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THE LEADING NEWSWEEKLY FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION $5.00

SEPTEMBER 9.2005 This R/GA Eyes Week Commercials Gain Inclusion In Global Ad Biz, California’s. Tax Incentive Bill Opens In U.K. By Carolyn Giardina Anti-runaway Proposal Apportions Separate Funds For Spot Filming; LONDON—R/GA—a New John Smith Scores ACE, York-based advertising agency Emmy Nomination Backers Hope To Have Measure On Governor’s Desk By This Week. handling interactive work for Curious Choice: Visual Efx/ By Robert Goldrich would take effect on January 1, that was going on in the legis- accounts that include Nike, CG Expansion 2006. lature as SHOOT went to press, Circuit City, Intel, Subaru, Editor JD Smyth Decides On SACRAMENTO—Movement is The incentive, should it come key provisions of the measure Johnson & Johnson, and Final Cut afoot in the state legislature on an to fruition in its present form, could change. At last look, Purina—has opened a London VMA Winner Samuel Bayer anti-runaway measure designed would reserve a portion of the the maximum annual amount office, expanding its presence Discusses Latest Clip to encourage production of fea- available tax credits specifical- any company could receive in into Europe. tures, TV programs and commer- ly for commercials. That spot- refundable tax credits for com- Robert Greenberg, R/GA’s cials in California. At press time, friendly provision is generally mercials was $500,000. The tax founder, explained that the move ScreenWork supporters were hoping to gain believed to be a first in anti-run- credits apply to new spot busi- was a direct result of winning Top Spot: Pick Of The Litter passage for the bill by the time away legislation. ness for California, meaning that the Nokia Multimedia account From Dir. Susan Griak the current legislative session is Per the measure—Assembly the qualifying expenditures for business. This account—earned Best Work: Kranky Bear scheduled to adjourn on Sept. 9. Bill (AB) 777—a refundable a production house in 2006 are with fellow Interpublic compa- Turns Out To Be A Pussycat If two-thirds of legislators vote tax credit of 12 percent would those that exceed the amount that nies Lowe & Partners, Draft and Best Work: Dempsey Film in its favor, the refundable tax apply to qualified wages, as well the company spent in California Jack Morton—covers the gamut Group Sticks It To Litter credit incentive would then go as certain production and post during ’05. The tax incentive iWork: Grey Weaves Behind- to Gov. Arnold Schwarzenegger expenditures incurred in the program for commercials is tied The-Scenes Spot Web (R-CA) for his signature. With making of spots in California. to annual spending by a company Subliminal LegalEase the governor’s approval, the bill In the give-and-take wrangling Launch For Inspiration 101: How To Reduce Liability Risks Ad Industry Responds To Katrina Mande, Gould By Robert Goldrich dropped off to a group of elderly By Robert Goldrich Ad Agency Series: LOS ANGELES—As SHOOT people who had been evacuated BURBANK, Calif.—Director/ Creative Teams went to press, needed supplies to a field house on that campus. executive producer Dina for those stricken by Hurricane Also on the itinerary for delivery Mande—who’s helped to devel- Four profiles of the creative Katrina were stacked in the front of essentials was a hospital locat- op the careers of varied up- wunderkinds behind some of Dallas-based CG/animation ed in the coastal town of Slidell, and-coming helmers as found- of the hottest, most effective studio Janimation. Bottled water, which was hit hard by the natural er of the nearly three-year-old work in the biz. dry and canned foods, clothing, disaster. That hospital lost elec- Group101Spots collective—is Border Watch: bedding, batteries, flashlights, trical power and was running on now looking to do the same diapers, baby food, soaps, disin- transported via four large trucks generators only. on a commercial production Scandinavia fectants, garbage bags and other to Louisiana. The running of supplies into house platform via Subliminal, A look at the spotmaking goods—donated by the local The first scheduled stop Louisiana was made possible a Burbank-based shop she has community in Scandinavia film/video industry in the Dallas/ was Louisiana State University by such Dallas-based business- launched with executive produc- Ft. Worth area—were about to be (LSU), where goods were to be spot.com.mentary By Robert Goldrich “truth” Prevails ccording to by 22 percent dur- Legacy to continue running or authors of embarrassing annually, making it the single research pub- ing that time. That anti-smoking ads. Launched documents, the ads do not largest cause of preventable lished in the translates into some in February ’00, “truth” is the vilify them.” death in the U.S. A American March 2005 300,000 fewer youth largest national youth smok- Lamb further noted that the Vermont attorney general Journal of Public smokers in ’02. ing prevention campaign and spots frequently use humor William Sorrell, who is chair Health, the American So we welcomed the only national campaign to engage viewers. “These of the Legacy board of direc- Legacy Foundation’s with great relief last not directed by the tobacco ads clearly use preposterous tors, stated, “We know that national “truth” youth month’s Delaware industry. The campaign expos- situations as an attention-get- ‘truth’ works—now we can smoking prevention Chancery Court rejec- es the tactics of Big Tobacco, ting mechanism to contrast continue to provide a prov- campaign accelerated the tion of a Lorillard Tobacco the truth about addiction, and historical misrepresentations en antidote to the national decline in youth smoking claim that could have jeop- the health effects and social from the tobacco industry tobacco epidemic.” rates between 2000 and ’02. ardized funding for the good consequences of smoking. with current knowledge about Dr. Steven Schroeder, The report titled “Evidence work of the American Legacy In his ruling, Stephen P. the dangers of tobacco prod- former chair of the Legacy of a Dose-Response Foundation. Lamb, vice chancellor of the ucts.” board of directors, said, “The Relationship between ‘truth’ Lorillard contended that Delaware Chancery Court, Big Tobacco is expect- ‘truth’ campaign will one day Anti-smoking Ads and Youth the “truth” fare vilified the said, “None of the ads sub- ed to appeal the decision. go down in the annals of pub- Smoking” found that in the tobacco industry and thus vio- ject the [tobacco industry] However, for the moment, lic health history for saving first two years of the Legacy lated terms of the $206 billion employees to the type of it’s a ruling that not only is millions of young lives from campaign, youths who were settlement tobacco companies contemptuous language con- a victory for free speech but tobacco addiction and prema- exposed to a greater number reached with state attorneys tained in other case law dis- also for human life. Some 80 ture death.” of “truth” ads were less likely general in 1998. Legacy was cussing vilification. These percent of smokers try their to smoke. The campaign— created with funds from that are not scurrilous and vit- first cigarette before the age based on creative from Crispin settlement in ‘99. riolic attacks. There is no of 18, with one-third to one- Porter+Bogusky, Miami, and The court’s decision pro- cruel slander…Although the half going on to become regu- Arnold Worldwide, Boston— tects the foundation’s access employees may be described, lar smokers. Tobacco-related helped accelerate the over- to millions of dollars from the either explicitly or implicitly, disease claims the lives of THE LEADING NEWSWEEKLY all decline in youth smoking historic settlement, enabling as liars, greedy executives, more than 430,000 Americans FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION September 9, 2005 Volume 46 • Number 28 production POV By ML Nelson EDITORIAL Publisher & Editorial Director • Roberta Griefer 203.227.1699 ext 13 • [email protected] Editor • Robert Goldrich 818.884.2440 • [email protected] Tabletop: The Purest Form of Advertising Senior Editor/Creative & Production • Kristin Wilcha 203.227-1699 ext 16 • [email protected] Sr. Editor/Technology & Postproduction • Carolyn Giardina e don’t hear much its heart, tabletop is the purest by such wizards as Elbert different approaches. Still, I get 310.581.5750 • [email protected] about the genre of form of advertising. Budin, Santiago Suarez, Bruce motivated and excited by the fact Reporter/Associate Online Editor • Emily Vines 323.874.4659 • [email protected] tabletop or about Years ago I switched from Nadel, Gary Sato and Peter that tabletop remains a great way Contributors W Christine Champagne, Bill Dunlap, Art Smith, Tom Soter tabletop directors anymore, directing documentaries to Elliot. Remember Budin’s to sell a product. and that’s a shame. Because at shooting tabletop, inspired classic spots for Gerber baby Directors from other genres Production & Circulation • Gerald Giannone 203.227.1699 ext 12 • [email protected] food? How about can talk all day Bruce Nadel’s about creating ADVERTISING gumball spots for thirty seconds of 21 Charles Street #203 • Westport, CT 06880 East/Midwest • Robert Alvarado FLASHBACK Nutrasweet? Gary perfection, but 203.227.1699 ext. 15 • [email protected] Sato’s beer pours tabletop direc- West/Intl. • Roberta Griefer 5 YEARS / 10 YEARS for Budweiser tors really can’t 203.227.1699, ext. 13 • [email protected] and his bouncing have an “off” OFFICES ❑ SEPTEMBER 8, 2000/Ben Davis has been named a pro- vegetables for day. Usually the Main Office • 21 Charles Street #203 • Westport, CT 06880 ducer at the New York office of bicoastal music/sound design Taco Bell? Or product is front 203.227.1699 • Fax: 203.227.2787 house tomandandy. He will work closely with the shop’s West • 6520 Platt Avenue, #575 • West Hills, CA 91307 Peter Elliot’s Jell-O Food/tabletop direc- and center for the Manhattan-based executive producer Scott Brittingham…. 818.884.2440 • Fax: 203.227.2787 campaigns? Great tor ML Nelson is the entire duration of Agency veteran Doug Harper will end his nearly 10-year run © 2005 DCA Business Media LLC work, great principal in Noonday the spot. With at Young & Rubicam, Chicago, in mid-September to join the All rights reserved. No part of this publication creative, and Pictures, Dallas. tabletop, there’s director roster of Santa Monica-based production house The may be reproduced, stored in any retrieval all these spots nowhere to hide. system, or transmitted, in any form or by any Joneses….Newly formed animation/design firm Psyop has means, electronic, mechanical, photocopying, utilized tabletop to tell the It’s very precise work, part recording, or otherwise, without the prior entered into a deal with production house MTV Commercials story. art and part discipline. The written permission of the publisher. for exclusive domestic spot representation. Both companies From the mid-90s up until director must showcase the are based in New York….Director Malcolm McNeill and the present, ad agencies opted product in such a way that director/cameraman Harry Karidis have signed for exclusive for humor as the best way to inspires consumers to take commercial representation in North America with Tropix tell a story. Sometimes using immediate action. Films, the Santa Monica-based spot production house head- comedy to sell a product is Simply put, if I don’t cre- For Subscription Service Inquires ed by principal/executive producer David Coulter…. the way to go. Sometimes it ate an ad that makes view- and only serves to confuse con- ers pick up the keys and head Subscription Orders, Please call: ❑ SEPTEMBER 8, 1995/Upon the closing of Digipix, New sumers. for the door, I’ve failed. 1.847.763.9620 York, last month, the company’s entire crew, including presi- We’ve all heard about sur- Tabletop demands immedi- SHOOT (ISSN# 1055-9825) printed edition dent Don Levy and his partner/wife Leslie Levy has joined veys in which people queried ate, real-world results. If is published bi-weekly except in January, July, the staff at Rutt Video Inc., New York….Post Effects, a August, and December when published month- just minutes after viewing a sales don’t go up, the agency ly) for $125.00 per year by DCA Business Chicago full-service special effects production/postproduc- Media LLC, at 21 Charles Street, Westport, comedy spot can’t remem- doesn’t come back. That’s tion company, has added Doug Ryan as a senior editor. In his CT 06880. Printed periodicals postage paid at ber if the ad was for Coke or what makes directing table- Westport, CT and at additional mailing offices. new position, he will concentrate on creative cut, online and POSTMASTER: Send address changes to Pepsi. top so exciting, knowing that SHOOT, P.O. Box 2142, Skokie, IL 60076- special effects editing….Composer Larry Klein has joined M e a n w h i l e , t a b l e t o p you have to move people to 9505. Pfeifer Music Partners, Los Angeles, for commercialwork…. USPS (06-234) campaigns became less about action. In a move to broaden the scope of its graphics department, For SHOOT custom reprints please contact story and more about coupons. Tabletop is a celebra - Michael Morgera 203.227.1699 ext. 11 or Complete Post, Hollywood, has added new computer graph- While I wish agency creatives tion of what’s being sold, an email to: [email protected] ics capabilities and hired digital artist Harry Paakkoenen as would once again seize upon approach to advertising that SHOOT >e.dition published weekly except CGI technical director….Director George Griffin has joined in January, July, August, and December tabletop as a storytelling tool, should always hold a strong when twice monthly. Colossal Pictures, San Francisco, for commercial represen- I don’t live in an ivory tower. place in the industry. Produced in U.S.A. tation…. I understand why they take

2 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005

NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N Curious Additions In Visual Emmy Nod, A.C.E. Induction Make Effects, Computer Graphics ’05 A Good Year For John Smith N.Y. Studio Hires Key Talent For Spots, London-based commercial and feature editor Longer Form Branded Entertainment has found success on both sides of the pond. By Robert Goldrich mator on Shrek 2, The Lord of By Emily Vines LONDON—Though “Fish,” the PBS spot he cut for Fallon, NEW YORK—Animation house the Rings and Antz. Also joining Minneapolis, won the primetime Emmy for Outstanding Curious Pictures has brought the Curious coterie of talent are seven computer graphics/visual Chi-min Yang, who will lead CG Commercial in 2003, this year marks editor John Smith’s first nomination specifi- effects specialists on board its art direction on various jobs, ani- cally for his cutting skills. Smith, who is also a founder and partner at bicoastal/ effects department to take on mation performance supervisor international The Whitehouse, is up for the Emmy in the category Outstanding commercials and longer form Joao Amorim, designer Dustin fare, including branded enter- Linblad, CG artist Julio Soto and Single-Camera Picture Editing for a Miniseries or a Movie on the strength of the tainment projects. Headlining pipeline technical director Ray HBO film The Life and Death of Peter Sellers. the influx of talent into the New Forziati. “It’s certainly great to be nominated, but I’ll be honest, I’d quite like to win it,” he York studio are feature artisans Yang has been a lead animator Seth Lippman and Dr. John Alex. on projects for such New York remarked. His competition in the category is: Tina The latter is a former software houses as Psyop, Charlex, Brand Hirsch, A.C.E., for Back When We Were Grownups; engineer and technical director New School, Nick Digital and Empire Falls Part 2 for Pixar where he led animation Rhinofx. At Curious, Yang will Kate Williams for ; Scott Boyd teams on Toy Story 2, Monsters work on photo-real animation for Faith of My Fathers; and Paul Dixon, A.C.E., Inc. and Finding Nemo, and projects. for The Wool Cap. wrote software applications for Amorim has worked in 3-D The Incredibles. for 11-plus years in a variety of Now Smith can also put the distinguishing let- Lippman has worked at such studios around the world, includ- ters A.C.E. alongside his name because he just houses as PDI/DreamWorks, ing Alias, Liquid TV, Mega became a member of American Cinema Editors Weta Digital and Sony Pictures Studios, BNS and Curious. His Imageworks, serving as an ani- (A.C.E.). His invitation to join went hand-in-hand with the organization’s Eddie nomination of The Life and Death of Peter Sellers for Best Edited Final Cut For Editor JD Smyth John Smith Miniseries or Motion Picture for Non-Commercial By Robert Goldrich Valerie Faris of Santa Monica- Television. Smith said he was “actually more proud to be asked to be a member LOS ANGELES—Editor JD headquartered Bob Industries for Smyth, formerly of Rock Paper Arnold Worldwide, Boston. The of A.C.E.” than if he had won the Eddie (which went to editor Michael Brown for Scissors, Los Angeles, has joined short, which stars Joe Pantoliano HBO’s Something The Lord Made). Final Cut, which has and Kevin Connolly, bases of operation in premiered earlier this London, New York year at the Sundance RESONANCE and Los Angeles. Film Festival. In order to sign on for a feature, Smith, who has also cut films like Leaving Las Smyth will work pri- The editor is no marily out of the lat- stranger to longer Vegas, Proof of Life and Sliding Doors, has to find something within the script or ter office, though he’s form fare. He cut, for a character in the story that resonates with him. In the case of The Life and Death available for projects example, Center As of Peter Sellers, he lightheartedly related, “[Director] Stephen Hopkins said to me, at any of Final Cut’s You Enter, a docu- three venues. mentary directed ‘You should do this because there is a lot of you in it’ … I’m not saying I am as dif- Smyth’s recent by Jennifer Golub, ficult as [Sellers]. I don’t think anybody could be, but I actually felt some compas- credits include spots JD Smyth which features a for Hewlett Packard, DirecTV, woman teaching the philosophi- sion for the man.” Stella Artois and Infiniti, as well cal principles of Aikido to school Though he enjoys cutting features when the timing is right, Smith said he is cur- as a music video for artist Trey children. (Golub is executive rently focused on spots and finds the ad assignments coming from the U.S. to be Songz. Smyth also worked on producer at TBWA/Chiat/Day, The Check Up, a six-minute San Francisco.) Smyth also edit- Volkswagen film, which was ed The Most Special Day of My directed by Jonathan Dayton and Samuel Bayer Earns Kodak Lifetime Achievement Award for Music Videos TCS-NY Opens New DI Grading Offers Commentary Via Anti-War Clip “Wake Me Up When September Ends” Suite; Adds Colorist Tim Stipan “Blue Orchid.” By Carolyn Giardina on the commercial market.” By Carolyn Giardina (“Boulevard of Broken NEW YORK—In a move to Commercials are behind the LOS ANGELES—Prior to the Dreams,” produced by bicoast- cement a position in the Digital curve in adopting DI work- Aug. 28 MTV Video Music al Black Dog Films, went on to Intermediate (DI) space in the flows, although the industry Awards (VMA) ceremony, win a total of six VMA honors: Big Apple, Technicolor Creative has started to see DI applica- Eastman Kodak held a lun- best direction and best cinema- Services (TCS), New York, had tions, particularly for theatri- cheon to fete the DP nominees tography for Bayer, best editing opened a second DI color grad- cally released ads. in the cinematography catego- for Tim Royes, and video of the ing suite. In conjunction with Stipan arrives following ry: Director/cinematographer year, best rock video, and best this move, it has hired commer- three years as a colorist at SOL Samuel Bayer, for Green Day’s group video.) cial colorist Tim Stipan, who designfx, Chicago, where he “Boulevard of Broken Dreams,” Additionally, Kodak will handle both long and short worked on spots for adver- which went on to win the MTV bestowed a Lifetime form projects. tisers including Budweiser, Award for best cinematography; Achievement Award upon VP/general manager Steve Kelloggs, Mini Wheats, Apple Michael Bernard, for Simple Samuel Bayer Bayer, who helmed the latest Coffey expects that the set up Jacks, Gerber and Coke. Prior, Plan’s “Untitled”; Omer Ganai, string of Green Day videos. will “push the bar up in what he had a brief stop during 2001 for U2’s “Vertigo”; Danny Savides, ASC, for Coldplay’s Bayer’s career in music videos New York can offer [in DI ser- at commercial post house 7 Hiele, for Modest Mouse’s “The “Speed of Sound”; and Chris actually took off in 1991 with vices for features].” He added, Stars in Athens, Greece, after Ocean Breathes Salty”; Harris Soos, CSC, for White Stripes’ “It’s harder to define the impact

4 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005 NEWS NEWS NEWS NEWS NEWS NEWS NEW Kangaroo Pockets Director Basore

By Robert Goldrich leg of the ’05 Kangaroo com- petition. The first was for the MINNEAPOLIS—Sponsored PSA’s concept, which came by the nonprofit Sean Francis from Thom Sandberg, a vet- Foundation to mentor promis- eran graphic designer who’s ing creative and filmmaking tal- a fixture in the Minnesota ad ent via the production of a pub- community, and Mark Wirt, lic service TV spot that’s guar- a freelance copywriter in anteed airtime, the Kangaroo Minneapolis. Sandberg heads Project has entered the fourth the Minneapolis-based graph- year of its annual competition, ic design firm The Kenyon with judges selecting George Consortium. The PSA concept Andrew (“Andy”) Basore to from Wirt and Sandberg topped helm the 2005 PSA. entries from across the country. An aspiring director who’s The spot’s storyline centers been working as a production on a family visiting a video assistant in New York, Basore arcade. The kid plays a driving won the plum Kangaroo assign- simulation game and gets a bit ment over a field of entrants carried away, swearing a blue based on a treatment he submit- streak fraught with assorted ted for the project. This year’s bleeps. Their youngster’s bad PSA promotes safe and courte- behavior has his parents aghast. ous driving. But it also sparks the realization Production and post of the that they need to do a better job spot is slated for September in of setting a positive example Minneapolis, where the Sean when they’re driving. Francis Foundation is head- The first round of concept quartered. The commercial judges came from a cross- will be screened for an indus- section of agency creatives try audience at the Minneapolis and filmmaking artisans in Advertising Federation Awards Minneapolis. This jury pared in early October. And per the down the submitted concepts Kangaroo Project mandate, the to a field of finalists. Then PSA will enjoy wider spread a national panel of judges— exposure than an awards show drawn in large part from those gathering. Kangaroo Project assessing the work at this organizers have struck a rela- year’s Minneapolis Advertising tionship with the National Auto Federation Awards—scruti- Dealers Association, which has nized those finalists and chose committed to secure airtime for Sandberg’s concept on July 11. the spot. Then a call went out for Basore’s win is the second

George Andrew (“Andy”) Basore September 9, 2005 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 5 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N Mande, Gould Hope To Build Subliminal Influence Wave Entertainment, Burbank, experience as a technical director er Steven Gould. where as a senior art director for Lucasfilms’ Industrial The new venture opens with she got the opportunity to direct Light+Magic. Now through a directorial roster consisting of show promos and/or opens for Group101, related Mande, Mande, Angel Traverso, John Lifetime TV, Discovery Channel, Husseini is focusing on projects Shotwell and Mo Husseini. A&E, Bravo and Soapnet, among that demonstrate his prowess Subliminal just wrapped its others. She also has a reel of spec in character development and first job, a spot promoting The fare, which includes spots for storytelling. Nightmare Before Xmas video Staples and Canon. At press time, Subliminal was game for Disney’s BVG, out Her and Gould’s Group101 in the process of assembling a of agency Kovel/Fuller, Culver involvement led them to the hel- sales team that will likely con- City, Calif. The comedic ad mers now on Subliminal’s core sist of independent reps, with was directed by Corbett Scott, a Dina Mande roster. Traverso had inquired Mande and Gould handling, Group101Spots alum. Scott is about becoming a Group101 at least for the time being, not part of the Subliminal lineup line producer who’s worked reg- director. However, when Mande Steven Gould the West Coast. Gould’s track but worked on the job via the ularly with director Paul Santana and Gould saw Traverso’s assort- record includes serving briefly company due to his Group101 tie (chosen for this year’s SHOOT ed real-world spots for major from still photography, with as head of production at now to Mande. New Directors Showcase)—the advertisers in South America and Group101 having played a large defunct Orbit Entertainment Through her lead involve- Subliminal startup was a natural Puerto Rico, they deemed him part in that transition. Group, and prior to that at Los ment in Group101Spots—which extension springing from their overqualified for a Group101 Husseini, meanwhile, Angeles-based Brentwood includes an expansion of that Los pedigree of nurturing up-and- gig. His body of work for the is currently redefining his Pictures, a shop specializing in Angeles-based program into New coming directorial talent. Mande South American and Puerto directorial reel via Group101. He stateside shoots for spots airing York this month—Mande has had said that Gould has helped shape Rican markets spans automotive is an established director, having in Japan. Over the years, Gould a hand in discovering up-and- and strategize her directorial (Suzuki, Dodge, Jeep), comedy last been repped for work via has experience shooting all over coming directors. Group101Spots career over the past year and a (Coca-Cola, Budweiser), fashion cYclops, New York, and prior the world, working on projects provides select aspiring helmers half, and that his production (Bud Light’s “Oceanfest”) and to that kaboom, San Francisco. with such companies as bicoastal with the challenge of creating expertise was a key factor in her lifestyle/slice of life vignettes However, his helming reputation HKM Productions, and bicoast- one spec spot every thirty days deciding to partner with him in (PBS, Coors). is largely in visual effects- al/international HSI and Moxie for six months. The ’05 class the formation of Subliminal. Via Subliminal, Traverso driven fare given his extensive Pictures. featured seven directors (includ- gains his first career represen- ing Scott) who directed assorted As a director, Mande often tation in the American ad mar- spots, 29 of which were screened blends graphics and live-action. ket. He continues to be handled Agency Update A Dog Story this past June at Group 101’s Her short film was outside the U.S. by Metropolis By Kristin Wilcha annual showcase event, held at an official selection of the 2003 Films in San Juan, Puerto Rico. Red Car, Santa Monica (SHOOT, Toronto Film Festival, as part of Shotwell, whose directo- 6/10, p. 1). Via Group101, the Kevin Spacey’s TriggerStreet. rial work is primarily off-center New Faces directors collectively share com Project Top Ten. Additionally, comedy, was a Group101 direc- David Droga has left his post as global creative director resources while getting advice her HD short Small Change has tor in ’04. He recently wrapped and North American chief creative officer of Publicis to launch and critiques of their work from played at assorted festivals from his first paid commercial direct- his own venture, an agency that will be backed by Publicis industry professionals. Tribeca to Singapore, garnering ing assignment, an ad for Indiana Groupe....Bruce Bildsten has resigned as executive cre- For Mande and Gould— a Silver Remi honor at Worldfest Unclaimed out of Indianapolis ative director at Fallon, Minneapolis. Assuming his duties a production advisor to Houston. agency Hirons & Co. He crosses at the shop will be co-creative directors Roger Camp and Group101Spots and a veteran Mande was last on staff at New over into live-action direction Mark Taylor. Camp joins Fallon from Wieden+Kennedy, Portland, Ore., while Taylor comes over from Crispin Porter + Bogusky, Miami….Christine Allen is joining Cole & Weber/Red Cell, Seattle, as director of broadcast pro- duction…..Kim Mohan has joined Young & Rubicam, Chicago, as a senior producer….. A trio of ad executives in New Mexico have opened a new agency—3, which is located in Albuquerque. The founders are: Sam Maclay, former VP/creative director at Rick Johnson & Company, Albuquerque, Tim McGrath, former design director at Rick Johnson& Company, and Chris Moore, formerly account manager from McKee Wallwork Henderson, also in Albuquerque…Barbara Eibel and Mark Teringo have been promoted to associate creative directors at DDB New York. The pair, who are married, had previously been copywriter and art director, respectively….Kevin Kearns has joined The Stone Agency, Raleigh, N.C., as a creative director. He was previously with DDB Chicago….Francis Cleetus and Eric Finkelstein have joined Adamson Advertising, St. Louis, as associate creative directors…. Account Movement Volkswagen has selected Crispin Porter + Bogusky, Miami, to handle its ad account, which has been with Arnold Worldwide, Boston, for more than 10 years…. Bank of America has selected a team of agencies from the Omnicom Group to handle its estimated $600 million advertising account. The account had previously been ser- viced by a coterie of Interpublic Group shops…..Sears has consolidated its advertising account at Young & Rubicam, Chicago, eliminating Ogilvy & Mather, Chicago, which had worked on the business for 43 years….The Kaplan Thaler Group, New York, will handle broadcast ad duties for Outback Steakhouse….TBWA/Chiat/Day, Los Angeles, will handle ad duties for two Sara Lee products: Senseo coffee products and State Fair foods….Borders has select- ed Carmichael Lynch, Minneapolis, to handle its advertis- ing…..Agency Strawberry Frog, which has offices in New York and Amsterdam, has been added to the Heineken roster of agencies. The shop will create a worldwide brand campaign….Cliff Freeman and Partners, New York, will handle advertising for the Shoney’s chain of restaurants….

6 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N Basore Wins Directing Leg Of Kangaroo Competition Basore—a decision that was the range of submissions has dent in ’00. From the Sean announced on Aug. 18. Basore come from throughout the U.S. Francis Foundation sprung the directors. Anyone was eligible moved from Portland, Ore., “The quality of the entries was Kangaroo Project. to submit a treatment for the to New York three-and-a-half very high this year,” assessed Francis was a production concept—established directors, years ago to start his career Hokanson, who is also presi- assistant and an aspiring pro- aspiring directors, editors, ad in spot production. He’s been dent of the Minnesota chapter of ducer. But with Francis’ life agency artisans and others who serving as a P.A., got wind of the Association of Independent cut short, the Kangaroo Project would like to take a crack at the Kangaroo competition and Commercial Producers (AICP). was initiated to make an ongo- directing a worthwhile PSA. A entered. “This is building toward being ing positive filmmaking contri- mix of judges from the agency a major competition that is bution in his memory through producer and creative ranks, as FROM LOCAL TO helping to discover and create nurturing and opening up new well as a Minneapolis-based NATIONAL opportunities for new talent.” creative opportunities for director, assessed the treat- In its inaugural year of ‘02, As in years past, Kangaroo deserving creatives, directors ments, ultimately voting for the Kangaroo Project turned Project organizers will line up and crew members—in some out a motorcycle traf- industry talent and resources cases, helping them to start fic safety PSA. The next to donate time and services their careers. year, the PSA promoted to the production of the PSA. The Kangaroo moniker grew live-saving organ dona- Also being gathered will be a Mark Wirt out of the fact that the animal tion. In ’04, the spot coterie of apprentices, called nurtures its baby in her pouch. addressed the youth Joeys, so that they can learn The apprenticeships parallel HIV/AIDS epidemic. about the business and gain on- of the Minnesota produc- this in that experienced crew- Kirk Hokanson, the-job training and mentoring. tion community, including members help Joeys take a hop owner/president Prospective Joeys can apply to Hokanson, to form the Sean forward in their chosen profes- of Voodoo Films, work on this year’s PSA by log- Francis Foundation, named sion. The Kangaroo designa- Minneapolis, a key ging onto the Kangaroo Project after her 20-year-old son who tion was also chosen because member of The Web site (www.kangaroopro- died in a motorcycle acci- Francis was born in Australia. Kangaroo Project team, ject.com). related, that in year one, the competitions largely GENESIS drew concept and direc- Julie Hartley, a veteran pro- torial entries from the ducer and production manager, Thom Sandberg local community. Now teamed with several members Curious Additions In Visual Efx International Film Fest, Meda Arts the company’s director of com- experience spans spots, music Festival Japan and the Toronto puter graphics and visual effects. videos and films. Now on staff at Latino Film Festival. Curious has recently created Curious, he is a motion capture/ And Forziati is a Curious branded entertainment fare for animation supervisor, as well as recruit who graduated the digi- Mattel and AOL, and spots for a an animation professor for the tal media design program at the mix of clients including American MFA program at Parsons and University of Pennsylvania. He Express, Coca-Cola, Pepsi, Target NYU. also studied in the computer ani- and Burger King. Curious also has Linblad is known for a couple of mation MFA program at the USC a TV series track record with such films: Tao, created for Vancouver, School of Cinema-Television. At shows as Codename: Kids Next B.C.-based choreographer Wen Penn, Forziati was chair of the Door and Sheep in the Big City for Wei Wang and which has been student chapter of the worldwide Cartoon Network; A Little Curious screened internationally; and the Siggraph organization. for HBO; and Avenue Amy for the animated short Celesais, which The infusion of talent comes Oxygen network. gained recognition at the 2004 on the heels of Curious becoming Curious maintains a roster of Siggraph confab. the only Manhattan-based com- live-action and animation direc- Soto’s experience spans com- mercial animation studio to have a tors that includes Eric Fogel, mercials, music videos and films, motion capture stage. Curious now Stefan Nadelman, Steve Oakes, with the latter hitting the festival has a team of 120 digital artists Joan Raspo, Saul and Elliot, Tom circuit, including the Brooklyn under the aegis of Lewis Kofsky, Warburton and Mo Willems.

September 9, 2005 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS

2nd Annual Filmspotting Competition For Assistant Editors Takes Flight In Detroit DETROIT—The Association of The work will be judged by a uninvolved with the entries, to Independent Creative Editors’ panel of directors and ad agency really make it the assistant’s own (AICE) Detroit chapter is getting executives. work. Mark hadn’t been with us its second annual Filmspotting AICE Detroit chapter presi- very long [at the time he entered competition in gear. Filmspotting dent Stewart Shevin, an editor at the inaugural Filmspotting com- Inspired by someone else’s work? is modeled after the Trailer Park Mad River Post, Detroit, related petition] and he came from a pro- hen developing advertising concepts, creatives get their inspira- competitions that other AICE that the competition provides ducing background, as opposed tion from many sources. But when the inspiration comes from chapters have adopted; the pur- assistant editors with “an oppor- to an editing background. We Wother creative works, such as a preexisting photograph or televi- pose is to give assistant editors tunity to show what they can were very proud when he won. sion show, there’s a risk that you may infringe upon the original creator’s at AICE-member houses the do and compete against their The goal of this competition is rights. A recent decision by a federal court in New York illustrates just how chance to showcase their prow- peers, as well as celebrate the to be fun, highlight the skills easy it is to run into trouble. ess as editors. creative editorial community in of the young talent in Detroit, In 1999, photographer Jonathan Mannion took a photograph of Filmspotting requires entrants Detroit.” and build camaraderie within basketball star Kevin Garnett, which was published in SLAM, a basketball to conceive, design and execute Shevin said that the Detroit the member companies.” magazine. The photograph depicts Garnett, who is black, wearing a white a spot using footage from three chapter was “extremely pleased” Assistant editor entries are T-shirt, white pants, and diamond jewelry, against a backdrop of clouds feature films—spanning differ- with last year’s participation due on Oct. 3. They are to be and blue sky. A few years later, Carol H. Williams Advertising (“Williams”) ent genres—as source material. from the assistant editors, as well submitted to AICE Detroit trea- developed an outdoor concept for Coors Light beer. Williams prepared a This year’s movie selections as with the agencies’ involve- surer Etta Menlo of Universal comp of the outdoor concept, and included a cropped and manipulated are Roshoman, Moulin Rouge ment in the judging process. Images. Judging is scheduled version of the Garnett photograph, along with the words “Iced Out” and and Sideways. Footage from all Last year’s winner, assis- for Oct. 10. The winners will a picture of a can of the beer. Williams sent out the comp to various three films must be incorpo- tant Mark Campbell, works be announced on Oct. 20 dur- photographers (including Mannion), but ended up not hiring Mannion to rated to create either a 30- or for Dennis Kutzen, president ing the AICE Detroit-sponsored do the shoot. The new photograph – which was included in a billboard 60-second commercial for any of Kutz, Inc., Detroit. Kutzen screening of this year’s Sony – was not identical to the Mannion photo, but did depict a black man, in a real-world or fictional product. noted, “The editors vow to stay HD “Dreams” shorts. similar pose, wearing a white T-shirt, white pants, and jewelry, against a cloudy backdrop. After Mannion saw the photograph, he sued. After reviewing both photographs, the federal court decided that it is up to the jury to decide whether there is copyright infringement. (These facts were taken from the VES Exec Director Roth Inks Three-Year Pact judge’s decision.) What could the agency have done to help avoid this? Here are some suggestions. LOS ANGELES—Eric Roth, in the entertainment industry. ment politics as former chief of executive director of the Visual Right now we’re in over a dozen staff at Los Angeles City Hall, in Separate the inspiration from the execution Effects Society (VES), has countries and with the continued addition to directing the govern- signed a three-year contract with advances in technology, we can ment affairs department for the In order to have copyright infringement, there has to be copying. the organization. Roth joined become the international glue Southern California Association Therefore, even if you’ve been influenced by a pre-existing work, don’t the VES a little more than a year that connects all the world’s of Governments. show it to the people who will be executing the idea. Don’t even tell them ago and is responsible for run- top visual effects artists to one The VES is a professional about it. Think how difficult it must be for a photographer or a director to ning its day-to-day operations, another.” honorary society dedicated to create something new when he or she has seen the original work and spanning such areas as strategic Prior to VES, Roth amassed advancing the arts, sciences, and knows, specifically, down to every detail, what the client likes. Even when planning, fundraising, member- 15 years of strategic manage- applications of visual effects, the photographer or director consciously tries not to copy the work, unin- ship outreach and communica- ment, communications and pub- and to improving the welfare tentional copying may still occur. tions. lic affairs experience. Through of its members by providing Roth envisions ongoing his tenure as the executive direc- enrichment and education, fos- Separate the idea from the expression growth for the VES, saying tor of L.A. Works, a volunteer tering community, and promot- expectations are that the orga- action center, he gained critical ing industry recognition of the Copyright does not protect ideas; it only protects the particular nization will “more than double working knowledge of the non- effects field. The VES presently original creative expression of those ideas. As I’ve said before in during the next three years in profit sector. He was also exten- has about 1,250 members world- this column, it’s not easy to draw the line between the “idea” for a both its size and influence with- sively involved in local govern- wide. concept, and the specific “expression.” When you’re explaining to a director or a photographer what you’re looking for, your goal should be to reduce the inspiration to just a core concept. The more room you give to the director or photographer to execute the idea in his Proposed Calif. Tax Incentive Applies To Ads or her own way, the more likely you are to create something that in California anyway. and reportedly has the backing of doesn’t infringe upon the original creator’s rights. On the other Whatever the outcome, the Gov. Schwarzenegger. hand, when the final advertising uses the specific executional instead of being paid out on a fact that the legislation desig- A number of AICP member details from the original work—subject matter, composition, pose, per-project basis. nates a tax credit pool specifi- companies have been lobbying clothing, props, lighting, shadows, background, etc.—you’re more There isn’t yet a definitive cally for spots is a major break- for AB777’s passage, sending likely to have a problem. dollar amount attached to the tax through, related Steve Caplan, letters of support to key legisla- credits provided by the overall executive VP of the Association tors in both houses. Think twice before you go with someone else bill spanning features, TV and of Independent Commercial Certain productions do not commercials. According to some Producers (AICP). “On the part qualify for the tax credits, includ- If you really want to aggravate a photographer, send the published estimates, the bottom of legislators, it shows a deep ing news and current event pro- photographer a comp that includes his or her work, so that the line could approach $100 mil- recognition of the importance of grams, talk shows, game shows, photographer can bid on the project, and then hire someone else lion. But others contend the total commercials to the state’s econo- sports, awards shows, reality TV, to do it. If you love a specific photograph, it’s probably going to will fall far short of that figure. my,” said Caplan. telethons, documentaries, day- cost a lot less to hire that photographer then it will cost to defend a How much of the total will be Actually, just getting com- time dramas, and any theatrical copyright lawsuit. And if you just can’t afford the photographer, and apportioned for commercials still mercials included in the anti- feature in which 80 percent or if the clients are not going to be happy unless they get the photo isn’t publicly known. runaway bill represents a major more of the content is computer- that they saw in the comp, then you may just need to come up with Prospects for the bill’s passage stride forward for the ad com- generated. a new idea, and go in a completely different direction. remained very much up in the air munity. Earlier, a similar bill Per the bill’s current lan- *** at press time, particularly with was recently introduced in the guage, the funds for the tax This column presents a general discussion of legal issues, but is not legal two-thirds approval needed in California Senate; it primarily credit are slated to come out of advice, and may not be applicable in all situations. Consult your attorney the state legislature. Opponents covered features, with commer- the state’s general fund begin- for legal advice. have voiced concern on several cials not eligible for tax incen- ning next year, with new annual *** fronts, including questioning tives. That legislation was suc- outlays thereafter. The program Jeffrey A. Greenbaum ESQ. is a partner at Frankfurt Kurnit Klein & Selz, the fiscal prudence of granting ceeded by AB 777, which is would be administered by the New York. If you have a suggestion for a topic to be covered in a future refundable tax credits to major sponsored by Assembly Speaker California Film Commission and column, send an e-mail to [email protected] studio features that might be shot Fabian Nunez (D-Los Angeles) the Franchise Tax Board.

8 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N TCS-N.Y. Expands, Hires Colorist Stipan Post-Its serving as an assistant colorist NEC 2k digital projector and Deal Down Under, People Moves, New Venture at the Chicago office of The Kineton film projector, as well The Omnilab Group, one of Australia’s largest privately owned media services com- Filmworker’s Club. as 5.1 surround sound. And, it panies, has acquired AAV Limited’s Digital Media Services group, which includes Since joining TCS, Stipan boasts a 17x7 ft. screen with Digital Pictures Melbourne and Sydney, Iloura Melbourne, Comcopy Imagestream, graded it first project in 2k data space to accommodate about resolution—an independent 10 clients. Flagstaff Studios, Digital Pictures Interactive, AAV PAX, AAV New Zealand, and feature titled Trust the Man, The grading workflow a 50 percent stake in DubSat. Omnilab adds these assets to its existing indepen- directed by Bart Freundlich and begins with scanning film on dent businesses which include: The Lab Sydney, Ambience Entertainment, The lensed by Tim Orr. a Grass Valley Spirit 4k, and Playroom Sydney, Cornerpost Island Films TCS reported that the new an Arri Film Recorder will be and ….Santa Monica-headquartered suite contains a Discreet Lustre used to take projects back to Ascent Media Group, parent of such companies as R!OT and Company 3, announced color correction software sys- film. TCS’ first grading suite, that Minneapolis-based digital production studio Met/Hodder has become the lat- tem, Revival for clean up, and currently centered on a da Vinci est shop to serve as a UP Satellite host site. The technology allows ad agencies and an SGI CXFS SAN with addi- 2k, remains open. tional Discreet switchable stor- Stipan, who met representa- other users of telecine services to collaborate remotely and in real time with colorists age (a total of 40 TB). tives from TCS earlier this year at Ascent Media facilities in Southern California and New York. To accommodate Stipan said he is happy to at NAB, said an attraction to the service, a “virtual telecine suite” has been set up at Met/Hodder that includes a stay on a Lustre, which he the company was the oppor- calibrated monitor and proprietary Ascent Media technology. Clients at Met/Hodder can used at SOL for commercial tunity to expand into feature work. “My clients [at SOL] film work. “I knew they were now observe ongoing telecine work in real time while communicating with the colorist were blown away working in a building a DI theatre for feature via speaker phone or video conference….Melissa Nusbaum has joined New York- nonlinear environment,” Stipan film releases,” he said. “With based hybrid editorial/production/interactive design house Convergence as a senior said. “It’s a great experience for the DI market taking off, it’s an Consulate them.” imperative time for me to get producer. She formerly served as a postproduction producer for , New York, The TCS suite includes an into it.” for two years, working on campaigns for such clients as Chevy, Clairol, Cover Girl and L’Oreal. Nusbaum earlier worked in production at Outsider and Digital Kitchen, both in Chicago….Colorist John Palmisano has joined the staff of Miami-based Cineworks Bayer Receives Kodak’s Lifetime Digital Studios Inc. He rounds out a roster of colorists that includes Leonardo Achievement Award In Music Videos Stagno, Matt Perrin and Raphael Perez. An 18-year industry veteran, Palmisano was most recently at Manhattan Transfer/Miami. His reel includes commercials for young couple whose life togeth- McDonald’s, American Express, Pampers and Volkswagen….TV/film design stu- Nirvana’s “Smells Like Teen er is interrupted when the man Spirit,” which is today still con- goes to war. The clip features dio b Creative has been launched in-house at Broadway Video, New York. Heading sidered a milestone in the music dialogue sequences as well as a the new venture as creative director is designer Jodelle Reed-Devaney. Lisanne video era. His body of work also graphic battle. McDonald is executive producer and Cathlyn Cantone is director, marketing and cre- includes tremendous success “It’s probably the best video Charlex in the commercial arena, with I’ve every made; I’m really ative services, for b Creative…. , New York, won a BDA World Gold Award for its spots such as “If you Let Me proud of it,” said Bayer. “It’s M&M’s “River Rock” spot via BBDO New York…. Play,” for Nike via Wieden + an anti-war statement, but it’s Kennedy, Portland, Ore. (Bayer not the anti-Iraq statement. It’s directs ads via bicoastal RSA more like ‘it’s a terrible thing USA.) Furthermore, Bayer is if you are 18 years old and you in prepro on a feature starring have to go off and maybe lose Bruce Willis, set to go into pro- your life before you’ve lived duction this winter. your life’. “The look of my work, the “I’m pissed off about the style, is as important as the con- war, maybe I’m pissed off that tent,” he said of his music video a media channel like MTV isn’t work. “I don’t do my work to doing more to energize kids,” make it look different, it’s the he added. “I applaud MTV for way I see things…I try and playing [‘Wake Me Up When push myself. All the Green Day September Ends’]. There are videos—I think every one looks guns in it; there’s blood; it’s different.” pretty brutal. I’d like it to start Currently in rotation, Bayer’s discussions. I’d like to have latest Green Day effort is the kids on [MTV program] TRL thought provoking “Wake Me not talk about what Gwen Up When September Ends,” Stefani is wearing, but maybe a seven-minute clip about a about the Iraq war.”

From left: Michael Bernard, Omer Ganai, Samuel Bayer and Danny Hiele.

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TOP SPOT OF THE WEEK TOP SPOT OF THE WEEK TOP SPOT OF THE WEEK TOP SPOT OF THE WEEK TOP SPOT OF THE WEEK Director Susan Griak Goes To The Dogs For Purina A Terrier Makes An Almost Unheard Of Confession In “Roxy,” Out Of Berlin Cameron/Red Cell By Christine Champagne TOP SPOT n creating a new campaign for Purina secondnature dog OF THE WEEK Ilitter (yes, there is such a product on the market now), the creative team at Berlin Client Cameron/Red Cell, New York, Nestle/Purina. faced a few major challenges. For starters, the creatives had Production Company to address the issue of why pet Day For Night (Berlin owners need dog litter, and, Cameron/Red Cell’s in-house frankly, that is hardly a pleas- production/editorial com- ant subject. pany), New York. Meanwhile, this was to be a Susan Griak, director; Jason viral Internet campaign, there- Havey DP. fore the work needed to com- pel those who initially received the spots (they were emailed to Agency 100,000 people who had signed Berlin Cameron/Red Cell. up to get emails from Purina) to pass them along to others. Izzy DeBellis, creative direc- Oh, and the budget for this tor; David Fredette, copywriter; project was low—very low. Adam Groves, art director; Chris Keeping all of those factors Kyriakos, producer; in mind, Berlin Cameron ulti- Dane Johnson, director of broad- mately chose to take a humorous cast production. approach, creating a campaign Editorial of three spots in which dogs Click frame to view "Roxy" come clean about why “acci- Day For Night. dents” happen when you’re not shopping trip to find a warm tor Izzy DeBellis. “She knows The creatives had scripts, but home. Among those commer- little surprise left by their furry how to draw a performance out they changed them a bit to suit Brandon Boudreaux, editor; cials is SHOOT’s Top Spot of friend. of a prima donna terrier or a the actions of the dogs,” Griak Christopher Masters, executive Week, “Roxy” (:15). In the ad, Chihuahua.” said. producer. a Jack Russell Terrier—her face DOG SHOW Casting was a fairly simple The spots, which direct pixilated to hide her identity— Susan Griak, a veteran art process: Griak wrangled dogs consumers to www.doglitter. Audio sits on her owner’s bed and con- director who had left Berlin from colleagues and friends. com/poop for more confes- Day For Night. fesses to the camera in a Valley Cameron last May to focus Uno, the dog who played Roxy, sions, have been quite success- Brandon Boudreaux, mixer. Girl-style voice that she poops on developing her directorial is a Jack Russell Terrier owned ful, according to DeBellis, who by advertising art director Liza reported that since the campaign Giorsetti and her husband launched, hits to the Web site over to television? “We hope Alban Rocher. To direct Uno, have quadrupled. Additionally, they make it to television,” “She knows how to draw Griak had to get a crash course he said that the campaign and DeBellis mused. “But you in Dutch as the dog answers product have been written up in have to ask the question, Why a performance out of a mainly to commands in that USA Today and “Jay Leno even bother?, if they are getting this language. “Blijf” means “stay” made a joke about it.” much attention already without prima donna terrier or a in Dutch, Griak shared, show- So might we see these us having to buy media.” ing off her newfound knowl- buzzed-about spots cross Chihuahua.” edge. Uno, who plays a girl in —Creative Director the spot, is a boy, by the way. “Apparently, Alban’s parents, Izzy Debellis who reside in France, saw the spot and were disappointed that he was willing to play a woman in his Internet debut,” on “the sofa, the bed, important career, was hired to helm the Griak revealed. looking papers” when her own- campaign. While Griak (whose The dog was a natural, ers go to the mall and leave dad is director/cameraman according to Griak, who shot her home alone. “Sometimes, Steve Griak of Wilson Griak “Roxy,” as well as the two other I’ll poop on one thing and then Films in Minneapolis) has spots in the campaign, on digi- do number one on something directed short films and docu- tal video over the course of one else,” she admits. mentaries, the Purina campaign day in her West Village apart- “Roxy” is hilarious, and the marked her first spot foray. ment, with Jason Harvey serv- spot certainly speaks to dog “Susan is a great art director, ing as DP. owners everywhere who have and she loves dogs,” remarked Once the shoot was over, returned home from work or a Berlin Cameron creative direc- Brandon Boudreaux of Day For Night, Berlin Cameron’s in-house editorial company, cut the spots and did the audio mixes. It was during the editori- al process that voiceovers were matched to each dog. “It wasn’t really decided [which voice a Susan Griak dog would have] beforehand.

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THE BEST WORK YOU MAY NEVER SEE THE BEST WORK YOU MAY NEVER SEE THE BEST WORK YOU MAY NEVER SEE THE BES Thank You Comes Naturally For Colle+McVoy Agency Creatives Embrace Bear Hug In Minnesota Lottery Spot By Robert Goldrich explained as the camera reveals the eagle flying overhead. he great outdoors just got a little friendlier—and for It’s the majestic bird’s way of offering thanks to the man good reason as reflected in this two-spot campaign for playing the Minnesota Lottery, which generates funds Tpromoting the Minnesota State Lottery. for the betterment of the environment. So even if you In “Bear,” we open on a young man hiking through the don’t win the lottery, everybody in the state benefits. wilderness. The relaxing experience of being at one with Both spots—which debuted last month in Minnesota— nature turns scary, however, when the stakes are upped to were directed by Kranky (a.k.a. Larry Shanet) via a being at two with nature—the second party being a large co-production between Shooters International, Toronto, bear. and Drive Thru, Minneapolis, for agency Colle+McVoy, Our hiker stops dead in his tracks. It’s not clear whether Minneapolis. (Shooters represents Kranky in Canada; he’s frozen by fear or if he read somewhere that it’s best to Crossroads, bicoastal and Chicago, handles him nation- keep motionless when confronted by a bear. Either way, it ally.) makes for a nervous moment as the tension builds. Mark Setterholm and Sara Draxten executive produced The bear comes right up to the man and sniffs his face. for Drive Thru. Line producer was Nicole Erdmann. The animal takes its huge paws and wraps them around the Two DPs split duties on “Bear”: Afshin Shahidi and guy’s neck. From the hiker’s facial expression, you can see Jeff Stonehouse. A pair of DPs was necessary because he’s silently praying for his life. But the bear’s approach the bear, named Muckaday, got sick during the original isn’t a prelude to an attack. Instead the paws draw the man filming. A second shoot was needed to wrap the bear in closer for a sweet, tender, heartfelt bear hug. Realizing footage after Muckaday had fully recovered from a lung he’s the object of affection, the man brings his arms around Click frame to view "Bear" infection. the bear for a warm mutual embrace. The Colle+McVoy team consisted of executive cre- A voiceover puts this bear hug into perspective. “Last year,” the narrator relates, “your lottery ative director Mike Fetrow, creative director Dave Keepper, copywriter Brian Ritchie, art director gave $47.2 million to the environment. And for that, nature thanks you.” Jay Miller, director of broadcast/producer Ramon Nunez, and producer Rose Pennington. Titled “Bear,” the commercial ends with the Minnesota Lottery logo. Editor was freelancer Brody Howard who worked on the project via Drive Thru Post, The other spot, “Eagle,” has a similar theme. A fisherman sits in his small boat floating in Minneapolis. Online editor/effects artist was Bob George of Drive Thru Post. Colorist was Oscar the middle of a lake. A bald eagle flies by, skimming the water’s surface. We then proceed to Obozo of Hi-Wire, Minneapolis. Audio post mixer/sound designer was Carl White of BWN, see the fisherman almost fall asleep from boredom, getting nary a nibble on his line. However, Minneapolis. BWN’s Ken Brahmstedt served as music composer. he’s awakened as a prize fish drops in his boat from above. This gift from the heavens is easily The human actor in “Bear” was Jim Halloran. “Litterman” By Robert Goldrich stickpin is replaced imaginary window. keeparkansasbeautiful.com. by a hoe. He does B u t j u s t a s This :30 for the Keep Arkansas eing a stick figure doesn’t some landscaping quickly, he’s alone Beautiful Commission had preclude a guy from hav- with the hoe and then again, back with his Larry Raines and Jeff Holsted Bing a bit of Astaire-like trades that in for a stickpin, which he of Dempsey Film Group serving style and panache, thanks in rake. The dance rou- wields with grace as animators for agency Mangan large part to some choreographed tine continues with and aplomb, doing Holcomb, Little Rock. Shelly animation from Dempsey Film him raking up some a somersault in the Needham served as post pro- Group, Little Rock, Ark. leaves. process. He deploys ducer for the Dempsey studio. We open on a logo of a stick Next up he has the tool to pick up The creative team at Mangan figure that’s holding, appropriate- what appears to be a a piece of litter and Holcomb consisted of creative ly enough, a stick with a pointed paint roller or possi- then settles back director Chip Culpepper, asso- end designed to pick up trash. The bly a window-clean- into his original yel- ciate creative director/producer stickman then comes to life with ing squeegee. He’s low logo sign. Atop Angel Galloway, art director a dancer’s flair, using the imple- now no longer a solo the sign appears the Emily Galusha and associate ment to pick up three pieces of act, joined by a group simple message, “Do producer Tammie Thessing. litter, tossing them into a nearby of stickmen who in Something.” Along Bryan Frazer of Dempsey public wastebasket. dance routine unison the bottom of the Film Group was the audio post The musical dance number either paint an imagi- Click frame to view "Litterman" screen appears the mixer. Needledrop music was continues with a new tool as the nary wall or clean an Web site address, provided by APM, Los Angeles.

September 9, 2005 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 11 ����������

IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWO Grey Takes Web Audience Behind The Scenes With Dir. Douglas

By Emily Vines actually was an afterthought to get people more involved o broaden the reach of in the campaign. Grey chief three :30 spots in the creative officer and creative TPanasonic “Ideas for director Tim Mellors explained Life” campaign—“Life is: that the shoots were quite inter- Plasma,” “Life is: DVD-R” and esting and it occurred to him “Life is: Digital Camera”— that it would be nice to share creatives at Grey Worldwide, the experience with their audi- New York, developed a sec- ence. “People are interested in tion of their client’s Web site trivia and details, and it just with DVD-like special features seemed like a really obvious related to the commercials. thing to broadcast that detail.” Visitors on www.Panasonic. com can get more involved A CLOSE LOOK with the spotwork—which A highlight of the Web site features various daily events is the three-and-a-half-minute from girls riding their bicycles video interview with Douglas down a bumpy brick street to a in which he explains that the woman scandalously wearing a good ideas behind the work red blouse to a funeral—when attracted him to the spots, as they click the link to a sneak did their heart. In addition, he peek behind the scenes of informs viewers that a priority the commercial shoot. There, during casting was to find real- they can see an interview with looking people and that they director Andrew Douglas of filmed in Argentina because of Click here to view "Plasma" bicoastal Anonymous Content the European-like settings. observed life moments” and that he’d done and he has a think it was a chance for Grey (who helmed the 2005 version On why Douglas was the the objective was to capture very photographic sensibility.” to show that we can turn things of The Amityville Horror), as proper director for the project, the occasions like a renowned Other bonus features include around really quickly, and we well as outtakes, pop-up trivia Mellors said, “I wanted it to photographer would. “It’s like :15 versions of the commer- did,” Gottlieb said. and other games relating to the have that kind of very pho- a Magnum photograph come cials, as well as :60 director’s The agency has used the commercial footage. tographed, observed quality to life,” Mellors related. “So cuts with pop-up trivia. Pop-up commercials, print ads and a Though it would seem safe and I thought [Andrew] would I was thinking [about] people video fan and assistant produc- viral send-to-a-friend option to assume that the Internet be particularly good for that, who were originally photogra- er Stephanie Gottlieb spear- on the site to drive traffic to content developed before the which, in fact, he was.” phers and I thought, well actu- headed the research for that the Web page. There are plans shoots in Los Angeles and With the tag line “Ideas for ally, Andrew would be really section. to add more commercials to around Buenos Aires, the idea Life,” the spots depict “little, good because I’ve seen stuff The site, which was cre- the campaign and in turn to ated in about three days, also contribute more behind-the- includes games like Spot the scenes information on the Web Difference, where viewers can site. But next time they film, watch two versions of a clip and agency artisans will have the are then asked if they can iden- Internet in mind when events tify the differences between take an unexpected, and hope- them, and Pan and Scan where fully funny, turn on the set. they can take a quiz to deter- Additional credit at Grey mine how much they remem- goes to Mike Ryniec and Jesse ber from a :60 spot. Vendley, copywriters; Mark The speed with which the Catalina and Denise O’Bleness, site went up was necessary art directors; Aaron Royer, because the spots were set to executive producer; and Chad air soon after the concept for Hopenwasser, producer. the online plans evolved. “I

12 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N Ad Industry Looks To Help Gulf Coast Victims ous over being together after having es as Post Asylum, Ace Hardware, been separated. Academy Sports, Office Max, and Morgan Freeman says in a Janimation, as well as the efforts of voiceover, “Hope is more powerful many Texas-based filmmaking arti- than a hurricane. Help victims of sans. Post Asylum took a lead role Hurricane Katrina and thousands of in making the supply caravan a real- other disasters across the country ity, according to Steve Gaconnier, each year.” Freeman then asks us proprietor/chief creative director of to call the aforementioned toll free Janimation, who was seeking to raise number or to log onto the Red Cross additional money for the relief effort. Web site. Gaconnier is just one of assorted Per the Ad Council modus ope- industry people looking to help bring randi, all the PSAs will run during relief to those victimized by the stag- ad time and in ad space donated by gering natural disaster that has pum- the media. meled the Gulf Coast. Peggy Conlon, president/CEO of Many other industry business- the Ad Council, noted that it’s imper- es and individuals throughout the ative that this public service fare country are also pitching in. SHOOT gains exposure immediately during had gotten wind of several fundrais- times of crisis. She said that the Ad ers in the offing. For example, the Council has a track record of gen- Los Angeles spotmaking community erating PSAs in a quick turnaround was coming together on Sept. 13, time when tragedy strikes. “We are 6 to 9 p.m., for a benefit BBQ at proud to partner with the American Quixote Studios. The only prereq- Red Cross and GSD&M—the agency uisite for admission is a discretion- that developed [the PSA] ‘I Am An ary donation to the American Red American’ within days of 9/11—to Cross for Katrina relief. Quixote is develop and distribute these critical providing a large sound stage as the [Katrina relief] messages, which I benefit venue. Another prime donor am confident will be generously sup- is Alex’s Gourmet Catering, Los ported by the media.” Angeles. Among those getting the TV, radio and Web ads are already word out about the event and help- running. Furthermore, GSD&M is ing to organize it is Santa Monica- creating other PSAs in response to based production house Uncle. For Katrina. These additional ads will more info, email Nancy Osborne at provide info about where Katrina [email protected]. victims can go for resources and support. Another Austin-based ad GSD&M agency, LatinWorks, is providing Meanwhile, GSD&M, Austin, Spanish-language versions of the Spot Biz Pitches In Texas, created on a pro bono basis ads. Editing house 501 Post, Austin, a TV/radio/Internet public ser- is donating its time, talent and facil- vice campaign for The Advertising ity to edit the spots. For Katrina Relief Effort Council and the American Red Cross. The debut centerpiece spot fea- The package calls for people to visit turing the Freeman voiceover came Katrina Image courtesy of MODIS Rapid Response Project at NASA/GSFC www.redcross.org or to call 1-800- from a GSD&M ensemble headed by HELP NOW to donate to the Red group creative directors Rich Tiapek Cross for disaster relief. and Tim Gilmore, who also served quite a stir during the last presidential elec- sent e-mails to people and companies he The initial PSA shows emo- as co-directors. Allen Hannawell tion—has also responded to the Katrina knew with Web sites; several responded by tionally moving still photographs and Matt Davis of GSD&M were tragedy. The organization launched a Web obtaining banner ads on a Red Cross URL of Katrina’s destruction. The word copywriter and art director, respec- site, www.hurricanehousing.org, asking its for display on their sites. “Home” accompanies a shot of a col- tively. Jeff Johnson produced for the 3.3 million members and the public at large Furthermore, Hawthorne’s son, Zak lapsed house, with a woman stand- agency, with Laura Carter serving as to post any available housing for the thou- Hawthorne, a Southern California-based ing in the foreground. “Electricity” associate producer. Editor was Gavin sands of people displaced and left homeless freelance art director who’s currently work- is paired with a photo of downed Tatro of 501 Post. by the hurricane. ing with a guerilla marketing unit of Nike, power lines. The word “Food” is The MoveOn plan is to directly connect was scheduled to undergo CPR and first aid shown in tandem with the sight of a MOVING ON evacuees with volunteer housing provid- training from the Red Cross and then go on a grocery store surrounded by water. MoveOn.org Civic Action, for- ers/hosts, and to provide the housing info to 12-day volunteer tour of duty with a couple But finally “Hope” is reflected in a merly known as MoveOn.org—which the Red Cross and the Federal Emergency of friends to help with the relief efforts in picture of two people hugging, joy- turned out political ads that created Management Agency (FEMA). Housing the Southeast. The younger Hawthorne and is most urgently needed within reasonable his two buddies will likely work in Houston driving distance (about 300 miles) of the or Dallas for their volunteer stint. affected areas in the Southeast, especially New Orleans. HELPLINES People can sign up to become hosts by In addition to the aforementioned Red posting a description of available housing. Cross phone number and Web site address, Hurricane victims, relief organizations, here is contact information for other organiza- friends and relatives can search the site for tions involved in Hurricane Katrina relief: housing options. MoveOn also intends to • Salvation Army. 1-800-SAL-ARMY or distribute housing offers to social workers www.salvationarmyusa.org/ who are helping families in shelters. • FEMA Charity Tips. www.fema.gov/rrr/help2.shtm INDIVIDUAL EFFORTS • Network For Good. Efforts by assorted individuals also reg- www.networkforgood.org istered on SHOOT’s radar screen. For exam- ple, rep Darr Hawthorne of Sherman Oaks, • Mercy Corps. www.mercycorps.org Calif.-based indie firm Burning Motor • National Voluntary Organizations Home was getting the word out that the Red Active In Disaster. www.nvoad.org/ Cross needs online ad inventory to support • Louisiana Society for the Prevention of Cruelty to Animals. www.la-spca.org Click frame to view Red Cross spot fundraising for Katrina relief. Hawthorne September 9, 2005 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005

AD AGENCY SERIES: CREATIVE TEAMS Fruit Flavored Goodness Ian Reichenthal and Scott Vitrone create magic for Skittles and Starburst.

By Kristin Wilcha

wo sheep that can speak—they have reach. TBWA/Chiat/Day began working with the voices and faces of teenage Skittles last year—previous efforts for the colored boys—team with a kid who has candies focused on images of wonder and magic blender hands to tout Smoothie created by the now shuttered D’Arcy Massius Mix Skittles. A man in a bird’s Benton & Bowles; the concept was later updated nest is fed Skittles. A sculpture is when the account was at BBDO New York. For a work of culinary its first efforts on Tart, made out of behalf of Skittles, Starburst fruit TBWA/Chiat/Day chews. And a created “Nest,” mariachi band which featured drowns in the a slightly odd- juice of the new looking gentleman Baja flavor from sitting in a birds Starburst. nest, being fed T h e s e a r e Skittles by a large just some of bird, followed by the images the tag: “See the f r o m T B WA / Rainbow. Taste Chiat/Day, New the Rainbow.” York’s work The package also on the Skittles included a spot in and Starburst which a trio of teens accounts (both is on a rainbow; are part of one falls off when MasterFoods). he questions the Ian Reichenthal existence of the a n d S c o t t rainbow. A third V i t r o n e , spot featured a guy group creative with a rainbow

directors, and Images Duncan Smith/Getty BU011092 over his head that respectively, showered him with copywriter and art director, have created Skittles. Ulf Johansson of Smith & Jones, Los and/or overseen—along with agency executive Angeles, directed the commercials. creative director Gerry Graf—each of these spots, “I credit MasterFoods for buying that first round which aim to sell the candies to the teenage set, of Skittles work,” relates Vitrone. “The brand had which is a notoriously difficult demographic to been probably a little more traditional,

15-Fruit Flavored Goodness 16-Stateside Debut 16-Before Fuse 17-Thanks For the Laughs

September 9, 2005 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 15 created the dummy of the little girl. “When you talk about a stan- Stateside Debut dard of director like that,” explains Premutico of Kleinman, “part of Creative team shifts from the U.K. to the U.S. the reason you end up with a great product is largely because of them, By Kristin Wilcha HLA, London, and feature earnest and their individual ability, but also people talking about goals they because of the people they surround reative directors Jan Jacobs hope to accomplish. For instance, themselves with—which is so vital and Leo Premutico joined in “Student,” a rather dowdy-look- because in a TV spot, you’re rely- CSaatchi & Saatchi, New ing young woman explains why ing on more than just the director’s York, in May, from the London she’s staying late at the library—she interpretation of the script.” office of the agency. Since pairing plans to get top grades on her exams, Currently, the Saatchi pair is up in 2003, Jacobs, an art director, which will help her in getting a mas- working on its first TV project for the and Premutico, a copywriter, have ters degree, at which point she’ll U.S.: a trio of spots for the Centers Jan Jacobs and Leo Premutico had much success. They are the cre- be ready to conquer the corporate for Disease Control and Prevention’s ative minds behind “Ventriloquist,” world, rising to global group chair- “Verb” campaign aimed at getting a moving spot for the National man—at which point, she notes “all young kids to be more active. Chris was executive creative director at game is changing at the moment. Society for the Prevention of Cruelty the boys will want to have sex with Palmer of Gorgeous Enterprises, the shop. He left the London office Clients are expecting a way more to Children (NSPCC). The ad, me.” The premise being that the rea- London, is directing the package. in late 2004 to assume the role of 360 [degree] offering from agen- which won a Gold Lion at this year’s son behind everything is good sex, (Palmer is repped stateside via chief creative officer at Saatchi & cies.” Cannes International Advertising a mission that can be aided by the bicoastal Anonymous Content.) Saatchi, New York, and later offered Jacobs notes that part of the Festival—as well as a Gold Clio, and products at Coco de Mer. Premutico relates that he and Jacobs Jacobs and Premutico their current appeal of Saatchi & Saatchi is its an ANDY Award—was directed by While the NSPCC work and the look for “someone who can take positions. “It’s a good fit,” explains willingness to explore new opportu- Daniel Kleinman, via now defunct Coco de Mer spots take vastly dif- our script to the next level” when Premutico. “We like new challenges nities. He also explains that in terms Large. (Kleinman has since opened ferent approaches, both have one seeking out directors. Both Jacobs and new objectives in terms of trying of thinking beyond the usual TV/ Kleinman Productions, London.) aspect in common, notes Jacobs. and Premutico note that they are to change an agency. What we’re print/radio/Web fare, “the underlying The haunting spot, which seeks to “With all of our ideas, we try to put interested in working with directors trying to achieve here is to help the thinking of the work is what makes it raise awareness of abused children, [forth] real human truths, and I think who will participate in the edit and agency become more of a creative good—not just blowing it across all effectively shows the stranglehold that’s what makes work good and post process, much like directors in hot shop.” mediums.” Jacobs believes directors abusers have over their victims by interesting,” he explains. In the case the U.K. and elsewhere work. In addition to their creative duties, and production companies will be presenting Sally, the abused little of Coco de Mer, adds Premutico, the Jacobs serves as head of art for the assets in realizing new ideas, point- girl, as a ventriloquist’s dummy. idea was that “there’s a dark side to IDEA SHOP New York office, while Premutico ing to the fact that Palmer recently Throughout her day, when ques- motivation.” Before joining Saatchi & Saatchi, is spearheading Saatchi initiatives shot an ad with a cell phone camera. tioned, she either doesn’t speak, or In the case of “Ventriloquist” and London, Jacobs was a group cre- in cultivating young talent. For the “One of our discussions a couple speaks words from her puppet mas- the Coco de Mer fare, the choice of ative director at Bozell, New York; latter, that means being involved in of days ago with clients,” explains ter, who in actuality is her abuser. director was important to the suc- he’s also done stints at TBWA Hunt the hiring process. At the moment, Premutico, “was in trying to get the The tagline: “Abused children can’t cess of each spot. Both Jacobs and Lascaris, Johannesburg, and Ogilvy Premutico reports that he has been idea to lead media rather than the speak up.” Premutico praise Vaughn for his abil- & Mather RSTM, Johannesburg. concentrating on hiring from global media to lead and constrict our ideas. Other work from Premutico and ity to elicit great performances from Premutico worked at Cloenso advertising schools, although he does That’s one of the things we’re work- Jacobs includes a two-spot package the actors, while Kleinman aided in BBDO Auckland, and agency BMF, not rule out the possibility of one day ing on—to try to make the brand for erotic boutique Coco de Mer. The getting the visuals for “Ventriloquist” Sydney, prior to joining Saatchi & seeking creatives from other places. message the most important thing, ads, “Soup Kitchen” and “Student,” across—it was Kleinman who rec- Saatchi. While in London, the pair “It’s worth exploring,” he relates, and have no restrictions and to oper- were directed by Tom Vaughn of ommended the modelmakers who worked under Tony Granger, who “especially because of how the ad ate in fresh areas.” Before Fuse New campaign from Amalgamated offers the cure for teen boredom

By Kristin Wilcha to do—in an effort to amuse him- erent tone as previous work for self, he and a friend parachuted Fuse from the agency—past efforts o tout the increasing avail- pet rabbits off the roof into tires included “Totally Uncensored,” ability of cable network for points. An in “Above Ground a spot in the vein of Girls Gone TFuse, the upstart music Pool” a group of kids is saved from Wild. According to Murphy, Fuse, channel that actually shows videos, trying to skateboard down the curve which is growing in its availability agency Amalgamated, New York, of an above ground pool a la Tony on cable systems nationwide, was recently broke a trio of spots that Hawk, although with decidedly less seeking to attract more eyeballs presents the channel as a cure to spectacular results. The directing to the channel. “[Agency partner/ teenage boredom. team Happy of bicoastal Smuggler strategist] Doug Cameron came up The three ads—“Above Ground helmed the ads. with a brief based on a prankster,” Pool,” “Fryer,” and “Rabbit”—fea- “It’s based on the truth of what explains Murphy. “Fuse’s biggest ture decidedly quirky teens discuss- kids do,” explains creative director thing with the advertising was to ing ways in which they amused Tommy Noonan, who along with get people to tune in and watch. themselves before Fuse came along. Matt Murphy, also a creative direc- “These spots are about what Fuse's "Rabbit" In “Fryer,” a trio of teens dip what- tor at the shop, came up with the every kid in America could be doing ever they can get their hands on—a new spots. “The [kids in the com- before they get Fuse,” he continues. sneaker, a cell phone, the TV— mercials] basically screw around all Murphy relates that the inspiration into a deep fat fryer. Once they day doing nothing, and we’re using for the spots came in part from the discover Fuse, inanimate objects the idea that Fuse is their hope— 1997 film Gummo about two bored everywhere are safe. In “Rabbit” that they have something do now teens from a small town, though the a break-dancing kid discusses how that they have music videos.” ads were much less dark. Coming before Fuse, he didn’t have much The ads carry the same irrev- up with the concepts

Fuse's "Above Ground Pool"

16 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005 AD AGENCY SERIES: CREATIVE TEAMS

moves to the Midwest. “The people at Fallon are amongst the best I have Thanks For The Laughs ever worked with socially as well as professionally,” notes Gillingham. Copywriter Tim Gillingham and art director Bobby Appleby create over-the-top comedy for Citi campaign Though the duo is not working on By Emily Vines waiting for your reward? With Thank “Runner” takes the action outside. up “in the coldest place in the freakin’ anything together right now—except ith their first collabo- You from Citi you get great rewards A woman standing in front of her world.” Since joining the shop, he has for getting their golf scores below 80, ration, copywriter Tim that are easy to earn, easy to redeem. house nods to a less than enthusias- created for clients like Miller Lite and Gillingham jokes—though they do WGillingham and art That’s a card you can count on.” tic man, presumably her husband, Archipelago. He is currently working hope to collaborate in the future. “You director Bobby Appleby of Fallon, As the two discussed the pack- who is sitting in a car in the drive- on a campaign for the Islands of the don’t often find, or it’s pretty rare to Minneapolis, have shown they can age, Gillingham credited Appleby way. Once she signals him, he turns Bahamas; perhaps a warm respite find, someone that you click with create clever comedy for their clients. with concepting “Mountain,” while on the stereo, which is playing an is in his future. Gillingham joined creatively,” says Gillingham. “Bobby In fact, the spots in the “Thank You” Appleby credits Gillingham. From upbeat Spice Girls track, and both are Fallon 18 months ago after six years and I don’t have that many disagree- campaign for client Citi—“Wizard,” the credit they give one another for the off—down the street, onto lawns and at Arnold Worldwide, Boston, where ments and we both seem to be on “Mountain,” “Dressing Up,” spot, their camaraderie and respect for through parks. She doesn’t have an he worked on Volkswagen. His rea- the same page with what we work “Runner,” “Desk” and “Disposal”— one another are apparent. Though not iPod so her companion must provide son for coming to his new roost was on, and we get on well outside of the are actually hilarious. Each illustrates formally a team—they sometimes the music for her jog. simple: “When Fallon calls, you gen- office so that is a huge help. When how the Citi credit card rewards pro- work separately—Gillingham and erally go,” he states, referring to the other projects come up, we volunteer gram is more generous than those of Appleby work well together when HOUSE OF CREATIVITY shop’s superb creative reputation. ourselves as a team.” the competition. the occasion arises. Appleby has been with Fallon for Indeed, both Gillingham and It is evident that their senses of The concept behind the package With a sound idea in place, nine years, ever since he graduated Appleby cite that creative reputation humor are in sync, but Gillingham arose from research the agency con- Gillingham says it was easy to from Miami Ad School, Miami Beach. and the quality of work coming out said of things to come: “It would ducted on credit card reward pro- come up with dozens of scenarios. He hoped to work somewhere warm, of the agency—along with the people be nice to do something which isn’t grams. “The first thing we did was They turned to Craig Gillespie of but laughingly related that he ended there—as reasons they made their comedic as well.” look … to see what other rewards bicoastal/international Morton Jankel programs were doing,” explains Zander (MJZ) to direct “Mountain,” Gillingham. “We noticed that on a “Runner” and “Dressing Up.” For, lot of other rewards programs—with “Wizard”—which broke in late various asterisks and disclaimers—it August—“Disposal” and “Desk,” ended up taking you actually a little the former directing team of Kuntz & bit longer to amass the amount of Maguire, also of MJZ, stepped behind points needed to get a reward, where- the camera. (Tom Kuntz is still with

Bobby Appleby Tim Gillingham as Citi was a little quicker to give MJZ, while Mike Maguire joined those rewards. Goodby, Silverstein & Partners, San “I think once we discovered that Francisco as an associate creative particular kernel,” he continues, “we director.) started working on that. And, as I In “Dressing Up,” a man seems to remember, Bobby actually just had put on every piece of clothing he will the idea of, ‘What about a guy literally need for a trip he is taking because he not riding his mountain bike because doesn’t have a suitcase to pack them he doesn’t have his reward yet?’ ” in, while “Disposal” shows a woman The resulting spot was “Mountain,” making do without a blender. The which featured two guys on bikes latter spot begins with the woman going down hill, while a third man putting beautiful, fresh fruit in her pretends to ride a mountain bike— garbage disposal and turning it on. seems he had to wait longer than Then, as the liquid mixture rises to the expected to cash in his points for a bottom of her sink, she ladles out the bike. When the ridiculous commer- smoothie into a garnished glass and cial ends, a voiceover asks, “Tired of serves it to her husband.

Click poster to view Citi's "Wizard" September 9, 2005 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 17 AD AGENCY SERIES: CREATIVE TEAMS Colorful Creatives: Reichenthal and Vitrone

creatives opted for Granger, the personalities, that aren’t the York a year and a half ago. The earlier this summer. The more mainstream. We thank first time they had worked with commercial faces. Especially pair met seven years ago when pair earlier this year created them quite often for doing the director. “His reel is just so when you’re dealing in that they teamed up at Wieden “Dance Party” for Nextel— that. And it worked. And once funny,” says Reichenthal, “and age group—sixteen-year- + Kennedy, Portland, Ore., directed by Jim Jenkins of something works, it’s always it was the same kind of funny olds—it’s really, really hard to where among other projects, Hungry Man—which featured easier to go there.” we were hoping for.” find someone who can not only they worked on Nike’s three office workers dancing “Skittles has always done “We knew he would nail act, but also isn’t doing that “Horror,” a spot directed by along to Salt ‘N Peppa’s “Push stuff that included magic,” these conversations and make rosy-cheeked, skateboard-y, Phil Joanou, then of bicoastal It.” An exasperated boss thinks adds Reichenthal. “What we’re them humorous,” relates sideways baseball hat [look]. Villains—he’s now with MJZ. they’re goofing off, asking doing now is the intersection of Vitrone. “All the surroundings The whole kids market is The commercial was a send-up them about the whereabouts imaginary and real, and we think and visual gags, we could all flooded with that same look. of horror films which feature a of some important equipment it’s just a more contemporary have fun together, but we knew To find interesting kids takes masked maniac chasing after and a fellow employee. The take on something that’s part we needed Martin to nail the an extra effort, and I think it’s a beautiful young woman. three workers stop dancing of Skittles.” performance and the casting.” been worth it.” After W + K, Reichenthal and use their Nextel walkie- For Smoothie Mix Skittles, Casting is key to the and Vitrone moved East, talkie and data inventory TASTE TEST landing at Cliff Freeman and features to answer their boss The agency was awarded Partners, where they worked in a matter of just a few the Starburst account late last on accounts such as Budget seconds. Immediately, the year, and one of the first spots Rent A Car, and Mike’s Hard guys resume their workplace created by the shop certainly Lemonade, for which they dance as part of teh seven-spot turned heads. Debuting earlier created spots such as “Ape- launch campaign, Vitrone and this year, the ad, “Art Center,” Like Man” and “Second Reichenthal, along with Graf featured a high school-aged Evil Head,” which featured, and copywriters Eric Kallman guy who creates a bust of respectively, creatures who and Parul Bartow, created “I the girl he has a crush on looked like apes wreaking Seen It,” directed by Bryan entirely out of Starburst fruit havoc in a parking lot, and Buckley of Hungry Man. chews. Set to Lionel Richie’s a guy who has an evil head Reichenthal and Vitrone “Hello,” the boy unveils his growing out his neck. The are also in the early stages on creation, but it turns out he’s difficulties with each situation some work for Combos, while more interested in the candy are assuaged by a refreshing collaborating on a Skittles print than the girl—he begins Mike’s Hard Lemonade. (Both package. “We had a meeting Click poster to view Smoothies Mix Skittles' "Sheepboys" munching on his creation as spots were helmed by Morton with MasterFoods a while ago, he explains what flavors he of MJZ.) After freelancing, and our client said, ‘I don’t used to created each part of the creative pair joined their think you’re pushing this far the face. (Davis and Allen current roost. enough,’ which you rarely hear were, respectively, copywriter Reichenthal and Vitrone from clients,” says Vitrone. “In the pair worked with copywriter success of both the Skittles and art director on the spot, have been busy of late with the that moment I knew, this is cool. Ashley Davis and art director and Starburst work. “We look with Vitrone and Reichenthal launch of the newly merged When you’re client is telling Craig Allen on “Blender Hands” at a lot of people for all the serving as creative directors.) Nextel and Sprint—the agency you that, you’re in a good place and “Sheep Boys.” The spots roles—especially the speaking For Starburst, relates Vitrone, was awarded the account in the relationship.” feature the aforementioned roles—and try to find fresh the tone hasn’t altered greatly sheep with guys faces and faces, and people who are just from previous efforts. “It voices discussing mixing funny,” notes Reichenthal. hasn’t been as big a step [as Amalgamated Creates flavors like orange and mango “They may be people who with Skittles],” he explains. and peach and pear, and a kid weren’t expected in that role, “It was tweaking it a little Antidote For Teen Boredom who replaces his hands with but people who can be funny in more.” Continued from page 16 mixers in order to get the blend a way we didn’t intend.” The latest endeavor for the ing it beautifully, and pushing the of flavors, only to find out that Part of the appeal to teens fruit chew candy continues involved “writing a huge list of jokes to be wackier.” Skittles has done it for him. with the agency’s Skittles in the quirky/humorous vein. things that could be the funniest— Noonan also praises the duo’s Martin Granger of bicoastal/ and Starburst work, Vitrone To introduce the candy’s new things you could relate to but that skill with the talent, most of which international Moxie Pictures relates, is that the kids cast Baja California flavor, the also felt fresh and not ad cliché in was cast at monster truck shows in directed the spots. in the spots look like average pair created “Fiesta.” The spot a way,” says Murphy. “Every spot Kentucky. “[Happy] knew how to Vitrone and Reichenthal kids. “It’s been a little bit of an opens on two teenage guys, right now has Gen XYZ kids hang- get the natural funniness out of the relate that they often work education with MasterFoods,” and one is eating a Starburst. ing out and skating at the local mall actors themselves,” says Noonan. with directors they’ve built he explains, noting that the He notes that its flavor is like and stuff. It was trying to figure out “The guy in ‘Rabbit’ would have relationships with in the look of the ads done by TBWA/ a “Fiesta in my mouth.” Cut to a way to take that to another level.” never started break dancing unless past, including Johansson, Chiat/Day are stylistically the inside of his mouth, where Murphy points out that the spots Happy was prodding him with them Rocky Morton of bicoastal/ different—particularly in the a mariachi band is playing. weren’t about making fun of the questions on what else he could do. international MJZ, and the case of Skittles—than what the Suddenly the band is getting kids, but rather mocking the ideas … They just did a million things on Happy team from bicoastal client had done in the past. chewed up and swept away they come up with out of bore- the set and it was great to watch.” Smuggler. For the Smoothie “We always try to find faces in a tide of greenish colored dom. “I feel like everyone has some Noonan and Murphy began Mix Skittles work, the agency and people that aren’t TV liquid. Bryan Buckley of sort of relation to the work,” he working together in February when bicoastal/international Hungry explains. “They either did that or Murphy joined Amalgamated after Man directed the ad, which knew someone who did that. You five years at Berlin Cameron/Red was shot over two days in Rio don’t look at the rabbit spot and go, Cell, New York. Noonan has been de Janeiro. “We built a giant ‘oh, that’s me,’ but you know what with the agency since partners model of a mouth. It was very he’s doing.” Cameron, Jason Gaboriou, and surreal,” reports Reichenthal. Charles Rosen opened it in “They flooded the mouth HAPPY PAIRING 2003. Although new to working with seven-thousand liters Murphy and Noonan selected together, Noonan and Murphy had of liquid—it was water with Happy—Guy Shelmerdine and known each other through mutual food coloring and milk in Richard Farmer—for their prow- friends. At the moment the pair is it—and we did that over and ess with the mundane and the working on a print and outdoor over again.” “It was trippy,” absurd. “They have a realism about campaign for Svedka Vodka that affirms Vitrone. “A giant their work, but they also have an breaks this month. As for Fuse, mouth and everyone speaking absurdity in their work,” explains “their numbers have been doing Portuguese.” Murphy. “The combination of those better,” reports Murphy. “If this Reichenthal and Vitrone two seemed exactly right. … I think stuff works I think it’ll be a no- Starburst's "Fiesta" joined TBWA/Chiat/Day, New Happy nailed the reality of it, shoot- brainer to keep pushing it.”

18 SHOOT September 9, 2005 A BORDER WATCH SCANDINAVIA Picturesque Spawning Ground Northern Europe’s varied region offers a variety of

Photographer: Jaani Föhr. Photos courtesy of Northern Finland Screen Commission/POEM. Iceland photo Filmus Productions, Reykjavik. Photographer: Jaani Föhr. locations and talent

By Kristin Wilcha

candinavia, the Northern region of Europe com- who is from Denmark, and was partnered in Copenhagen Jitzmark, and Sebastian Reed in the U.S. and the U.K. prising the countries Norway, Sweden, Denmark, production shop Bacon with directors Kasper Wedendahl (The four directors, along with Persson and executive SIceland, and the Faroe Islands, has long been pop- and Martin Werner, helmed a trio of ads for Viagra— producer Peter Kydd, are all partners in Camp David.) ular for advertising. The rocky vistas of Iceland are ”Golf,” “Office,” and “Couch”—out of Taxi, Toronto, The production company works with agencies such as the often prominently featured in spots—particularly for and produced via The Partners Film Company, Toronto. aforementioned Forsman & Bodenfors, other Stockholm cars—while Sweden and Denmark have produced great The spots feature people discussing their sexual exploits, shops like Waters & Widgren and Lowe Bridenfors, and creative, and sought after directors. Ulrik Bolt Jørgensen, which are bleeped out, with the speakers lips blocked by Euro RSCG BETC, Paris, and Publicis Conseil, Paris. film commissioner for the Oresund Film Commission, a blue Viagra pill. Humorous and effective—the Viagra Recent projects include Tele2’s “Little Rocky,” directed which covers a region comprising southern Sweden and logo is prominent throughout the ads—the campaign won by Reed and Volvo’s “Airport,” helmed by von Reis both Greater Copenhagen, notes that approximately 500 com- a Gold Lion in the film competition at this year’s Cannes for Forsman & Bodenfors. mercials a year are shot there. Oftentimes, those produc- competition. Camp David is just one of the many high-end produc- tions originate in European countries like the U.K. and And speaking of Cannes, agencies from the tion companies in Sweden—others include the Stockholm Germany. Others bringing business over include Japan, Scandinavian region fared well at the festival as well. In shops Stink, RAF—home to directors Johan Renck and South Africa as well as the U.S. the Cyber Lions competition, Lowe Tesch, Stockholm, Jonas Akerlund—Acne (who are repped in the U.S. via The Northern Finland Screen Commission and POEM, scored a Gold Lion for Tre’s “Xtreme” online effort, bicoastal RSA USA), and Filmtecknarna Animation, a foundation that promotes and develops the film and while Proximity Otto, Stockholm, won a Gold for Pfizer’s which has a high profile in the U.S., having produced other media agencies in the region, host a varied number “Smoke Week” site. Scoring Silver in Cyber was Forsman ads such as “Indian Run,” for Pier 1 out of Deutsch, New of productions. At the moment, TV series, feature films & Bodenfors, Göteborg, Sweden—the agency also has an York, and Absolut Peach’s “Surrender” via TBWA/Chiat/ and several documentaries are shooting in the Finnish office in Stockholm—for the JC Clothes package called Day, New York; both were directed by Jonas Odell. The region of Northern Ostrobothnia. “The Store.” The shop also won a Bronze Lion for Abba 25-year-old animation studio has also worked on U.S. The U.S. has certainly benefited from the creative Seafood’s “Jumbo Tube,” and FarFar, Stockholm, scored ads for the Hummer H2 for Modernista!, Boston. Lars prowess of the Scandinavian market. The directing collec- a Bronze for “Snakes,” part of the Nokia N-Gage cam- Ohlson, executive producer at Filmtecknarna, notes tive Traktor of bicoastal/international Partizan hails from paign. that the company doesn’t do a large amount of work in Sweden, and since the late ‘90s has injected a particular Why does so much great creative come out Scandinavia, Sweden—”[it’s ] not really out of choice, more a lack of brand of quirky humor into the U.S. spot market, with Sweden in particular? “If you are stuck in a country with time, and in many cases due to the fact that animation in work for Nike, Mountain Dew, Aquafina, and Miller. just lakes and trees and no people around, you get cre- Sweden is a very small market.” However, the company When creative hot shop Mother, London, decided ative,” jokes Johan Persson, partner/executive producer works with agencies in Finland—Ohlson reports that they to open a stateside office in New York, it turned to at Camp David, a three-year old production company in recently completed a spot for a Finnish real estate firm, “the Swedes”—Linus Karlson and Paul Malmström, Stockholm. “I think the answer,” he continues, “is that the and a CGI spot for Siemens cell phones in Germany. a creative team who first made their name at Paradiset atmosphere is pretty open between creatives, clients and While many of the Swedish ad execs SHOOT spoke to DDB, Stockholm, later coming stateside to join Fallon, production companies, and that gives it a bit of ‘we are in noted that the past couple of years had been difficult—as Minneapolis. The StyleWar collective that’s represented the same boat, and if we don’t help each out, God knows with most of the ad industry globally, spending was down in the U.S. by bicoastal Smuggler hails from Sweden. what will happen kind of scenario.’ ” Camp David reps and clients fearful, which always leads to some creative And Joachim Back, who is repped stateside via Park the directors from bicoastal/international Hungry Man stagnation, that appears to be changing. “The climate is Pictures, New York, caused quite a splash at this year’s in Sweden, and in turn, Hungry Man represents Camp getting increasingly better, although in the last couple of Cannes International Advertising Festival. The director, David directors Christoffer von Reis, Björn Stein, Robert years the industry had its share of the downfall,” continued on next page

September 9, 2005 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 19 BORDER WATCH SCANDINAVIA BORDER WATCH SCANDINAVIA BORDER WATCH SCANDINAVIA BORDER WATCH SCANDINAVIA BORDER WATCH

Earlier this year, Robert Creatives, Filmmaking Schelin and four of his col- leagues from Lowe Brindfors, Talent Make Global Mark left that shop to open Waters continued from page 19 notes Nilsson, “and do a major & Widgren. The new agency commercial within one or two already boasts an impressive cli- explains Nicolas Hasselstrom, years. So, a lot of young [cre- ent list: they are creating cam- an account director at agency atives] in Sweden, compared to paigns for Oddset, part of the ÅkestamHolst, Stockholm. “The other countries, get a lot of expe- Swedish Lottery system, and are creatives have been under pres- rience quite early, which I think handling retailing, brand build- sure to produce more with less... helps improve quality as well.” ing and product positioning for Overall, though, we have seen an Jessica Thorelius, a producer Kia Motors. (Sebastian Reed of increase in work, which hope- at agency Garbergs, Stockholm Camp David is directing the lat- fully will result in even better concurs with Nilsson, noting, est Oddset effort; he has helmed creative work “if you’re a several campaigns for the cli- later on.” creative team, ent.) Schelin, who works on the Filip Nilsson, you’re actually account side, relates that he and creative direc- in charge of the his colleagues decided to open tor at Forman & spots. You don’t their own shop in an effort to “go Addi Knutsson, executive directed a Sprite Zero ad for Bodenfors, notes have creative back to the old school of doing Click poster to view Tele2’s “Little Rocky” that in Sweden, directors run- advertising.” many of the ning things over He notes that when layers of agencies have your head, and management are stripped away, a much flatter account coordi- and the process of creating ads structure than nators and cli- becomes more streamlined, cre- in other parts ents who decide ative solutions come more easily. of the world, everything.” He says that he and his partners meaning there Thorelius points are better able to find market- are fewer layers to a recent shoot ing solutions “when we do it the of management, for Canal+ in simple way, the traditional way, which can lead Finland. The where the creatives, the account to greater col- c a m p a i g n , people, and the client sit down laboration with which included and discuss the problem.” clients. “One Jessica Thorelius the spots “Ping major thing is the relationship Pong” and “Checked Against ICELAND between agencies and clients, Glass,” both helmed by Pete Iceland has long been a desti- which tends to be more relaxed,” Veijalainen of Woodpecker, nation for on-location production. explains Nilsson, whose agen- Copenhagen, was spearheaded Einar Sveinn, director of mar- cy creates advertising for cli- by the two creatives, art director keting at Pegasus-PanArctica, a ents like Volvo, Ikea, JC Jeans, Sebastian Smedberg and copy- production and production ser- and Swedish Television. “Not writer Henning Wijkmark. She vice company headquartered in always, but more of the time it’s also relates that because Sweden Reykjavik, Iceland, reports that Click poster to view “Ping Pong” for Canal + a partnership and less of a sup- is a much smaller market than the in recent years, his shop would plier/buyer relationship. That U.S., advertising doesn’t have to normally host a few U.S. jobs a helps in the process.” He also be as demographically targeted. year, “but now the dollar is very producer at Filmus Productions, agency Vatikan; Knutsson says points out that since there aren’t “If you make a commercial in low, and this year the exchange Reykjavik, notes that his com- the spot will likely get airtime as many layers, creatives, at a Sweden,” she says, “you have to rate has been really bad, and we pany works often with local in other markets. As for location fairly young age—and early on entertain the whole country, not haven’t seen [as many] American agencies such as Vatikani, Hér shooting, Knutsson notes that he their careers—are able to work just one specific target group. jobs.” Last year, Pegasus pro- & Nú, and Himinn & Haf, all and his directors lens “mostly in on large ad campaigns. “You Because we aren’t that big, it’s duced two jobs for director Eric in Reykjavik, and on the pro- Iceland, but we shoot all over the can start working in an agency,” easier to be just entertaining.” Saarinen of Plum Productions, duction services side, work- world—we’re even shooting in Santa Monica—one for Samsung ing with shops such as Dentsu Dubai next week. and one for Jeep. Pegasus also Live Europe, Brussels, and the “If I had to pick out one loca- worked with director Spike Jonze London agencies BMP DDB, tion on this earth, it would have to of bicoastal/international MJZ on Ogilvy & Mather, and Rainey be the Glacier Lagoon in Iceland,” a Björk music video. This year, Kelly Campbell Roalfe/Young & continues Knutsson, of one of his Pegasus hasn’t hosted any U.S. Rubicam. On the ad front, Filmus favorite sites, where two James spots, although Sveinn reports that hasn’t produced any U.S. spots Bond films were shot—includ- they recently worked on a joint of late, although it did produce ing Die Another Day—as well as European-U.S. print campaign for a segment for the Oprah Winfrey Batman Begins and Tomb Raider. Rolex that was shot by photogra- Show, and some work for HBO. “It’s one of those places you sim- pher Mario Sorrenti in Iceland Filmus represents five ply cannot fathom—since it’s and Greenland. Sveinn notes that directors—Don Pedro, Otto filled with floating icebergs, it’s most of his shop’s location work Tynes, Kristofer Dignus, constantly changing. It’s one of takes place on the south coast of Denni Karlsson, and Kristjan the seven wonders of the world, if Iceland and in Greenland. Fridriksson. Dignus recently you ask me.” In addition to its production service business, the company reps six directors, who work pri- marily in the local market, but have been getting some atten- tion outside of Iceland. The directors—Gus Ólafsson, Paul Grimmson, Reynir Lyngdal, Silja Hauksdóttir, Stymir Sigurosson, and the mono-monikered Thor— ”all vary in styles, but are pretty daring and original.” At the moment, Pegasus is preparing to facilitate a few European jobs, but Sveinn hopes Standing left to right: Johann Persson & Björn Stein. Kneeling left to “to see more of our American friends.” right: Robert Jitzmark & Sebastian Reed Photographer: Jaani Föhr. Photo courtesy of Northern Finland Screen Commission/POEM. 20 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005 BORDER WATCH SCANDINAVIA BORDER WATCH SCANDINAVIA BORDER WATCH SCANDINAVIA BORDER WATCH SCANDINAVIA BORDER WATCH NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N

Editor Erik Annie Awards Season Underway New Stage Of Growth For Zoic Johnson ASIFA-Hollywood Chapter Issues Call For Entries CULVER CITY, Calif.–Visual effects/CG house Zoic Studios– which is active in commercials, music videos, features and Flows Into BURBANK, Calif.–The last Annie competition held episodic TV–has expanded beyond its Culver City base of International Animated Film in January ‘05 was United operation. The company has added a 5,000 square foot stage Mad River/ Society’ s Southern California Airlines’ “Interview,” directed to its resources. Located adjacent to the NOHO Arts District in chapter (ASIFA-Hollywood), by Wendy Tilby and Amanda North Hollywood, the stage facility features a motion control Dallas headquartered in Burbank, is Forbis of Acme Filmworks, rig with camera, a green screen stage, and a full grip and light- gearing up for the 33rd annual Hollywood, for Fallon, ing package. DALLAS–Mad River Post Annie Awards competition, Minneapolis. The North Hollywood site also has an outdoor area for pyro- (MRP)/Dallas has signed editor which recognizes outstand- ASIFA is the French acronym technical shoots. Already Zoic has deployed the stage complex Erik Johnson for exclusive spot ing achievement in animation. for Association Internationale for Hewlett Packard and Samsung shoots, as well as for the TV representation. He joins a roster ASIFA-Hollywood has issued du Film d’Animation, an orga- series CSI: Crime Scene Investigation. that consists editors of Sylvette a call for entries spanning fea- nization founded 49 years Zoic visual effects supervisor Andrew Orloff related, “We Artinian and Quan Tran. Best tures, TV, commercials, home ago in France by a group have always worked to be a creative partner with clients and known for his lengthy tenure at entertainment, short subjects/ of professional animators. adding the stage allows us to do even more effects work for New York-headquartered Crew special projects and for the ASIFA was chartered by the them at a cost that makes it an effective part of the process. Cuts, Johnson most recently first year video games. United Nations Educational, Additionally, when we shoot, we can provide quality control had a brief stint at Homestead Entry deadline is Oct. 7. Scientific and Cultural for the elements we need for our visual effects sequences, Editorial, New York. Final nominations will be Organization (UNESCO) in thereby enabling a smoother process.” Jeb Schary, executive pro- announced on Dec. 5. Winners ‘60 to encourage the art of Credits for Zoic include commercials for Chevy, SBC, Kia ducer at MRP/Dallas, noted that will be revealed and honored animation and further inter- and Namco. The effects studio has also turned out broadcast Johnson’s comedy work comple- during a gala awards ceremo- national understanding and packages for Jetix and NBA Live. Zoic’s visual effects work has ments the storytelling prowess ny on Feb. 4, 2006, at the Alex goodwill through the anima- also been in such features as Van Helsing, Day After Tomorrow of Artinian. Meanwhile Tran has Theatre, Glendale, Calif. tion medium. Currently there and Spider-Man 2, as well as in the upcoming Serenity. Zoic’s made the transition from assis- In the spot category, there are ASIFA chapters in some TV series endeavors over the years have included Buffy the tant editor to full fledged editor are typically five finalists. 30 countries. The Hollywood Vampire Slayer, CSI, Angel and Firefly. For the latter, Zoic won at MRP/Dallas. The TV ad winner in the chapter was founded in ‘72. a 2003 visual effects Emmy. Johnson started his post career at Crew Cuts, New York, as a messenger. He immediately took an interest in editing and took Classifieds a proactive approach to learn- ing about cutting. Several year HELP WANTED later, Johnson moved over to the then Ian MacKenzie Editorial, New York. Johnson referred to Ian MacKenzie as “an amazing teacher. He gave me the confi- dence to deal with any editorial situation.” During his four years there, Johnson edited spots for assort- ed clients, including Snickers, Crunch Gyms, Texaco and Visa. Crew Cuts took notice and offered Johnson a partnership in a new venture, Crew Cuts, San Francisco, which opened in the late 1990s. The Northern �������� ��� ����� California shop gained momen- ������ ����������� ������� ����� tum, with dot-com advertis- ����� ���� ��� �� ���������� ���� ing and comedy on the rise in ������ �������� ���� ������������ the market. But the SAG strike ������ ��� ����� ����������� ��� against the ad industry and the ���������� ������ ������������ bursting of the dot-com bubble ������ ������������ ���� ���������� ������������� took its toll on Crew Cuts’ diver- sification into San Francisco. So ������ �������� ���� ����� Johnson moved back to Crew ���� ������� ���� ������������� Cuts, New York, editing var- ied commercials for the likes of Perdue, Pepsi, AOL, Denny’s, Dr Pepper and British Airways. Four years later, Johnson took a detour to Homestead. Shortly DUPLICATION SERVICES thereafter, he and his wife–who’s from Texas–decided to relocate to the Lone Star State. He noted that “the chance to help build a company [MRP/Dallas] has really revved up my enthusiasm for editing and advertising.” Per the arrangement, Johnson is also available national- PRODUCTION SERVICES ly through Mad River’s other operations in New York, Detroit, Santa Monica and San Francisco. Independent rep Fran Montoya of Montoya Reps, Dallas, han- dles sales for MRP/Dallas. James Appleton is president of the Dallas edit shop.

September 9, 2005 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWSstreet NEWS NEWS NEWS NEWS talk NEWS NEWS N R/GA Gains European Foothold Bicoastal/international Hungry Man has just gotten a bit more interna- tional, launching an office in Rio de Janeiro. Heading up the new opera- and brands—it is much more “We haven’t figured out if tion in Brazil is managing director Alex Mehedff....Director Annabel of marketing, including Web, effective.” games are an opportunity for Jankel, the “J” on the door at bicoastal/international MJZ, has joined mobile, exhibition and point of Mobile content is on the interactive advertising, but I Santa Monica-based harvest. Jankel enjoyed a successful 15-year run purchase. R/GA agenda, particularly think it’s something that will at MJZ before deciding to sell her stake in the company to president “Our goal is to first sup- in Europe where mobile has be figured out over the next David Zander and her former husband, director Rocky Morton. Now port Nokia, and second to taken off faster than in the U.S. year or so.” at harvest, Jankel has already wrapped some viral fare for Go Fast look at other global clients,” Greenberg declined to detail The R/GA founder believes energy drink. She also recently completed viral Greenpeace work to Greenberg explained. “We’ll what is in the works for Nokia many other aspects of the busi- promote action against global warming….Director Matthew Vaughn grow London the way we grew in this area, but discussed in ness will see change as well. “I has signed with bicoastal HSI for U.S. spot representation. He continues R/GA in New York—we’re not broad strokes what he sees as think the production business to be handled in the U.K. by Paul Weiland Film Company….Sheila looking at a particular size. opportunities for advertisers, is going to shrink, and more Stepanek, former Los Angeles-based executive producer at Partizan, We’ll wind up as large as the and more agencies are going has returned to the company as CEO. The bicoastal/international shop business we need to support.” to bring production inside,” has also secured Melanie McEvoy, formerly of HSI, as executive The London office opens its “It’s all about said Greenberg, whose com- producer and East Coast head of sales….Trio Films, Los Angeles, has doors this month with about pany was once a more tradi- signed director/DP Thomas Kloss….Argyle Films has opened in Los five employees, backed up by clients wanting tional commercial production Angeles under the aegis of executive producer Marlon Staggs, for- roughly 400 R/GA employees shop. “[Production] is going merly of Rhythm & Hues Commercials. The new venture’s directorial in the U.S. Greenberg views to reach their to become completely digital. roster consists of Randy Roberts, who came over with Staggs from the base initially as a regional I don’t see any great future for Rhythm & Hues, and John Mastromonaco, who wrapped a six-year office, but “down the line we a large production company run at Bravo Zulu, Santa Monica…..Director Tony Garcia, has signed will convert it to an interactive clients in the based in film…In the next few with This Is TV, New York…. agency in the London market. years we’ll see everything con- We are looking for other clients best way.” verted to HD and digital—and [in Europe] that we already do film go away completely.” business with, and talking to - Robert Greenberg Greenberg also opined that ad them about opportunities. That R/GA Founder shops with an interactive focus is a natural for us.” will begin to take on more gener- rep report To achieve his goal, R/GA notably, “quick response codes al agency and production assign- Grace Silverstein of indie rep firm Reel Grace, Santa Monica, has taken is already building its com- that allow you to go to a digital ments. “There is so much con- on West Coast and Texas representation for Trio Films, Los Angeles….The munications infrastructure that sign and get additional info on tent that has to be produced for newly formed Argyle Films, Los Angeles (see Street Talk, above), has set its includes a VPN (virtual pri- a product. billboard, Web, print, radio, sales force consisting of independent reps Toni Saarinen and Jen Spencer vate network) to connect the “[To this end] we think mobile…a lot of this will be on the West Coast, Richard Newman and Sue Rosen in the Midwest, and Arthur Portnoy, Roxanne Artesona and Jeff Bowman on the East Coast. London office to its New York retail will be a big part of our done in-house at the agencies,” Portnoy handles Argyle director Randy Roberts, while Artesona and Bowman headquarters. business,” Greenberg related. he suggested. rep helmer John Mastromonaco….J. Anderson and his associate Elaina The visionary Greenberg “When customers go into a “It’s going to be an inter- Schyb of J. Anderson+Companies, Chicago, have been named to handle predicted a strong future for store, one thing they will have esting time over the next few the Midwest for Two Trick Pony, a Hollywood-based production house headed interactivity in advertising, with them is their cell phones. years,” Greenberg concluded. by executive producer Jonathan Miller. Indie rep Yvette Lubinsky continues driven by the basic principle [Mobile content] allows them “It’s all about clients wanting to cover the West Coast for Two Trick Pony, which is currently seeking new that it offers “a measurable to get coupons and get infor- to reach their clients in the best representation on the East Coast, a territory that Miller is handling on an way to interact with customers mation on a product. way.” interim basis….Comma Music, Chicago, has added to its sales force, hiring Jessica Skillicorn to cover the Midwest. Skillicorn will work in tandem with Comma’s national sales rep Marya Fletcher….Music/sound design house Yessian—with bases of operation in Farmington Hills and Royal Oak, Mich., as well as in New York and Los Angeles—has hired Joanna Miller as in-house Cutter Smith Reflects On Emmy Nom sales rep handling the Midwest and Southeast. Miller formerly served as an account rep for Royal Oak-based video and audio postproduction boutiques For the American ad mar- In addition to the desire to tell Function and Ozone….Michael Coronado of independent rep firm Red Iron gratifying. A native of the ket, Smith recently wrapped a story in a fun way that chal- has taken on West Coast sales for Amazon Films, Houston….DP Eric Gautier London area, Smith is still three spots for Netflix—“War lenges viewers, Smith said his AFC, whose credits include Walter Salles’ Motorcycle Diaries, is now repped based in the U.K. and only Movie,” “Children’s Movie” commercial cutting experience for commercials, music videos and features by the Lyons Sheldon Prosnit during the past four years has and “Foreign Drama”—out of allows him to use shorthand Agency, Los Angeles….DP Hernan Michael Otano has signed with bicoastal started to consistently work in Goodby, Silverstein & Partners, when he works on features. Paradigm for exclusive representation. Also coming aboard Paradigm for the U.S. San Francisco, with director “[From commercials] you have U.S. representation is cinematographer David Franco….DP Mark Plummer, who recently wrapped Pulse with director Jim Sonzero, is now available Now he happens to be work- Baker Smith of harvest, Santa the confidence to be able to try, for commercials via ICM, Beverly Hills….. Production designer/art director ing on a Citroën spot for the Monica. In the humorous spots, and the experience to try more Ramsey Avery has come aboard Montana Artists, Los Angeles, for exclusive European market with direc- people walk into their homes radial things because you’ve representation in all areas…. tor Bryan Buckley of bicoastal/ to find costumed actors from grown up doing that,” he said. international Hungry Man out movies in their living rooms. Smith also explained that he of Euro RSCG, Paris, and a The scenarios make the point considers himself fortunate to British Heart Foundation spot that Netflix delivers movies be able to “dip in between” both with Frank Budgen of Gorgeous, you want, right to your home. features and commercials. Once bulletinboard London, through Lowe UK, The editor noted he is increas- he completes a film project, he ❑ Sept. 15/New York: 2005 Agency Relationship Forum presented London. Next, Smith will head ingly interested in the work is excited and desperate to do a by the Association of National Advertisers (ANA) at the Grand Hyatt stateside to work with direc- coming from the U.S. and that, spot because of the challenge Hotel. www.ana.net…. tor Jake Scott of bicoastal RSA “[It] gives me the opportunity to and fun generated by working ❑ USA on a Ben & Jerry’s com- work in different cities with dif- in the ad editing discipline. Sept. 26/New York: Battle of the Ad Bands III at Irving Plaza. www. fluidny.com…. mercial through Amalgamated, ferent agencies and understand New York. that advertising culture better.” ❑ Sept. 26-30/New York: Advertising Week; go to www.advertisin- gweek.com for complete calendar of events…..

Editor JD Smyth Comes Aboard Final Cut ❑Sept. 28/New York: AAAA Account Management Confernece, Cut’s president. Ronnie West, Babak, Laurence Kimmel Center at New York Univeristy. www.aaaa.org…. Smyth got his start as a run- Dunmore and Norris Spencer. Life, a documentary from Los ner at RSA Films, London. The latter gave Smyth his first ❑ Sept. 29/New York: The 3rd Annual SHOOT Commercial Production Angeles artists The Clayton He moved up the ranks there, editing gig. Forum; 8:00 a.m.-8:00 p.m. at The Metropolitan Pavilion. Presented Brothers. learning about the business and Final Cut was founded in by SHOOT and Source TV. Attended by Ad agency producers, cre- atives, clients, production & post execs. The Forum is pleased to be part At Final Cut, Los Angeles— later becoming an in-house edi- London in 1995, expanded to of Advertising week! For sponsor, exhibitor, and registration information, which is headed by editor Eric tor. Smyth credits several RSA New York in ’00 and became contact [email protected]…. Zumbrunnen—Smyth will work directors with being supportive bicoastal in the U.S. this past closely with executive producer and positively influencing his April with the opening of an ❑ Sept. 29/New York: Cannes Advertising Festival 2005 Winners— Saima Awan. The New York- career, including Adrian Moat, office in Los Angeles. North American Premiere at the Sony IMAX Theatre in Lincoln based Stephanie Apt is Final Jake Scott, Chris Cunningham, Center. Co-hosted by USA Today and the Advertising Women of New York (AWNY). www.awny.org…. 22 SHOOT >e.dition • www.shootonline.com • (203) 227-1699 September 9, 2005