The Directors: Matt Smukler
When we asked Matt how he got started in advertising, he’s quick to cite the Nobel Prize-worthy sitcom Bosom Buddies. The one where Tom Hanks and his pal play ad men (who dress in drag to afford cheap room and board at an all ladies apartment building). Even at a tender age, Matt knew his future was destined for advertising, though not necessarily the draggier aspects of Hanks’s modus operandi…
At first a copywriter and then creative director at Goodby Silverstein & Partners, Matt made the transition to directing in his late 20s. Initially focusing on comedic work, Matt’s filmmaking sensibilities have evolved to make him one of the most sought-after emotional storytellers in commercials. Much of his work is characterised by a human, relatable, and honest core. Connections between characters are often boiled down to their simplest almost purely visual components, even within his dialogue-driven work; resulting in a viewing experience that is felt, not simply seen or heard. Every nuance of a look, gesture, or what isn’t said charges Matt’s films with a subtext that makes them linger after they’re over.
Matt has directed ads for brands such as Toyota, MINI, Nike, McDonald’s, Coca-Cola, NFL, Budweiser, MTV, Reebok, AT&T, Absolute, XBOX, and Verizon to name a handful, and has been nominated for the Best Direction award at the AICP Awards. Matt’s first feature film Wildflower starring Kiernan Shipka, Jean Smart, Jacki Weaver, and Dash Mihok was in official competition at the 2022 Toronto International Film Festival and premiered in the United States on March 17th, 2023. As his filmmaking career continues to evolve, Matt’s focus is to add even more complex depth to all of his projects – visually and emotionally.
Name: Matt Smukler
Location: Santa Monica
Repped by/in: Supply & Demand
Awards: Cannes Lions, D&AD, One Show
LBB> What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?
Matt> I’m not sure there is one element that sets a script apart for me. It’s more of a feeling I get as I’m reading. Can I visualise it, connect to it, and bring something to the script that might be unexpected or additive? The sort of scripts I get excited by all share the same DNA – great ideas, something I haven’t seen before, or an idea that pulls me in and I can’t stop thinking about.
LBB> How do you approach creating a treatment for a spot?
Matt> For me, writing a treatment is a great way for me to execute the idea in my mind. It’s actually quite fun to dig into the concept and bring it to life in this way. So I tend to have the first call, hear out the agency and get a strong feel for their vision, and then sit for a while and let the spot come to life for me in my mind. I also am a really visual person, so I find pulling images that are inspirational to the idea helps me. I also make a music playlist for every single project, and I listen while I write.
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?
Matt> It’s super important for me to understand the brand and know its history. If I’m unfamiliar, I often find myself asking the creatives a ton of questions. And then, if I’m still curious, I’ll do a deep dive online and find out everything I can about the brand and where I imagine they want to go.
LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?
Matt> The relationship with the creatives is the MOST important part of the process. If we are on the same page, nothing is better. The ideas flow, and we end up coming up with a myriad of things that make the concepts better. I have a lot of friends in this business, and I truly love working with such talented creatives and helping to bring their vision to life. Adding magic whenever I can.
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?
Matt> I’m a storyteller at the core. So, any and all projects that involve storytelling excite me. I guess I’d say I’m genre-agnostic.
LBB> What misconception about you or your work do you most often encounter and why is it wrong?
Matt> When I first started directing commercials, I was a comedy director. A creative I had previously worked with sent me an emotional storytelling spot and asked if I thought I could do it. I remember being honest and saying, “I don’t know, but I’ll do everything I can to not fuck it up!” He gave me the job, and it ended up winning a bunch of awards. It was a tear-jerker spot without being overly schmaltzy. And it set me off in an entirely different direction. So much so that I was no longer thought of for comedy. The feature film I made (now playing on Hulu) called 'Wildflower' has both comedy and heart. It’s the perfect merging of everything I love.
LBB> Have you ever worked with a cost consultant and if so how have your experiences been?
Matt> Of course I’ve worked with cost consultants but not directly. They are involved in most jobs these days. I think it all depends on the person. I’ve had great experiences and not so great.
LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?
Matt> I remember I was shooting with a young girl; she was probably five or six years old. She was doing amazing until, well, she decided she was done. Finished. Time to go home and watch Little Einsteins. Which was totally understandable; she was five after all, but we had only half of the commercial finished. Her mother was there and offering her everything, including an in-ground pool, if she would stop crying and finish shooting. Nothing was working. I put on a dinosaur costume (another story), went over to her, and made her laugh. I had the entire crew take ten while she and I just laughed and sang songs, and when the crew came back, we finished the shoot. She left smiling, and we all left knowing we had a commercial.
LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?
Matt> I come from advertising. I started my career at Goodby Silverstein as a creative, so I have a DEEP appreciation for the process and what it takes to go from a blank sheet of paper to a solid concept. I am very collaborative and truly think the best ideas come from anywhere. I don’t have an ego about this whatsoever. If anything, I go to great lengths to ensure I’m executing what the creatives had in their heads and what’s in mine, and I never stop trying to elevate. On occasion, when the client might not be on the same page as the creatives, I can be a good 'neutral' partner when it comes to helping the client get over whatever it is they are concerned about.
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?
Matt> My latest feature film (Wildflower) is about celebrating diversity. I’m a huge proponent of supporting anyone who is interested in our world and will continue to mentor both the neurodivergent community as well as the diverse.
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?
Matt> I’m very happy not to be wearing a mask on set, to be able to communicate with the actors using my entire face and not just my eyes. I guess the one thing that has improved is the first casting call. It seems we can see more actors when they can audition from home if they can’t make it into the casting office.
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)?
Matt> I think of technology as a tool, and thinking about it in this way, it doesn’t scare me. I’m a big believer in using/trusting/leaning into your gut. AI doesn’t have a gut. Or a soul. And so whatever it is that AI is spitting out, it’s always going to be lacking a core and humanity. If we use AI to help inspire ideas or get the ball rolling, great. But that’s where it ends for me.
LBB> Which pieces of work do you feel really show off what you do best – and why?
Matt> Wildflower incorporates comedy and heart in a way that pretty much sums up who I am and what I love to do.
Claude was incredibly rewarding in that we blended live-action with CGI in a seamless way. There’s just a really strong idea here as well which is pretty rare these days.
Mcdonald's Summertime is one of my favorite spots. We cast a young actress from Berlin who spoke a tiny bit of English and a boy from the UK who spoke zero German. The spot was about a summer romance and I watched as these two literally found a way to communicate and really connect with each other over six days of shooting in South Africa. Their chemistry was undeniable. I just had to stay out of their way and capture their connection in an authentic and non-intrusive way.
Iams Duck.
I’m a massive animal lover and so this spot, on paper, was a dream. It showed a dog and a young boy growing up together. It was challenging for sure but a blast to shoot and I loved helping the agency realise their idea was actually much bigger than just selling dog food.
