Ky Dickens: Storytelling for social change

Can you tell us a bit about your own favourite projects?

I’m currently developing a docuseries with Radical Media called Signal. The project follows incredible young people, most with autism, who have inexplicable gifts. My first film, Fish Out Of Water, deconstructed the Biblical “clobber passages'' used to defile LGBTQ people. 

People who have been systematically oppressed or othered are often the wisest of sages.

Sole Survivor, dealt with Survivors Guilt, and Zero Weeks humanised the ramifications of not having a national paid leave program. Show Her The Money tackles the fact that women founders only get 2% of the VC capital needed to start businesses. 

As far as commercials, it would be my 20th Anniversary campaign for the Wounded Warrior Project last year. The veterans involved were so open about where they’ve been and how they’ve re-birthed from incredibly dark and hopeless spaces. The shoot levelled up all the best toys, scenery and conditions – we were shooting wounded vets on horseback, sailing, fly fishing, adaptive cycling, hurling javelins and riding Harleys. 

Trailer for Zero Weeks (Full film available here). 

Have you noticed a shift in how diverse characters are represented in commercial film during your career? 

I was just starting to direct commercials in 2013 when Cheerios released a beautiful spot featuring a biracial couple. The blowback was huge - a sad and scary reminder of the bigots lurking in every corner. I was crestfallen and worried that brands would retreat back into the safe corners of white, straight, cis-gender storytelling. 

 I’ve noticed a huge shift in all types of representation. I see so many creative briefs highlighting that the main couple could be any gender or any ethnicity.  

Ten years later, I’m grateful to say that isn’t the case. I’ve noticed a huge shift in all types of representation. I see so many creative briefs highlighting that the main couple could be any gender or any ethnicity.  My agents are often reaching out saying ‘X, Y, Z brand is looking for a queer director.’ I actually LOVE getting those calls because I know the agency or client is really making a conscious effort to make sure an authentic story gets told. 

Are there any commercials that represent LGBTQ+ narratives well that stand out to you?

Yes, there’s a spot called, It’s Time by GetUP! for Marriage Equality in Australia.  The viewer lives out a love story entirely through the eyes of the camera – as parents are met, memories are made, fights happen, tears are shed, friends come and go, etc.

When queer filmmakers tell stories, we tell our stories with dimension and authenticity – a better reflection of society and consumers and thus better for brands. 

It isn’t until the very end of the spot, when a marriage proposal happens and the audience realises the POV was that of another man. The spot shatters the misconception that queer relationships are any different than the mundane, beautiful, poignant, routine, striving, hopeful tones that create any relationship. 

Trailer for The City That Sold America (Full film available here).

What is it that draws you to working with marginalised communities? 

Being LGBTQ myself, I’ve dealt with fear, bigotry, discrimination and I understand how ignorance can harm and distract human beings. Using storytelling to break down ignorance seems like the best way to spend my time, passion and career. People who have been systematically oppressed or othered are often the wisest of sages – understanding the narrow limits of humanity and how to help us all rise above them. 

Trailer for Show Her The Money.

What do you hope will be the result of having more queer filmmakers at the helm of mainstream commercial content?

I think we’re already seeing more authentic LGBTQ characters. The key word there is authentic. Nothing makes my eyes roll more than a trope about a lesbian at a hardware store. And don’t get me wrong, I love the hardware store but our entire community is so much more than just the tropes and cliches that have been presented for so long. 

There are boxes that people want to keep us inside of, and those boxes are a shallow and uninspired way to present LGBTQ people.

When watching American Fiction, I pondered that the same thematic story is true for LGBTQ+ people. There are boxes that people want to keep us inside of and those boxes are a shallow and uninspired way to present LGBTQ people – or any marginalised group.  When queer filmmakers tell stories, we tell our stories with dimension and authenticity – a better reflection of society and consumers and thus better for brands. 

What are your main goals when shooting a documentary or advert?

My top concern is protecting and validating a subjects’ personhood and truth. I call this the “director/subject nucleus” -  a safe place where my subjects can tell me anything and they know that they will be presented fairly and compassionately. You can’t tell a great story if you don’t earn the trust and kinship of your subjects.

A story needs to be authentic and you can’t hit that note unless you’ve done the legwork and research. 

Second, I do a lot of homework to determine the shots, visuals and scenes that will cinematically elevate the subjects’ story. A story needs to be authentic and you can’t hit that note unless you’ve done the legwork and research to accurately build a world. Finally, footage has to look gorgeous, premium, thoughtful and purposeful. It’s so critical to stay ahead of the curve when it comes to cameras, lenses, and the plethora of tools coming out to help filmmakers tell the best stories.