In the fast-paced world of advertising, where creativity knows no bounds, certain campaigns stand out as exemplars of excellence. They not only captivate audiences but also leave an indelible mark on the collective consciousness, setting new benchmarks for creativity and brand engagement. In this edition, IMPACT is celebrating 10 best ad film directors, behind some of the most remarkable ad campaigns. These directors have demonstrated an unparalleled ability to elevate the art of filmmaking and establish powerful connections between brands and consumers.
Our editorial team meticulously reviewed ad campaigns from various sectors, analysing their impact, creativity, and relevance. After careful consideration, we have curated a list of the top ad film directors whose work exemplifies excellence and sets the standard for the industry. Our selection process for this esteemed list was rigorous and comprehensive. We evaluated campaigns based on two key criteria:
Where Filmmaking Took the Concept Many Notches Higher: We sought campaigns that pushed the boundaries of creativity and storytelling, be it through compelling narratives, stunning visuals, or innovative techniques.
Where the Brand Connection is Strongly Established: Beyond mere entertainment, effective advertising is about forging meaningful connections between brands and consumers. We looked for campaigns where the brand message was seamlessly integrated into the narrative, resonating with viewers on a personal level and fostering brand loyalty and advocacy.
We have interviewed the visionary directors behind the ad films to know more about the creative process and insights behind these memorable campaigns.
"It was great fun reading the script written by Thala. I fell in love with it immediately. I found the idea of executing a character who becomes increasingly angry even as he recounts his anger amusing. So, I thought it would be a lot of fun to bring that to life. Although I tend to work with those I’ve worked with before, I auditioned various actors for this. If I find a good actor, there’s no reason not to use them again.
I had already decided to use Ajay, the actor who played the husband, and it was a blast working with him. I wanted his character to become increasingly aggressive as he remembered past incidents, almost to the point of madness. We decided to shoot in a corridor about 60 feet long. Initially, I wanted him to walk fast, but we realised the corridor wasn’t long enough. So, we had to improvise, as you do on stage. We quickly constructed a wall at one end of the corridor and turned it into a sitting space.
During the shoot, I instructed Ajay to become so angry that he wouldn’t know whether to walk forward or backwards. He would turn around, and we would start shooting from the other side. I hadn’t planned for this initially, but at the moment, it felt right. I wanted him to walk even faster, but his dialogues weren’t completing before he was reaching the end. So, he would turn back, creating a dynamic visual. By the time he delivered his line about the wife mistaking him for someone else, it all came together.
In a way, what he is narrating is the brand message itself. There is nothing inherently funny in what he’s saying. What is amusing is how he’s saying it. Right from the beginning, you would expect his narration to be straightforward, like something you’d find in a rough brochure. For example, when you stick tiles, they fall and break. If they break, you have to buy new ones. So, I’ve taken the entire content that would typically be the body copy in a print ad, and turned it into an audio copy for the film’s concept. I wasn’t worried about whether people would understand it; they would because it’s relatable. It’s frustrating when you’ve recently renovated your house, and then a tile breaks, and you can’t find a replacement because that lot is out of stock. Gradually the house starts to feel incomplete. What Thala wrote is an insight into this problem, and it was all there in the script. My job was to ensure that we deliver it effectively. We have a lot of fun on set and it reflects in our work. We don’t get bogged down by our initial plans, instead, we embrace improvisation.
I enjoy advertising because, touchwood, I’m lucky enough to be able to tell these little stories. People approach me for these glimpses into others’ lives, and I genuinely relish that because each project is so distinct from the others. You immerse yourself in that world for about 20 or 30 days, and then move onto something new. I find that aspect enjoyable because if there’s a good idea in the script, it’s a blast to bring it to life. And the best part is, because you’re not tied to an agency, you have the luxury of turning down ideas that don’t quite hit the mark. You’re not obligated to bring every concept to fruition.
ABOUT PRASOON PANDEY
Prasoon Pandey began his journey as a professional theatre director while still in high school and started designing light-n-sound extravaganzas in far-flung deserts and forts even before he finished class 12. He then continued to hone his artistic skills at the National Institute of Design, India. His advertising career began at Lowe (then Lintas) as a Creative Director, but later he moved on to directing films when a client insisted. That directorial debut won him multiple awards at the Indian Advertising Filmmaker’s Awards- IAAFA 1995. What followed was a most prolific career in filmmaking and perhaps an even more stunning collection of awards – Clios, Cannes Lions, to name just a few.
BEST CAMPAIGN
• Fevicol Ads
• #Family – Made at Home
ONE CAMPAIGN THAT I LOVED THE MOST
• Kerala Tourism by Prakash Verma
"I can’t say advertising is simpler or better than a feature film, because each has its challenges. In advertising, you’re tasked with narrating a compelling story in a limited time, typically 30 seconds. That has now reduced to 20 seconds or even shorter in today’s fast-paced world. It’s always a challenge to convey the message effectively within these constraints, considering the changing grammar of storytelling in such brief formats. On the other hand, in feature filmmaking, you can’t maintain the same pace as in advertising. It would bewilder the audience. Both formats offer unique enjoyment and fulfilment.
I grew up in Nagpur where I had many friends attending medical school. Spending time with them influenced my perception and understanding of various aspects. Stories often originate from personal experiences and memories stored in our minds. While writing my first film, these experiences played a significant role. Memories of my time with friends and observations about the medical system, including the need for more compassion, contributed to shaping the narrative and thematic elements of the story.
We operate a production house called Canvas Films, primarily focusing on creating advertisements. While I may not direct many projects personally, I am actively involved in the scripting process. Every year, we consistently produce a variety of films. Though I don’t direct as frequently due to ongoing commitments, I felt compelled to take on this particular project for Acko Insurance. It offered an opportunity to revisit familiar characters, and I anticipated the enjoyment of working with Sanju and Arshad again.
It was a pleasure collaborating with Prodigious Films on this project. First, I received a call from the agency asking if I was open to creating these films featuring Munna and Circuit. During our initial meeting, the agency outlined its vision for incorporating the characters into the insurance campaign. Subsequently, we had multiple meetings with the agency and client to understand their objectives and how they wanted to establish the connection. They presented several concepts and were receptive to modifications based on our understanding of the characters. We had around five to six script meetings where we continuously refined and adjusted the storyline.
The agency faced challenges in securing the involvement of Sanju and Arshad and addressing rights issues related to music and other aspects. Despite these challenges, shooting the films was an enjoyable experience, and the actors were excited to be back on set. Together, we crafted humorous lines that effectively conveyed the message while maintaining a strong connection with Acko. It was a nostalgic experience for all of us on the sets. We involved Muralidharan, who had previously shot Munnabhai and Lage Raho Munnabhai. Many members of the original crew returned to shoot these ads and the process was quite fast. We completed the shoot in just one and a half days.”
ABOUT RAJKUMAR HIRANI
Rajkumar Hirani is a highly acclaimed filmmaker known for his string of blockbuster hits in Bollywood. With iconic films like Munna Bhai M.B.B.S (2003), Lage Raho Munnabhai (2006), 3 Idiots (2009), and the satirical science fiction comedy P.K (2014), he has left an indelible mark on Indian cinema. With four National Film Awards and 11 Filmfare Awards to his name, Hirani’s contributions to the industry have been celebrated widely.
Hirani stands out for his diverse background, having started his career in the advertising field before transitioning to filmmaking. Despite his humble beginnings, he quickly rose to prominence with his unique storytelling style, blending humour, social commentary, and heartwarming narratives. His journey from editing to directing and producing ad films to helming some of Bollywood’s biggest hits is a testament to his versatility and talent.
ONE AD I LOVE THE MOST
• Fevicol Ads by Prasoon Pandey
"Google Pixel started interestingly. I got a call from a friend working at an advertising agency, and he said, “We have a very unique campaign, it’s for Google.” I said, “Wow, that’s great,” because it’s a brand that I love and respect. Then he added, “The unique feature is it’s going to be a throwback to Mr. India.” I was like, “Whoa, now that’s the most interesting part.” And of course, it brings me back into collaboration, after 24, with one of my favourite actors, Anil Kapoor. Working with Anil Sir again was fantastic. Mr. India, Anil Kapoor, Google—whichever order you want to arrange that in, it’s a fantastic combination. So that’s how I embarked on the Google project.
Actually, funnily enough, the most challenging part was staying true to Mr. India. 27 years ago, Shekhar Kapoor and Anil Kapoor created a feature film that resonated with all age groups in the country. However, it released 36 years ago, and the challenge was to make it relevant today. The idea was to remain true to the original, and not spoil the heart of Mr. India while making it relevant for today’s audience. Imagine, as a kid, if you watched Mr. India 36 years ago, today you’re in your 50s. So, when selling a Google Pixel phone, I’m selling it to them as well as the younger generation. The younger generation hasn’t seen Mr. India as much; they’ve seen it on movies and platforms, but not in the same way. How do you make it relevant today? How do you make it exciting while keeping the sanctity of the original work? And at the same time, how do you integrate a brand as iconic as Google into it?
The idea was to highlight the advanced capabilities of the Google Pixel 8, and to metaphorically relate the phone to the crazy machine that Mr. India had, which made him a superhero. The analogy was that whoever has the Google Pixel 8 is as good as Mr. India, or a superhero. The brief given to us was to do justice to both the phone and the legacy of Mr. India, and to make it relevant for the youth of India. The proof of success comes from the audience’s reception. Sometimes, brand messaging can get weak or the creative idea can get diluted. From our perspective, we tried our best to maintain a balanced tightrope walk, ensuring both aspects were given their due justice.
For any advertising campaign to work, the first key to success is the product itself. If the product doesn’t deliver, no advertising can succeed. We can create the world’s best ads, but if the product doesn’t meet the standards of what we’re selling, we’ll never achieve sustainable success. Second, a significant factor in the success of this campaign is Anil Kapoor. He is evergreen, he’s like the youngest senior actor that we have. Third, the creative team deserves credit for their incredible idea of merging the worlds of Mr. India and the Google Pixel, 36 years after the original film came out. Finally, my contribution was ensuring that I don’t mess it up. I just had to ensure I did the right balancing act. That’s it.”
ABOUT ABHINAY DEO
Abhinay Deo is considered as one of India’s topmost creative people, who has excelled under all the verticals of film making which includes Ad-Films, Television Series and Feature Films. An architect by qualification, he joined the world of advertising in 1993 at Ogilvy and Mather. He started making films in-house for the agency and thereafter started the advertising cell of Ramesh Deo Production Pvt. Ltd in 2000 and a company for television production, RDP Television Company Pvt. Ltd. in 2011. Since then, he has directed over 800 TVCs, 2 features - a Hinglish feature film titled Delhi Belly for Aamir Khan Productions and a Magnum Opus Hindi feature film Game for Excel Entertainment. He was the main person involved in making two seasons of the famous American Series, 24 in Hindi for India. He has won numerous awards internationally, in Asia as well as in India.
BEST CAMPAIGNS
• Surf Excel – Daag Achhe Hai
• Camlin Markers – Rudali
• Times Of India - Elephant 2011
ONE CAMPAIGN THAT I LOVED THE MOST
• Prasoon Pandey’s Ericsson
• Prakash Varma’s Vodafone Zoo Zoos
"When the script came to me from Harshad and Kainaz, I loved it. I immediately called them and said, ‘I’m doing this script.’ I was very excited because it’s not often that a script for a toothpaste ad features a granny without teeth. The script was so interesting and fun that I knew I had to make it. During the planning stage, we had to consider various factors, such as, where we would shoot the film and what kind of grandmother should we cast. Casting was crucial for this film, and the treatment also played a significant role. The treatment attracted me and pushed me to think more creatively. Finding the right grandmother for the role took us a lot of time. Eventually, we found Subbalakshmiji from Chennai. She was an amazing performer, but sadly, she’s no longer with us, she was 87 years old and I was amazed by her enthusiasm when I saw her test.
We decided to shoot the film in Goa, and when I met Subbalakshmiji in her room, something unexpected happened. As soon as I entered, she insisted that I sit on a chair while she and her daughter sat on another. This gesture of respect towards the director, prevalent in the South, was touching. Subbalakshmiji didn’t know a single word of Hindi, so I sat with her and reassured her. She was a little nervous, but I told her how amazing her test performance was and encouraged her. We worked on learning her lines, and she was concerned about her attire, wanting to look her best. She even shared her dream of shooting with Mr. Amitabh Bachchan, whom she admired greatly. Although I couldn’t fulfil her dream of acting with Mr. Bachchan, I was delighted to have her in our film. The casting of the small child was also crucial, and we found a sweet and talented actor for the role.
Regarding the music, I wanted to focus more on sound design than the music itself. Subhajit handled the music brilliantly, striking the perfect balance. Overall, it was a fantastic experience working on this film. Harshad and Kainaz are amazing collaborators who trust their directors to bring their vision to life. I had a lot of creative freedom and it was a pleasure to work with such a talented team.
First and foremost, I prioritize freedom. If I’m constrained, my ability to perform may be compromised. This belief is fundamental to my approach. Fortunately, I’ve had the privilege of collaborating with individuals who afford me considerable freedom. They allow me to express myself authentically, as I do not rely on storyboards or meticulously planned shots. Instead, my filmmaking process stems from my heart and mind. I articulate what I envision, and remarkably, it consistently yields results. This symbiotic relationship is crucial, whether with the brand, creative team, cinematographer, or the entire crew. I advocate for freedom because it empowers individuals to contribute their best efforts, enhancing the overall project. When working with clients, I emphasize that I’m not merely creating films for them; I make films for myself. If I’m genuinely satisfied with the outcome, it’s likely to resonate with others. Convincing myself is the first step to convincing the target audience.”
ABOUT AMIT SHARMA
At the age of 24, Amit Sharma embarked on his advertising journey. Co-founding Chrome Pictures, he stepped into commercial filmmaking, where he swiftly carved his niche and showcased his talent for storytelling. Amit has emerged as a visionary director known for his ability to captivate audiences with a blend of wit, drama, and realism. He has directed over 7000 ad films. In feature films, he is best known for the 2018 film Badhaai Ho, and his latest release Maidaan.
Amit’s directorial prowess extends beyond the camera lens; he possesses an innate ability to connect with actors, extracting raw emotions and infusing them into his storytelling.
BEST CAMPAIGNS
• Google Reunion
• Facebook – Pooja Didi
• The Silent National Anthem
• Dove – Stop the Beauty Test
ONE AD I LOVE THE MOST
• Happydent by Ram Madhavani
"This was a classic case where there was great synergy and alignment between a highly creative client, Amazon Prime, and their marketing team, extending up to the CEO. The collaboration between the agency Manja and Breathless Films proved to be a seamless partnership. Fundamental to the success of any project is strong teamwork, and we were fortunate to have that in abundance. Initially, the script took a different direction, centred around a montage film with a small segment featuring Manoj Bajpayee. However, due to scheduling conflicts, we faced challenges securing his dates, leading to delays and uncertainties. During the presentation of the final storyboard, the client made a decisive call to rethink and rewrite the entire concept. Despite initial shock and disappointment after a month of preparatory work, this was the right decision. Within three days, the agency came back with a brilliant new idea, which ultimately became the foundation of the film. Leveraging Manoj Bajpayee’s association with Amazon, we tailored the script to maximize the impact of his presence, resulting in a more compelling narrative.
Once the core story was agreed upon, the project gained momentum. While there were discussions and minor adjustments along the way, we were all aligned with the overarching vision. Personally, it was exciting for me to collaborate with Manoj again after many years, recalling our successful partnership on the Pan Vilas campaign. I aimed to elevate the film beyond just the dialogue and written situations. I sought to enhance the impact through music, staging, expressions, and overall execution, creating an entertaining and immersive experience. Despite the need to convey the breadth of Amazon’s offerings, we avoided making the film overly informative, opting for a fun and engaging approach. The collaborative effort extended into post-production, where we fine-tuned every aspect to ensure a polished final product. The client approved the film without any revisions, marking a significant success for the entire team. Although the project extended beyond its initial timeline, the outcome justified the effort. We thoroughly enjoyed the process, from shooting to post-production, and the positive response from the client was rewarding. Overall, it was a fulfilling and enriching experience for everyone involved.
The success of working with celebrities depends on their level of engagement and trust in the director. While some collaborations yield great results, others may lack the desired impact if celebrities are more reserved on set. However, there are benefits, such as saving time on casting and enjoying the contributions of talented actors. A challenge is making the film stand out among numerous commercials featuring the same celebrity. To address this, I aim to portray them uniquely, treating them as actors rather than just celebrities. This involves placing them in novel situations and experimenting with various elements to ensure they leave a lasting impression. Ultimately, the idea is key. Great directors possess a distinct voice that sets their work apart.
ABOUT VINIL MATHEW
Vinil is widely recognised as one of the top advertising directors in India. He has directed numerous popular and memorable commercials for esteemed clients including Cadbury’s, Nescafe, Airtel, Vodafone, and The Times of India. In February 2014, Vinil made his Hindi feature film debut with Hasee Toh Phasee, which received both critical acclaim and commercial success. That same year, he founded his own production company, Breathless Films, dedicated to producing advertisements. Under his leadership, Breathless Films spearheaded campaigns for renowned brands such as Lays, Voot, and Club Mahindra, among others. He has also directed the 2021 black comedy thriller film Haseen Dillruba.
BEST CAMPAIGNS
• Nescafe Radio Jockey
• Nescafe Stand-up
• Lays - Rajkumar Rao
"Tons of heart went into this project. When the team from Virtue Vice approached me with the script, I read it and thought, ‘Finally, we’re having important conversations like this.’ In India, feminism is complicated, it’s not the same as in America. Even discussing something like having a kid as a choice is a privilege because, for many women, it’s not even a choice. It’s a privileged conversation for those with education and a certain worldview. When I read the script, I thought it was incredible because it was so subtle and straightforward, without any drama. It discussed a significant topic so simply and easily that it drew me in instantly. This is the kind of thing I like to talk about. We prepared for it, and for me, performance comes easily. Casting, performance, and creating realistic setups come naturally to me. So, prep-wise, it wasn’t too difficult. We pulled it off quite easily. What was most incredible for me was the reaction after it was done. When I shared it on my personal page, without any marketing, it blew up. Women from all over India shared it thousands of times, and they reshared it without writing anything or just saying, ‘Yes, my choice. Yes, your choice.’ These are women who probably can’t say this directly to their parents, so they use the reshare button to express their opinions. The number of women who would like to have a choice is significant because life is getting more difficult. Having a kid is not easy, and our choices are often not taken seriously or listened to. It became a form of dissent to reshare that post and say, ‘Here, this is my opinion, and I stand by it. Having a kid is a choice. Marrying or not marrying is a choice. Everything’s a choice. And both choices are fine.’
Kudos to the entire team that wrote it, the agency Vice Virtue. People there, like Hayden Scott, really pushed to make this film the way we wanted to. Black and White as a brand was so good, they were so appreciative, honest, and forward-thinking, especially regarding female perspectives. They understood what we were trying to say and grasped the female nuances of it. We had a strong female team behind it, which was quite exciting.
Hayden sent me the script, and I knew it was something special. The creatives were more interested in my perspective than in giving me a brief. They wanted to hear my thoughts on the script to see if we were aligned. We then had a feminist conversation about the world, choices, and more. We were all on the same page, and the brief was simple: we don’t want to preach or tell people—it is her choice. The goal was to show a world where this is normal, even though it’s not the norm for many people right now. We acknowledged that these are privileged conversations to have but we hope that one day they will be the norm. We want these to be normal conversations for everyone. We’re not trying to change the world; we’re just trying to start some conversations, offer support to women, and be a shoulder for them if we can.”
ABOUT RIA SINGH
Ria Singh is a Mumbai-based Writer/Director. Finding herself lost in cinema from a very young age, Ria carved her way into becoming a filmmaker who tells stories straight from her heart. She is a self-taught writer who has managed to move her readers and film audience with her ability to put emotions on paper and turn them into a film/ad script. Not defined by genres, Ria has made music videos, short films, and written campaigns, directed branded content and is currently working on her feature film. Her journey began with a music video called ‘Breakfree’ for When Chai Met Toast, and it was her short film for Tinder, ‘Closure’ that she wrote and directed which opened the world of feature films for her.
BEST CAMPAIGNS
• Cred X Zeenat Aman
• Tinder - Closure
ONE AD I LOVE THE MOST
• All ads made by Ayappa
"For me, it’s all about storytelling. I’ve always been interested in filmmaking, so I dropped out of college and started working with Prahlad Kakkar in 2004. I started as an assistant in advertising and then worked on some features, but for me, it’s all the same; it’s like how cricket is the same, it doesn’t matter if it’s IPL or the one-day or test matches. You change how you play, but the game is still the same.
Reliance’s ‘Technology Se Rishta Jodo’ was my first project with Chrome as a Director. Kartik and Trishay wrote the script. When they came to me, Trishay narrated it, and he’s such a good narrator that I could see the shots during his narration. Creatively, I don’t think I changed even a single thing. It’s exactly the script that the agency gave me. All credit for the concept and the blending with the client messaging goes to Kartik and Trishay.
I feel like I should not matter. When you watch a film, you should not feel, “Oh, I’ve done something different.” The job is to try and communicate the brand’s messaging as effectively as possible. So, when people watch it, they find it interesting and moving, as the ad or the film resonates with them. The idea was to be as sincere as possible to the script.
If there’s a film we’re working on where the script is wacky or funny, my job is to find a wacky way of telling it, to land it in a way where the joke lands and people laugh. If the script inherently has emotion or drama, my job is to convey that sincerely. Everything comes from the script, not from the director. So, when Kartik and Trishay shared this script with me, it was always about this woman, it was character-driven. The script is about her feeling wanting to take a leap but being a little stuck, and trying something new. Like when you switch from iOS to Android, or Android to iOS, there’s a bit of a jump and you feel unsure. You feel the same when you go from a manual car to an automatic car. If you’ve only travelled in local trains and then taken the metro for the first time, you feel like, “What is this?”. So, it’s this woman who’s never used an oven, not so tech-friendly, trying to buy and use an oven. It’s a feeling that we all go through. The idea was to communicate that as sincerely as possible. We have to do justice and be honest to the script and the core thought of the film, not to who the director is or what his direction was like.”
ABOUT ADVAIT CHANDAN
Advait Chandan, Director at Chrome Pictures, has garnered critical and commercial acclaim since his directorial debut in 2017 with Secret Superstar and his subsequent work on Laal Singh Chaddha in 2022. His debut earned him the ‘Most Promising Director’ award and nominations for ‘Best Director’ and ‘Best Writer’ at the Zee Cine Awards 2017. Known for his mastery in short-format storytelling alongside his long-format expertise, Advait holds a clear vision for his films, evident in his work with brands such as Thums Up Charged, Tata Play Binge, HDFC Mutual Fund, and Asian Paints. Passionate about cameras and history, and armed with a strong meme game, Advait brings a unique blend of creativity and precision to his projects. His ability to make spur-of-the-moment improvisations and quick decisions reflects his humility and dedication to his craft, evident in both his filmmaking and interpersonal relations.
BEST CAMPAIGNS
• Reliance Digital – Technology Se Rishta Jodo
• Thums up Charged Up
• Tata Play Binge with Saif Ali Khan and Kareena Kapoor Khan
ONE AD I LOVE THE MOST
• Colgate’s Toothless Granny by Amit Sharma
"The Kohler campaign comprised a series of three films. Adarsh and Shriram from Tilt wrote the script; they are known for crafting both meaningful and humorous scripts. They’re funny guys. The first thing they discussed with me was creating an ad for a commode. So, from the start, you know the film’s conclusion will feature a commode.
So, to the audience, it could either seem like “I didn’t see that coming at all, or it could feel like, oh, that was the reveal at the end.” Even we didn’t see it coming. It was an actual commode with its sentient abilities. It needed a certain balance – if we want a toilet in the end, the rest of the film has to be super classy. Hence, the rest of the film feels so elegant. Because we cranked up in terms of sophistication, the ending with the toilet makes it that much funnier. But if you have seen the ad, it is not a regular toilet. It’s regal, and I wish I had a toilet like that. So, a lot of details went into making the character who gets obsessive about a sentient commode.
As an ad director, you become acquainted with what you’re about to create when someone reads you a script. It’s great if that narration has one thing that hits you. So, when he said that it’s about a commode, that’s what stuck with me in the end. So, we better land it correctly for it to seem timeless. For me, the best commercials, even if you watch those made 20 or 30 years ago, the technology and the execution might be from that time, but the comic timing, the edit, the music—those kinds of things tend to be timeless. There’s something about well-timed cuts, the choices of cast, like faces and pacing of a film. We’ve paid a lot of attention to these things.
The Kohler campaign involved three products, all of which were premium. The products were not your everyday choices; they were luxury versions of the same thing. The other two products included a wash basin made of a specific type of quartz with a shaded colour and a steam-emitting basin. When there’s a campaign with multiple films, I try to find a common thread between them, making them feel like they belong together. So, all of them needed to have that level of sophistication. We often start by discussing the characters of a film even if they’re fictional, brainstorming their identity and understanding their lives. For this campaign, the characters were portrayed as fastidious individuals who were very particular about everything, which needed to come across. So, there was a certain eccentricity that the campaign needed to have—an odd person but one with authority. It had to be someone in a position of power. Everyone had to wait for this person to finish being the odd one out, including family members.
Some of these situations made it into the final cut, but there were many more. We often try to persuade the client to go with more bizarre ones. It depends on how far you want to push the envelope. It’s like a volume knob—how bizarre do you want to go with something?
ABOUT VISHWESH KRISHNAMOORTHY
Vishwesh’s creative journey began during college, where he immersed himself in music and drama. Starting his professional career as a journalist, Vishwesh later transitioned into copywriting at Ogilvy, before moving on to Viacom18 (MTV, Vh1, Comedy Central) as a Promo Producer. During his tenure there, he garnered numerous awards for his exceptional work, earning accolades that filled his mantelpiece.
Eventually, Vishwesh found his calling as a Director at Corcoise Films, where he continues to showcase his talent and passion for storytelling. Vishwesh was named ‘Asia’s Directors to Watch Out For’ at the Asia-Pacific AdFest in Phuket in 2011. His work on ‘The Dewarists,’ a documentary mini-series for Dewar’s Whiskey, earned him his first Cannes Lion in 2012.
BEST CAMPAIGNS
• The Dewarists
• Kohler - Blade
ONE AD I LOVED THE MOST
• Tinder Ad by Achowe
"Jio Cinema’s Peacock campaign started off with a great idea that came from DDB Mudra. It had a nice premise wherein they signed on Rohan Joshi, who arrives at the Jio office expecting to see a real peacock. However, he had no clue that ‘Peacock’ here stands for a studio channel. So, we took this idea of a mockumentary, drawing inspiration from several mockumentary-esque shows like ‘The Office’ and ‘Parks and Recreation,’ where characters speak directly to the camera. Once we figured out the meter and tone of it, we evolved the film to make it more user-friendly. The whole process was enjoyable, working with the team from DDB. As we fleshed it out, the film just fell into place. It wasn’t as hard as one might expect, though I’d love to say it was a challenging task. It flowed quite smoothly.
Everyone has their interpretation of what makes a film great—we often refer to it as ‘juice,’ the essence that makes a film captivating. There are always multiple good and not-so-good approaches to achieving this. However, after sufficient discussions and collaborations with reasonable and intelligent individuals, an understanding is reached. While there may be occasional challenges with certain individuals, these are typically exceptions. Overall, if everyone is aligned and recognises that the story is being treated with integrity, people are generally open to how the narrative unfolds.
Several production houses are working on big-budget, high-profile brands. Then you have the in-between lot. And then many production houses focus on relatively lower-budget projects. The positive aspect, I believe, is that with the advent of digital media and the technological advancements in filmmaking, it’s much easier for aspiring filmmakers to enter the industry. Consequently, we’re witnessing a surge in the number of films being made, which brings a wealth of new talent into the system. However, this also renders the space incredibly competitive, with lower average ambition and film budgets compared to what it used to be 20-25 years ago. So, like most things in life, it’s a mixed bag - good and bad. Nonetheless, I’m content because it has provided opportunities for filmmakers like me to create more films, opportunities that may not have been as plentiful 20-25 years ago.
I want to do a Vimal Kesari ad, but it’s already been assigned to other sellers. We all share the same goals. We want to do more of what we’re currently doing. We aim to scale up, tell more challenging stories, and present them in engaging and innovative ways.”
ABOUT RYAN MENDONCA
Ryan Mendonca started his career as an intern at Ogilvy, Mumbai in 2006. He was associated with Ogilvy for ten and a half years before leaving to head MTV India’s creative department. During his Ogilvy and MTV stints, he’s won at Cannes, The One Show, London International, Spikes Asia, Promax Asia, WARC, Effies (India and Asia), AMEs, Young Guns besides being awarded Copywriter of the Year by The Advertising Club of India. You may know him for his work on Cadbury Bournvita’s Tayyari Jeet Ki series and Breakthrough’s Bell Bajao campaigns from Ogilvy and for winning Promax India, Asia.
In 2019, he switched gears and moved to ad film direction with Bang Bang Mediacorp where he’s been for over 5 years. During which he filmed for Mondelez, Amazon, Tata, Perfetti, Unilever, ITC, Yum Foods, McDonald’s, Smallcase, Titan, and MPL among several others. His campaign for Snuggy diapers got him one of India’s only two shortlists in direction at D&AD last year. He’s mostly working and has no interesting hobbies to brag about.
BEST CAMPAIGNS
• Jio Cinema Peacock
• Cadbury Bournvita’s Tayyari Jeet Ki
• Snuggy Diapers
"We had previously worked with Brillare on other campaigns. Unlike those earlier, more product-focused campaigns, the ‘Live Your Truth’ campaign was the first time we ventured into something more story-led, thanks to the comfort and trust we had developed with the brand. The creative team, headed by Manan at Green Chutney Films and his team, particularly Dora, who wrote the ideas and scripts, were instrumental in this project. The trust we built with Brillare over the last two campaigns made this collaboration even more rewarding. As a beauty brand, Brillare allowed us to create a story-driven campaign, a fantastic opportunity for the creative team. They trusted us to maintain the brand’s integrity while breaking away from typical beauty ads. Brillare emphasizes honesty over packaging, so, we thought it would be fitting to build a campaign around that concept, using stories that align with this value. Thus, ‘Live Your Truth’ was born.
The conceptualization took months. However, once the scripts were locked, the execution happened within a week or two. There were some interesting challenges, primarily because this was my first time shooting vertically. The scripts were very cinematic, nuanced, soft, emotional, and character-driven. Typically, as a filmmaker, I would instinctively shoot horizontally. We generally don’t like our films being cut vertically for platforms like Instagram because we put in the effort to create that horizontal frame. But with Brillare, they were certain about shooting vertically. So, my DOP Siddharth Kemka and I decided to think vertically instead of cropping a horizontal film into a vertical format. This required unlearning and pushing the envelope, but it was ultimately rewarding. We did a lot of interesting things with the staging of the characters. Usually, when shooting horizontally, you stage the characters in a two-shot to cover the frame horizontally. For this vertical format, we had to think differently about how both characters could be seen in one frame, such as by staging one behind the other. Small adjustments like these made the film true to its vertical format. I didn’t want to increase the number of cuts or let the format dictate the story. I wanted the film to have the same composure required by the story and characters. We achieved this by thinking vertically.
At Green Chutney, we conceptualize most of the campaigns we undertake. We work directly with clients because we have an in-house team of writers, including former agency members. This setup gives us considerable creative freedom. When I’m directing, I treat the script as I envision, as the writers are part of my team.”
ABOUT AARTI NEHARSH
Aarti Neharsh is a visionary filmmaker whose journey from intern to Founding Member and Lead Director at Green Chutney Films exemplifies her dedication and talent. At 21, she started her career as an intern, immersing herself in filmmaking. Today, at 28, she stands as a beacon of creativity and innovation in the industry. With over seven years of experience, Aarti has directed a diverse array of commercials, showcasing her ability to blend class aesthetics with emotion-driven storytelling. Her portfolio boasts over 20 commercials, ranging from DVCs to TVCs. Aarti’s directorial finesse extends beyond commercials to the world of short films, where her work has garnered acclaim on a global scale. ‘The Song We Sang,’ one of her notable creations, has received widespread recognition in prestigious film festivals worldwide. Educationally, Aarti holds a Bachelor’s degree in Business Administration with a specialisation in Communication, supplemented by a Diploma in Liberal Arts with a major in Film and Television from FLAME University.
BEST CAMPAIGNS
• Brillare – Live your truth
• mCaffeine - Irrestibly smooth
ONE AD I LOVE THE MOST
• Ayappa’s Jindal Steel Campaign
