Youness Benali Shines a Light on Depression in SANE PSA

Depression isn't an easy subject to tackle on-screen, yet newly-signed Sweetshop director Youness Benali makes it look effortless in his spot for mental health charity SANE. 

We caught up with the director to find out how he manages to make highly-stylised and high-end shoots on a shoe string, why we is better than me and why this subject was particularly close to his heart.

SANE: Let Me Talk

How did you get into directing and why did you decide it was the right path for you?

I studied Graphic Design at Central Saint Martins and the Royal College of Art and I was obsessed with graphics, but I always felt limited in the way that I could express myself with the medium. So I started to experiment with other art forms, film being one of them. From the very first little film that I did, I knew I was hooked – I absolutely fell in love with it.

What keeps you inspired and what do you love most about the creative industry?

I obsess, regardless of whether it’s about what cat food to give my two cats or how to tell a story on film. If I don’t submerge myself completely and get obsessed than it’s not for me and I probably shouldn’t do it. Inspiration for me is not a driving factor in what I do, obsession is, and that can sometimes become unhealthy, in the way that I’m never 100% happy. But that’s the only way for me to be able to do the films that I do.

And what lessons have you learnt so far through your experiences as a director?

When I first started to make films it was all about ME. My idea, my vision, my voice. But the more you are on set, the more you have to mind-wrestle with people you’ve never met before. People that for some reason are as passionate and obsessed as you. Then you start to realize that it’s not about ME at all it’s about WE.

I’ve also learnt to always follow my gut-feeling, regardless of the situation. If I feel something is powerful I won’t shy away from it.

Behind the scenes still from Let Me Talk.

How did the spot for Sane come about?

I was working with creatives on another project last year that fell through. They initially took interest in me because of my short film The Composer. From our very first Sane meeting, I think Matt and Pete could feel the passion I have both for filmmaking, as well as for mental health. And passion really is contagious.

Obviously depression is a very dark and difficult subject to talk about. What inspired the way in which you approached this issue?

I’ve been surrounded by people with mental health issues my entire life; issues that have shaped me into the person that I am today. I know that this topic is not an easy one to deal with, nor seek help for and I’ve seen the devastating effect it can cause. Hopefully this film can raise awareness and make people realise that it’s ok to ask for help. 

Tell me about the selection of your actor… what was it about him that felt right for this piece?

When John Goddard, the lead actor, walked through the door I knew. Even though he didn’t have an agent to represent him and he came from a dance background, there was just something sad about him, something I couldn’t really put into words. He evoked emotions within me – John was my gut feeling.

On set for Let Me Talk.

Light plays a huge part in transforming the scene into his emotional state and back to reality; why did you think this would be the most effective and jolting technique? 

For me depression is an internal battle. This internal crisis happens when we are fully awake, be it if we are standing outside in broad daylight or sitting in an armchair in the comfort of our own home. When depression hits, it’s like someone has pulled the switch and we become trapped inside of our own dark thoughts. 

It was always important for me to really make the switch, as starkly as possible, between the good and the bad, between the real world and the internal world. So that in the end when we snap out of it, we realise in a clear way that help is only a phone call away.

New scene for Let Me Talk. 

You shot 46 takes in one day; how much prep did you have to do ahead of the shoot and how did you ensure that the team stuck to the timeframe?

We only had one shoot day and there was no real time to do a full prep, so when my shot-list translated into almost 50 scenes, I think people got a little bit nervous. Jon Henson, the set designer, DOP Stuart Graham and I worked out the best way to go about the shoot and I was very clear with the first AD, Andrew McEwan, that we needed this many options, as it always leaves us more room in the edit to really craft something powerful. Everything ran very smooth, we lost three scenes, but I can live with that.   

You’ve done a few promos, spec spots and another ad for Deloitte yet somehow your style and aesthetic manage to shine through in each. What’s your preferred format and how would you define your directing style?

The most important thing for me with my films, is that they are all unique to me – my stamp has to be on them. But again, it’s a collaborative process and I react to what people do, both in front of the camera and behind it. I try to surround myself with as talented people as I possibly can; people that will keep me on my toes and vice versa. This is a process that is very hard to plan for, so I always go into a shoot with an open mind – anything can happen, be ready for it. Because that’s the magic that is film.

Lighting the set on Let Me Talk.

You’ve managed to create several pieces on a shoe string budget without it seeming like it at all; how do you pull it off?

Once you’re out, you’re out. If an audience ever question things like budget and other production aspects of your films, then you’ve lost them. They have snapped out of your crafted world and are now thinking of things you don’t want your viewers to think about. For me the key ingredients to create a seamless world are restrictions and limitations. I always give myself restrictions and limitations, I then solve the problems I face within those confinements. Also, I grew up in Stockholm, Sweden where minimalism is our bread and butter. That might help.