Within a year of leaving film school, acclaimed commercials director Marc Sidelsky
won a Silver Loerie for his first commercial. The same year he was featured on
Saatchi and Saatchi’s New Directors showcase at the 2001 Cannes Lions. Going back
to his primary school days, when he used his VCR to create montages, visual
storytelling has always come naturally to him.
When did you realise you wanted to become a director? Describe the
moment if there is one that stands out?
I don’t recall a specific eureka moment; I was making little films with my friends in
primary school. My late father used to work for JVC; he was always bringing home
new gadgets and video cameras. I remember hooking up two VCRs at home and
editing together a movie montage for a school project in Standard 5.
Have you always wanted to direct commercials? Why commercials?
My mother was in the advertising industry; I always had exposure to it. Although
feature films have always been the end goal, commercials in SA were
internationally recognised and possessed budgets. I wanted to learn how to craft
imagery at a high level – advertising was the only place locally to gain that skill-
set.
What inspires you as a storyteller?
I have many interests – I’m not particularly devoted to any specific genre or subject
matter. One of the great things about the SA advertising industry is that it is small,
so directors can avoid getting pigeonholed. There isn’t enough work to sustain a
director to only do “post’ work or “car’ commercials like the US. Therefore directors
can develop varied reels.
What has been the highlight of your career as a director to date?
There have been quite a few; being on the Saatchi’s showcase at Cannes, shooting
with the amazing American dance troupe Pilobolus, and shooting a campaign with
Chuck Norris.
Who are your mentors, if any?
My original mentor was Lourens van Rensburg – my first job was as his researcher.
I still jokingly call him “Papa’.
What does the future hold for Marc Sidelsky? Hopes and dreams?
Make some good commercials, films, television…just continue to do more work that
I initiate.
What are your top three favourite films and why?
I could never limit it to three. But three films that were important/influential for me
are Miller’s Crossing, Time Bandits, and Wall Street. They couldn’t be more different
from each other; but I guess they all have very specific visions.
Who is your favourite international or local director? Why?
There are too many – I go through phases, certain kicks – lately I’ve been loving
Sam Peckinpah. He turned cinematic violence into ballet.
What has been your greatest challenge as a director to date?
Working in foreign languages can be tough.
What do you think are some of the defining characteristics of the South
African creative industry now? Where would you like to see growth and in what
way?
I’m hoping the promise of online advertising can be realised in SA – it will benefit
from faster internet and may also hopefully encourage clients to be riskier again –
the rewards can be huge. I also feel like there is going to be a wave of interesting
features coming – the SA new wave – hopefully.
