Up close and personal with SA video directors

MIA: What differentiates a good music video from a bad one?

Kyle: There’s no right or wrong way of doing things. It comes down to originality and pushing the medium.

Lebogang: Bringing sand to the beach, sticking to a formula and wanting to look like other videos.

MIA: What are some of the common mistakes made by artists when making music videos?

Kyle: Artists don’t always put a lot of importance on music videos but it can be one of the most powerful tools in promoting themselves.

Lebogang: Bad music videos don’t get remembered and probably won’t win awards because they don’t offer something different. That’s why Kyle is so good; he wins awards because stylistically he is on another level. Each video he makes I can see him trying something new, he is even willing to invest some of his own money if he believes in the idea. That’s such a powerful gesture and commitment to artistic growth that will always separate him from the bad ones.

MIA: How has the role of a music video director changed over the years (if at all)?

Kyle: There is a lot more respect in the mainstream for music video directors, as many big brands have adopted music videos as their means of advertising.

Lebogang: I feel like there is more opportunity to make socially conscious music videos. If you’re going to make misogynistic (videos) or spread images that speak to tropes of oppression ... we’re gonna leave you behind. I think there is a lot of scope to make more empowering videos, but that’s also going to depend on the content of the lyrics.

MIA: What is the toughest thing about getting a video done?

Kyle: Budget, budget, budget… Music videos are an incredible expression of each department but they don’t pay well.

Lebogang: In my personal experience timing was always an issue, when the director’s artistic vision supersedes the actual function of the video, which is to promote the song.

MIA: What do you feel is missing in most African music videos today?

Kyle: Original voice… As South Africans, we still often look globally for our inspiration. But the originality and passion exist right in front of us on our own soil.

Lebogang: Can’t answer this question, too problematic and inflammatory.

What kind of budget is needed for a video that main TV channels can play?

Kyle: I have done videos for 10K to 500K. The budget doesn’t matter; if the concept is there, the stations will play it.

Lebogang: I have had a music video that had zero budget play on TV, I have had a music video that had post production worth 1 million rand $(72,000) play on TV. I have had a music video that was 25k play on TV. There is no rule for budget, only for creativity.

MIA: What were some of the main challenges you faced on Exodus and how did you overcome them?

Kyle: ‘Exodus’ was such a labour of love and pure inspiration. Riky Rick gave me full creative say in the script and how it was shot, so I saw no challenges, bar trying to make it amazing. It honestly felt like I was blessed to make it.

MIA: What were some of the main challenges you faced on Sons of Kemet’s video and how did you overcome them?

Lebogang: Because the idea was so simple, sometimes it felt small, and trusting that people would want to watch five minutes of people dancing didn’t seem plausible. But we just had to back the spirit of the creative and that people would actually be engaged and interested in something that common in its practice but unique in its representation.

MIA: In the latest Loeries rankings you are ranked 8th best Director. What are the benefits of being ranked by the Loeries

Lebogang: I think people respond better to people who appear on lists; it’s like relationship advice or child stars who have ruined their lives, it’s information that’s always better on a list.