best way to do it.
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)?
Manny> Bruce Mau eloquently said–creativity is not device dependent, forget technology and think with your mind. I read this early in my career and really struck a chord deep within me. Technology is here to serve us. To aid us and make our lives easier. But it cannot replace us.
I think that from everything out there what I’m the most excited about is the possibilities virtual production offers. Immersing your cast in a real world vs a green screen really puts them in the moment and their performance is that much better because of it. What real time 3D can do today is nothing short of amazing. Excited to see it blossom further. Regarding Interactive Storytelling, I’m a gamer so I love interactive storytelling in that capacity. The branching structure of a storyline unfolding based on our actions in the game, and our character experiencing the consequences of said actions puts you at the centre of the story–and that is powerful. Well, with AI I feel it’s great as a tool, but we have to be vigilant and avoid getting lazy or complacent with it because–WE are the ones feeding it, and it should never become the other way around.
