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JANUARY 13.2006 This Fours Score Week Déjà vu: Frank Stiefel Elected In DGA Spot To Serve As AICP Chairman Nominations By Robert Goldrich Bob Fisher Named Vice Chairman; Organization Unveils Insurance LOS ANGELES—The Directors 4 Flanagan Tops AICE Detroit’s Guideline, Plans To Step Up Direct Dialogue On Industry Issues Guild of America (DGA) named Filmspotting Competition its nominees for best commercial 4 Framestore, Digital Domain Earn VES Spot Award Noms By Robert Goldrich LOS ANGELES—In begins a yearlong term. Reelected to a two-year director of 2005—and the num- the “Flashback” sec- term as treasurer and for an additional year as sec- ber four figured prominently in 4 Crossroads Films Adds Director Lloyd Stein tion of SHOOT’s last issue of 2005, under the “10 retary were, respectively, Sally Antonacchio, VP the mix. For the first time, four Years Ago” designation, the lead entry was that of bicoastal The Artists Company, and AICP legal of the five nominees came from 4 Director Kenan Moran’s Frank Stiefel, then president of Stiefel + Company, counsel Robert L. Sacks, an attorney with Kane a single production company: Career Takes A Curious Turn had been elected to a one-year term as nation- Kessler, New York. bicoastal/international MJZ. The al chairman of the Association of Independent Matt Miller continues as AICP president/CEO, DGA-nominated MJZ helm- ScreenWork Commercial Producers (AICP). an appointed position. Steve Caplan is executive ers are: Craig Gillespie, Spike Fast forward to today and it’s déjà vu all over VP of the AICP. Jonze, Rocky Morton and Rupert 9 Top Spot: Dir. Bryan Buckley again as Stiefel, now executive producer/execu- Sanders. The latter was nominat- Does Lawn Work For Ace tive VP of bicoastal/international @radical.media, ISSUES ed on the strength of work he did Hardware Out Of Goodby has been elected to serve for the next year as AICP Among the areas addressed at the AICP board while at MJZ and earlier at now 10 Best Work: Fleisig Directs chair. He becomes the first person to have two session were labor and insurance issues, production defunct Omaha Pictures. Moving “Car” Shoot For separate tours of duty in that capacity. incentive prospects in various states, and means The other bit of “four-play” in Arnold Worldwide Elected along with Stiefel during last month’s to improve communication not only within the Continued on page 19 10 Best Work: Lisa Cholodenko AICP national board meeting in Los Angeles was organization but also between the AICP and other Helms “Mid-life Crisis” For AICP vice chairman Bob Fisher, executive pro- industry sectors. Ignited Minds Headquarters ducer/owner of bicoastal Celsius Films. Fisher also Continued on page 15 11 iWork: Director Kohl Norville, To Close At FCB Chicago Hit The Sauce For KFC Spotmakers Set For Sundance Festival Month’s End Midwest A SHOOT Staff Report has emerged this year. Bicoastal/ directed by Gwyneth Paltrow By Robert Goldrich PARK CITY, Utah—The com- international Moxie Pictures, a and Mary Wigmore, was select- NEW YORK—Bicoastal 12 Assessing the Heartland’s mercialmaking community will commercial production house that ed for Sundance’s Short Film Headquarters is set to official- production and post mar- again be well represented at the has diversified into varied film- Program. Sponsored by Nokia, ly close on January 31, accord- kets, with insights from annual Sundance Film Festival. making forms, has seen one of its Dealbreaker stars Arija Bareikis ing to president Tom Mooney executives and artisans. Artisans involved in the ad biz branded entertainment endeavors as a woman who is finally able who’s partnered in the 14- will have their work—ranging make the grade for screening at to look beyond superficial flaws year-old company with direc- Agency Creative from shorts to feature-length Sundance. Moxie partnered with when she finds the right man. tor David Cornell. At press fare—showcased at the 2006 Glamour magazine to produce Dealbreaker came from a time, Cornell was in Australia 16 New York gets a new Toy, fest, which will run from January Reel Moments, a series of five story written by Glamour reader wrapping the last job under the while Chicago welcomes two 19-29 in Park City. short films based on stories from Gail Hildebrandt as part of a con- Headquarters banner, a J.C. new chief creative officers to major ad shops. However, a new wrinkle in the magazine’s readers (SHOOT, test initiated by the magazine. Penney assignment. the crossover dynamic bridging 12/16/05, p. 4). One of those The competition asked Glamour Mooney said he would soon spot industry talent and Sundance shorts, Dealbreaker, written and Continued on page 7 Continued on page 7

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SFTPMVUJPOEJHJUBMTUVEJPTDPN spot.com.mentary By Robert Goldrich A Tale Of Two Shows onsider it a tale of competition. Alternative the doomsayers who predicted that original fare produced for figuring more prominently—even two awards com- media spots thus will the demise of the thirty-second new platforms—computers, cell- becoming a driving force—in Cpetitions, but with be competing against spot, commercial production isn’t phones, PDAs—will be in line the creation and development similar storylines. In this and can potentially be dead; much of it is just changing to receive a traditional television of this new-media fare. It’s an week’s issue (page 16) is recognized alongside channels. There will always be award which until now had been awards milestone that parallels coverage of changes in commercials for televi- a call for the talent and expertise reserved exclusively for TV pro- in some respects the decision of store for the 2006 AICP sion and the cinema in needed to create motion picture grams. Entries for the competi- the North Hollywood-headquar- Show. For the first time, the Show’s Technique, imagery, and the same skills that tion must be produced for U.S. tered Academy of Television Arts the competition will be thorough- Concept and Specialty categories. make a brilliant television com- distribution and be created spe- and Sciences (ATAS) to create ly inclusive of work that appears For example, honorees in a cat- mercial are now being applied cifically for viewing online or via a primetime Emmy category for in nontraditional media such egory like Editorial could include elsewhere.” cellphone, iPod, video on demand commercials in ‘97. While that as iPods, PDAs and computer a TV commercial as well as a spot Meanwhile the New York- or other digital outlets. Content helped spotmaking gain broader screens. Across nearly all AICP created specifically for PDAs. based National Academy of distributed from Jan. 1, 2005 to based recognition, so too does Show categories, this fare will be Reflecting this expansion is the Television Arts & Sciences March 1, ’06 is eligible. The cat- the NATAS nontraditional media eligible for recognition alongside deletion of a single word from the (NATAS) has created an Emmy egory is open to Web site fare, category offer the opportunity for TV and cinema commercials. annual AICP Show’s longstand- Award category for Outstanding video blogs, mobisodes (short clients, ad agencies and produc- While several other major ing description, which changes Achievement in Content episodes made for viewing on tion houses to showcase their cre- advertising industry shows have from “The Art & Technique of the For Nontraditional Delivery phones), video on demand or ative prowess on a new stage—or set up separate categories and/or American Television Commercial” Platforms. The first such honor other content delivered digitally more accurately, platform. awards to recognize new media to “The Art & Technique of the will be bestowed at the 33rd or on wireless devices. content, the AICP Show becomes American Commercial.” annual Daytime Emmy Awards This represents a potential the first to honor work for all AICP president/CEO Matt on April 28. breakthrough for the advertising outlets virtually throughout its Miller explained, “Contrary to This will mark the first time community, which could find itself

THE LEADING NEWS PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Meet the Commish By Emily Vines January 13, 2006 Volume 47 • Number 1 ith hurricanes activity was happening gearing up to go in the Greater Schott: I really don’t know Katrina and prior to the hurricanes. New Orleans area. what the state of it is. All of EDITORIAL Rita over- SHOOT: I under- SHOOT: Those are three fea- our time is taken up by those Publisher & Editorial Director • Roberta Griefer W 203.227.1699 ext 13 • [email protected] whelming the state of stand that productions ture films? productions, whether they are Editor • Robert Goldrich Louisiana, and the for- that were filming when Schott: Yes, one of them commercial[s] or feature films, 818.884.2440 • [email protected] mer storm devastating Katrina hit were redis- is Déjà Vu, that’s the big one, that qualify for the incentive pro- Senior Editor/Creative & Production • Kristin Wilcha New Orleans in 2005, Alex Schott, tributed around the that’s for Disney Films. That gram. Our office is administer- 203.227.1699 ext 16 • [email protected] SHOOT checked in with state. was planning to go before—they ing that program and it’s going Sr. Editor/Technology & Postproduction • Carolyn Giardina director of 310.822.0211 • [email protected] Alex Schott, director of the Louisiana Schott: A majority of actually opened up offices just through a change right now so Reporter/Associate Online Editor • Emily Vines the Governor’s Office of the productions went up before Katrina hit and they were we’re actually trying to work 310.452.8917 • [email protected] Film and Television, to Governor’s to the northwestern part scheduled to shoot in the fall but with all of the producers and the Contributors Offi ce of Film Christine Champagne, Bill Dunlap, Art Smith, Tom Soter find out about the state of the state, which was a they wanted to use the city as people involved in wanting to ADVERTISING of filming in the Big and Television. positive thing for us. The the centerpiece of the film. Once shoot in the state and explaining 21 Charles Street #203 • Westport, CT 06880 Easy and beyond. With attractive ability to keep them here was the hurricane came through, they to them the changes and getting East/Midwest • Robert Alvarado incentives and rebuilding under- really important. And, other parts decided to either move it or push projects certified as they come 203.227.1699 ext. 15 • [email protected] West/Intl. • Roberta Griefer way, the film production indus- of the state got to see the impact it, but the director really wanted in. We don’t have many com- 203.227.1699 ext. 13 • [email protected] try should be a strong revenue the industry can have on its com- to film in New Orleans so they’re mercials that meet the thresh- source for the state in ’06. munity. looking at a late January/early old [$300,000], or the ones that OFFICES Schott: It looks like it’s going SHOOT: What is the over- February start date. And then the contact us are very few and far Main Office • 21 Charles Street #203 • Westport, CT 06880 203.227.1699 • Fax: 203.227.2787 to be a busy year. We had a lot all state of filming in Louisiana other two are independent films between. I do know from speak- West • 6520 Platt Avenue, #575 • West Hills, CA 91307 of inquiries toward the end of now? Deal and Labou, which was actu- ing with people in the industry 818.884.2440 • Fax: 203.227.2787 Circulation • Gerald Giannone 2005. We have a lot of produc- Schott: Right now we have the ally filming when the hurricane that the commercial industry is 203.227.1699 ext 12 • [email protected] tions that are itching to get back majority of productions shooting hit and they’re coming back to picking up. I know it was very Associate Production Manager/Shoot Reprints into Louisiana, into the southern in the northwestern part of the finish filming and do postpro- busy prior to the hurricane and and Article Rights • Michael Morgera part of the state where a lot of the state [and] we have three that are duction here in the city. now we’re starting to see more 203.227.1699 ext. 11 • [email protected] SHOOT: How is the city right commercials filter in. © 2006 DCA Business Media LLC now? How are you able to plan SHOOT: What was the pro- All rights reserved. No part of this publication FLASHBACK may be reproduced, stored in any retrieval 5 YEARS / 10 YEARS for these productions in the next duction distribution before the system, or transmitted, in any form or by any couple of months? hurricanes? Did other parts of means, electronic, mechanical, photocopying, 5 Years Ago recording, or otherwise, without the prior Schott: Really all we can the state like Shreveport (in the written permission of the publisher. ❑ JANUARY 12, 2001/Sound designer Reinhard Denke do right now is basically bring northern part of the state) host a is opening a new shop called stimmüng, Santa Monica, in together those people who are lot of production? partnership with two principals of production house Morton going to be the decision-makers Schott: No, actually the major- Jankel Zander: director Rocky Morton and executive with the people that would be ity of the productions were cen- producer David Zander….The Association of Creative impacted or affected or have the tered in the Greater New Orleans For Subscription Service Inquires Editors (AICE) is launching an awards show that will honor ability to get a film made in any area because of the logistics of and the best edited commercials….Editor Craig Lewandowski respective area. … We’ve had a the city, because of the hotels, Subscription Orders, Please call: has joined Edit Sweet, Chicago….Bicoastal/international lot of positive meetings with city the housing, the crew base. What 1.847.763.9620 officials and they’re very inter- infrastructure we do have for Chelsea Pictures has launched a music video division called SHOOT (ISSN# 1055-9825) printed edition ested in getting the industry back the industry, the service compa- is published bi-weekly except in January, July, Production League of America…. August, and December when published month- in the state because it certainly nies that were located here, the ly) for $125.00 per year by DCA Business stimulates an economy, because seeds of growth were forming Media LLC, at 21 Charles Street, Westport, 10 Years Ago CT 06880. Printed periodicals postage paid at it gets people working and it’s in the southeastern part of the Westport, CT and at additional mailing offices. ❑JANUARY 12, 1996/Music and sound design shop Machine certainly positive press because state. But, as we got more films, POSTMASTER: Send address changes to SHOOT, P.O. Box 2142, Skokie, IL 60076- Head, headquartered in Venice, Calif., is opening a New York you get a lot of exposure when we saw more starting to go out 9505. office, to be headed by producer Barbara Spenningsby, you have a film shooting in your into areas such as Baton Rouge, USPS (06-234) with resident sound designer Bill Chesley….Geroge Jecel, a area. Our message has been that Lafayette, and it just started to For SHOOT custom reprints please contact Michael Morgera 203.227.1699 ext. 11 or director formerly with bicoastal BFCS, is joining bicoastal The we’re open for business. move out into different parts of email to: [email protected] End for commercial representation….Dick Voss, former gen- SHOOT: Can you speak spe- the state. Once we got them here, SHOOT >e.dition published weekly except in January, July, August, and December eral manager/executive producer at Planet Blue, Hollywood, cifically to the state of commer- they started to look at other parts when twice monthly. cialmaking in Louisiana right of the state so we saw the seeds is joining Post Logic Studios, also in Hollywood…. Produced in U.S.A. now? Continued on page 5

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NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N

Director Lloyd Stein Makes Crossroads Career Decision By Robert Goldrich the famed “Whassup?” fare, earned LOS ANGELES—Director Lloyd such accolades as a Gold Clio, a Stein, best known for his work in Cannes International Advertising comedy, has joined Crossroads Festival Bronze Lion, and an honor Films, bicoastal and Chicago. He in the dialogue/monologue category comes over from Headquarters, a of the Association of Independent longstanding shop that is slated to Commercial Producers (AICP) close at month’s end (see story, p. 1). Show. Goodby, Silverstein & Stein had been with Headquarters Partners, San Francisco, was the for the past six years. agency. Stein has already helmed his Stein is no stranger to Super first job at Crossroads, a humor- Sunday. For the ’00 Super Bowl— ous McDonald’s ad for Burrell, which was dubbed the Dot-com Chicago. Stein’s most recent Bowl due to the fact that some 20 endeavors at Headquarters included percent of the Big Game’s ad slots commercials for Mercedes-Benz had been bought by Web site cli- (From L to R): Filmspotting Grand Prize winner Carmelle Flanagan of Kutz, AICE Detroit VP Terry King and Arby’s via Merkley + Partners, ents—Stein directed a Computer. of STS Editorial (now Griot), and Kutz owner Dennis Kutzen. New York, and Trex for Carmichael com spot via Merkley Newman Lynch, Minneapolis. Harty (now Merkley + Partners), Over the years, Stein’s work has New York. garnered numerous awards. For AICE Detroit Celebrates Rising example, he directed Budweiser’s CREATIVE PEDIGREE “What Are You Doing?” which The director also brings a cre- debuted during the 2001 Super ative pedigree to Crossroads. Stein Talent With Filmspotting Event Bowl telecast. The spot, which was got his start in the business as a Using Clever Approaches, Assistant Editors From AICE Member a preppie/yuppie send-up version of Continued on page 19 Companies Cut Footage From Features To Create Commercials By Emily Vines DETROIT—For several years local chapters of the Framestore, Digital Domain Association of Independent Creative Editors (AICE) in Earn VES Spot Nominations Chicago, New York, Los Angeles, and more recently in Toronto and Dallas, have given assistant editors (and occasionally other editorial house staffers) an opportu- By Carolyn Giardina work in year one and a pair of LOS ANGELES—Visual effects commercial nominations in year nity to showcase their talents by cutting trailers for famous movies, often against talent from Framestore-CFC, two. Also of note, every nomi- genre, in Trailer Park Festivals. For the past two years the Detroit chapter has London and New York, earned nation and win in this category deviated from the Trailer Park model to celebrate assistants and their spot-cutting two of the three nominations for for Framestore—this year and the outstanding visual effects in the past three years—were abilities. In the most recent event, the 2005 competition that took place last month, in a commercial category in helmed by Daniel Kleinman, assistant editor Carmelle Flanagan of Kutz, Farmington Hills, Mich., won for her the 4th Annual Visual Effects who now maintains Kleinman spot “Scream.” Society (VES) Awards. The Productions in London. And third nomination went to art- DD’s current and past nomina- The rules for the 13 entrants were simple: cut a :30 or :60 spot for a real or fic- ists from Venice, Calif.-based tions in the spot category were tional product using footage from the following feature films: Rashoman (1950), Digital Domain (DD). all directed by David Fincher of Both companies have dom- bicoastal Anonymous Content. Moulin Rouge! (2001) and Sideways (2004). Flanagan combined images from these inated the commercial visual This years’ commercial films to relate the advantages of drinking decaffeinated Sanka. effects category since the debut nominees are: William Bartlett, As “Scream” begins, a question appears on screen asking, “Feeling stressed?” of the VES Awards in 2003. Scott Griffin, Jake Mengers, and Framestore won the commer- Andrew Boyd for Framestore’s Then main characters from the movies are shown, one hectically running around, cial trophy in the first and sec- Esuvee “Keep it on all Fours”; while two others seem quite nervous. “On edge?” the questioning continues as ten- ond year that VES bestowed the Bartlett, Griffin, Boyd and sion from the music builds around the footage. As the characters demonstrate that awards, and was a finalist for Dan Seddon for Framestore’s Continued on page 21 its spot work a year ago. DD Guiness “noitulovE” (a.k.a. earned a nomination for spot Continued on page 6 Director Jennifer Little Joins A Band Apart Curious Pics Signs Comedy Canadian Helmer Lands Her First Stateside Representation For Commercials Director Moran For Spots By Robert Goldrich Toronto, won a Bessie Award for tor Jeff Armstrong cited Little’s LOS ANGELES—Director direction. The Bessie competition ability to direct talent and her expe- By Robert Goldrich artists, regardless of whether Jennifer Little has signed with is a leading Canadian awards show. rience in varied media, including NEW YORK—Comedy director or not they work as animators. A Band Apart, Los Angeles, for On the TV program front, last TV, commercials and live theater. Kenan Moran has signed with I’ve been a fan of Kenan for a exclusive spot representation in the year Little helmed two episodes of He said that Little’s work “shows Curious Pictures for exclusive long time, and Comedy Central U.S. This marks her first stateside the reality series Crash Test Mommy great restraint and allows the story TV commercial representation. proved to us how strong he is representation. She continues to for Canadian broadcaster Atlantis to breathe without rushing to the He comes aboard after wrapping conceptually.” be handled in Canada by Circle Alliance. She is currently slated to gag and tag lines. She also produces a freelance assignment through Moran wrote three of the Productions, Vancouver, B.C., and direct four more episodes. clean, contemporary film in both the shop, a seven-spot image spots in the campaign, and co- Toronto. Little holds degrees in acting her advertising and her entertain- campaign for Comedy Central. wrote two others. The Comedy Little has been active in com- from Ryerson Theatre School, ment work.” Moran, who previously was Central project enabled him to mercials and episodic television in Toronto, and in film and philoso- With her early experience in act- with Public Domain, New York, return to his broadcast promo Canada. Her spot credits include phy from the University of Toronto. ing, Little related that she has an brings extensive live-action expe- roots. Earlier in his career, he work for such clients as Ford via She worked as a camera operator affinity for actors and spots with rience to Curious, a New York- was a senior producer at MTV’s Young & Rubicam, Vancouver, the and assistant director on a variety dialogue, particularly realistic, per- headquartered house that’s been on-air promotion department. British Columbia Lotto for TBWA, of feature and TV projects. She also formance-driven ads. She added best known for its animation and Each Comedy Central spot Vancouver, and Moule Designer directed several shorts, including that she was drawn to A Band Apart mixed media work. Company shows a prank gone terribly awry, Gifts out of agency Rethink, one that screened at the World Film by its involvement in different executive producer Mary Knox with the tagline, “Comedy is Toronto. The latter, “The Big Tiff” Festival in Montreal. media and its strong presence in the related, “I think of Curious as dangerous. Please, leave it to the produced by Applebox Productions, A Band Apart’s managing direc- commercials market. a collection of extremely smart Continued on page 6

Page 4 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N Louisiana Hopes Film Biz Will Help The State’s Economy Continued from page 2 Schott: That wasn’t anything. more of the service industries Technically, they earn a tax cred- legislators, and the governor and That’s insignificant to tell you the with a permanent presence in the it but that is quickly converted lieutenant governor’s support, they started to look at other parts truth. It was just a little something state so it all ties in together with to “cash” which translates to a it’s really been at all levels some- of the state so we saw the seeds extra for the companies to come the increased Louisiana spend bottom-line savings on their pro- thing that’s paid off for the entire of that coming, but overall there here, but it wasn’t anything that and at the same time building up duction, and that is what drives state. And with the devastation of wasn’t any kind of film activity in affected their decisions. That was the industry so that it remains a the industry to Louisiana. It is the hurricane, we certainly view other parts of the state like there a decision based upon what was permanent presence. also a very streamlined program it as something that can really was in the southeastern part. needed and what wasn’t needed SHOOT: What makes with no red tape or bureaucracy help put Louisiana back to where SHOOT: And you’ve seen and right now we need to focus Louisiana’s incentives competi- to navigate. it was before and it was one of the relocation of productions in on more money being spent in tive? …There is no question that the fastest growing industries in Louisiana benefit the state? the state and to grow that infra- Schott: The way production the incentive program has been the state. There’s no reason to Schott: Oh, yeah because if structure. To increase that base companies essentially earn a a resounding success. Also, with think that it won’t continue to be you only have one part of the of production you need to have rebate for shooting in the state. the support of the locals and the in 2006. state benefiting from the state- wide incentive, then you’ll always have grumblings that it doesn’t benefit other parts of the state. But when you have that statewide incentive bringing in these companies to other parts of SCOUT ON-LINE! PRODUCTIONS SERVICES...ANY TIME,ANY LOCATION. the state, they get to see the eco- SCOUT ON-LINE! PRODUCTIONS SERVICES...ANY TIME,ANY LOCATION. nomic impact and the importance of what the industry can bring to your community. So to have the industry go to other parts of the state was certainly a posi- tive because they got basically a piece of the action. SHOOT: What is the state of the infrastructure in Louisiana right now? Schott: It was certainly grow- ing and I think that as with any infrastructure in most parts of the state right now, we’re in a rebuilding phase and there is an infrastructure tax credit on the books now for building up the industry, which was instituted last summer before the hurricane but now I think we are going to see more rental service compa- nies and sound stages and post- production facilities and things that would certainly come about if we continue to have the activ- Locations ity that we have been seeing over the past three years. … The infrastructure credit is for state-of-the-art facilities, something that contributes to the growth of the industry. SHOOT: Can you tell me about the other incentives that you have and how they changed as of the first of this year? Schott: The sales tax exemp- • • tion is no longer available [now UNIVERSAL STUDIOS NBC BURBANK NBC NEW YORK it’s just the labor tax credit and the investor tax credit]. [The changes] tie into wanting the industry to have a permanent presence in the state and it’s tied to the Louisiana expenditures, so the more money that they spend here, the more money they earn. It’s based upon indigenous local spend only as opposed to out-of- state spend and it’s also tied to local hires so the more people they hire, the local employment level is more, it’s incentivizing to them to hire as many people as possible because they earn cred- its based upon that … basically we are not incentivizing out-of- state spend anymore. It’s strictly in-state spend. SHOOT: How is removing the sales tax exemption going to 800.892.1979 THE FILMMAKERS DESTINATION WWW.NBCUNI.COM/STUDIO impact your efforts?

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Framestore, Digital Domain Garner VES Spot

Hot in ’06: HD Innovation Continued from page 4 By Carolyn Giardina “Evolution”); and Eric Barba, elcome to HD Essentials, SHOOT’s new weekly column Lisa Beroud, Janelle Croshaw, designed to help the advertising production community Greg Teegarden for DD’s Wnavigate through developments in high definition production, Motorola “PEBL.” post and distribution—and interpret how they influence the creative The Kleinman-directed process. “Keep it on all Fours” was con- This is not a new mission, but a continuing one. But at this stage ceived by BBH, New York. It of the game, the technology and business of HD is evolving at a rapid features a rodeo scene, where pace and growing increasingly complex. So SHOOT will be using this competitors ride strange CG space each week to track new developments on the business, tech- beasts called “Esuvees”—crea- nology and creative fronts. That will include breaking news, in-depth tures intended to personify the interviews, profiles, case studies, and analysis. spirit of the vehicles. To start, let’s take a look at what are already shaping up to be big “NoitulovE,” helmed by HD stories in 2006, beginning with news from the recent Consumer Kleinman, was created by Electronics Show (CES) in Las Vegas. Reflecting HD interest, the exhi- London’s AMV BBDO and Motorola’s “PEBL” bition included developments in display technologies, such as organic essentially starts at the end, as light emitting diode and surface-conduction electron-emitting display, it were, with three men in a bar senting Motorola’s new PEBL Framestore; and Bert Yukich along with other related HD innovations. raising their pints and enjoy- phone, and the spot is a trip of Los Angeles-based Kroma “We’ll look back in the not too distant future and see 2005 was the ing their first sip of Guinness. through the ages—a time lapse for the visual effects on Rob tipping point year for digital television (DTV) when Americans bought The men move in backwards- through thousands of years of Thomas’ “Lonely No More.” some 12 million DTV sets—nearly more than all the prior years of DTV motion out of the bar and into evolution. The spot was cre- The 4th Annual VES Awards sales combined,” asserted Consumer Electronics Association (CEA) the street. We follow them a ated by 180 Communications, will recognize outstanding president/CEO Gary Shapiro during his opening keynote. And CEA’s few paces, noticing that their Amsterdam. visual effects in 20 categories sales projections forecast that HDTV sets will outsell analog sets by 89 clothing has already become Fincher also helmed previ- of film, television, commer- percent in ’06, reaching total unit sales of 15.9 million and contributing Edwardian. Scenes continue to ous VES commercial catego- cials, music videos and games. to over $23 billion in total DTV revenue. shift backward and down the ry nominees for DD: adidas’ Nominees were chosen on Jan. The DVD format is also likely to make big news in ’06, as there are evolutionary chain where view- “Mechanical Legs”; “Nike 7 by a panel of over 60 visual currently two incompatible high-definition DVD formats vying to be the ers see prehistoric flightless bird Gamebreakers” and Nike’s effects professionals, all VES next generation of DVD. To some, this topic is already reminiscent creatures, tiny dinosaurs, and “Speed Chain.” members, who viewed hun- of the Betamax / VHS fiasco of 20 years ago. This year’s drama pits finally mudskippers. This year, Fincher also dreds of entries at the screen- supporters of Blu-Ray Disc technology, led by Sony Corp., against the Kleinman also directed helmed a nominee for outstand- ing facilities of FotoKem in incompatible players and media based on HD DVD technology and Framestore’s prior VES wins ing visual effects in a music Burbank. A complete list of championed by a Toshiba Corp.-led group. in the commercials category: video, Nine Inch Nails’ “Only”, nominees can be found at www. Meanwhile, a big legislative decision is likely to occur when XBOX’s “Mosquito” in 2003 which was created at DD and vesawards.com. Congress returns to session. It is expected that it will approve of leg- and Johnnie Walker’s “Fish” in earned nominations for Jay The awards process contin- islation setting a 2009 date for the completion of the transition from 2004, as well as last year’s nom- Barton, Jim Gaczkowski, Barba ues with the VES Show and analog to digital broadcasting, a date that was originally set for Dec. inee, Johnnie Walker’s “Tree”. and Beroud. Rounding out Tell, which will be held Jan. 21 31, 2006 by the FCC’s Fifth Report and Order in December ’96. This year’s evolution this category is The Chemical at the Skirball Cultural Center On the broadcast front, as 2006 begins, available HD content theme continued in Motorola’s Brothers’ “Believe” from Ben in Los Angeles. Winners will remains on the rise. The major networks are broadcasting all (CBS “PEBL,” which teamed DD with Cronin, Rebecca Barbour, be announced at the 4th Annual and ABC) or much (NBC) of their primetime programming in HD. As Fincher. Here the spot features Andrew Boyd, Jamie Isles, who VES Awards on Feb. 15 at the well, the number of HD cable channels has increased dramatically and photoreal CG imagery repre- created the visual effects at Hollywood Palladium. today includes HBO, Showtime, ESPN, HDNET and many more. HDTV momentum also continues in parts of the world including Australia, Japan, Korea, Canada and a growing number of European Curious Signs Director Kenan Moran countries. Continued from page 4 Next month, the 2006 Winter Olympics in Torino, Italy, will be shown to help enhance the live-action- ing Zoo TV, which featured in HD for countries where the broadcast is available. And, HD and professionals.” In “Billboard,” based comedic storytelling. Moran’s parody spots. international sports will make news this year in the form of additional for example, a guy who’s Moran said he is looking forward In ’97, Moran joined the for- high profile events such as the FIFA World Cup to be staged this sum- climbed up one in the middle of to further tapping into the cre- mer Slavin/Schaffer Films and mer in Germany. the night to alter its message into ative resources—artisans, tools, then was affiliated with Half Moving from broadcasting to theatrical exhibition, the rapid growth something rude tumbles off the and ideas—at Curious. On the Baked Productions, New York. of cinema advertising and the promise of digital cinema offer another catwalk as he does a premature tools front, he is intrigued by the In ’99, Moran signed with important outlet for HD-produced advertising. To the latter, plans by celebratory dance. In “Xerox,” prospects of Curious’ motion- now defunct Compass Films, various stakeholders have already been announced for larger scale a heavyset office worker can’t capture system, billed as being where he won a Gold Clio in D-Cinema deployment in ’06, and alternative advertising and content resist the after-hours tempta- the only one in New York, and ’00 for a Companion Animal opportunities are part of the business model. Meanwhile, as part of tion to photocopy his butt. His its potential to create characters Placement PSA and began an effort to reduce the technological barriers, SMPTE is expected to weight, though, cracks the copier than he can animate in real time. building a national reel with complete its digital cinema standards by year’s end. machine’s glass plate, leaving The mo-cap system was used spots for Eggo and Cascade. Simultaneously, production and post technology for the high end is him stuck. He tries to pull him- to create a number of the comic In ’02, Moran moved over maturing, while low cost prosumer HD camcorders and desktop editing self up by a power cord from effects in the Comedy Central to Public Domain, helming tools are enabling HD for the masses. a window air conditioner unit. package. commercials for such clients New formats such as HDV are emerging, but formats could be one Instead the unit falls on his head Moran broke into the busi- as adidas, Nintendo. Burger of the most complex changes that this industry faces. in Wile E. Coyote style. And ness at Jim Henson Productions, King, EA Sports, the Texas In commercial production, a new format once translated to a new in “Pants’d,” a man sneaks up New York, moving up the ranks Department of Transportation type of videotape with higher resolution, and a different size or shape. behind his buddy who’s shoot- from janitor to production assis- and Comcast Digital Cable. A Today, that is not always the case. The next thing looming on the hori- ing baskets from mid-court and tant. In 1990, he joined MTV’s Captain Morgan Rum commer- zon is not videotape but data, a high-resolution combination of zeros yanks his pants down. But the on-air promo department, pro- cial gave him the opportunity and ones. Here, frames are now files—files that need to be stored and joke is on the prankster when ducing and directing his own to again direct celebrities, as he managed. Working in this new environment will require learning new the victim, trousers around his concepts, with work earning did on occasion while at MTV. concepts, new techniques and new processes. ankles, loses his balance and falls Cable Aces, as well as Peabody Clinton administration strate- With all of this in mind, SHOOT chose this month to launch HD onto the perpetrator’s head, bury- Awards and daytime Emmys. gist James Carville appeared in Essentials as a forum for the advertising production community. I have ing it (with the aid of a Flame) “That’s where I became a film- the Captain Morgan ad. been privileged to work with so many of you while covering HD over where the sun doesn’t shine. maker and learned about strong Moran joins a Curious direc- the years. I thank you for sharing your insights and expertise, and look Besides affording Moran the brand positioning,” recollect- torial roster that includes Eric forward to working with all of you in the coming year. opportunity to push the come- ed Moran of his MTV days. Fogel, Stefan Nadelman, Steve dy envelope, the campaign also Toward the end of his tenure Oakes, Joan Raspo, Saul and SHOOT’s senior editor, technology and postproduction Carolyn Giardina enabled him to collaborate with there, which ran through ’96, Elliot, Tom Warburton and Mo can be reached at 310-822-0211 or at [email protected]. Curious visual effects artisans he also directed shows, includ- Willems.

Page 6 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N Study From Shorts To Features, Spotmakers To Hall Make Mark At Sundance Film Festival Bits & Bytes of Food For Thought Continued from page 1 the FBI’s Most Wanted List. ed by Daniel Mulloy, is about a • Art School Confidential, young man and his friends trying A LOOK AD SPENDING IN 2005 AND AHEAD TO 2006 readers to write a short essay directed by Terry Zwigoff, a fea- to accommodate a father’s needs. A recent issue of the Universal McCann Insider’s Report noted Robert about an event, encounter or ture filmmaker who’s handled The short was edited by Dan J. Coen’s 2006 advertising predictions as presented at the December UBS moment in their lives that made for spots by Independent Media, Robinson of Cut+Run, London. Global Media Conference. He pointed out that advertising growth last them victorious, stronger and/or Santa Monica. In this movie, • And A Supermarket Love year failed to outpace 2005’s GDP growth of 6.3%. Though economic wiser. an art school student becomes Song, directed by Daniel Outram. conditions did improve in ‘05, national marketers stayed cautious, the Some of Hollywood’s top embroiled in a murder that makes In this short, a teenaged commu- article reports. The projection for total national advertising in ’05 is now female talent was recruited for him a celebrity. nity service volunteer takes an in excess of $177.14 billion, a 6% gain over the previous year. Fourth the Reel Moments shorts—four • Old Joy, directed by Kelly elderly man to the supermarket. quarter revenue data for broadcast television networks should result in a of which are on Glamour.com. Reichardt. This film is a pro- Again the editor was Cut+Run’s full-year gain of about 1% at best. Based on 2005 projections, advertising Dealbreaker is not yet on that duction of Washington Square Robinson. spending changes have been modest with the exception of mail advertis- site in that Sundance prohibits Films, a New York-based house ing. The first half of 2005 shows a 5% increase in number of pieces of Web broadcasts of films being with roots in commercialmak- mail sent at the regular standard mail rate. The trend is attributed to shown at the festival. All five ing. Washington Square Films’ Headquarters telemarketing restrictions and a desire for immediate measurable short- shorts, though, are on a DVD spot director Peter Sillen served term responses. Coen anticipates a continuation and expansion of these contained in the January issue of as DP on the movie, which is an programs in ’06. In this new year, national advertising is expected to Glamour. account of two old friends who Set To Close increase at a somewhat faster pace than it did last year and its growth Dealbreaker was Paltrow’s reunite for a camping trip that Continued from page 1 should outpace general economic growth. The combination of national and first turn behind the camera and takes them through a series of be at liberty to discuss his future local marketers spending for advertising next year is projected for a total her longtime friend Wigmore’s emotional and spiritual discover- plans, which entail his con- of $292.0 billion, indicating a 5.8% gain over ’05. (source: Center for initial narrative directing expe- ies. tinuing in the production com- Media Research: [email protected]) rience. Julie Drazen edited the • Additionally, Washington pany arena. Meanwhile Cornell short through 89 Editorial, New Square Films’ newly formed is slated to join Form, the Los ONLINE SPENDING DURING THE HOLIDAYS UP 25% York. WSF Independent Film Sales Angeles-headquartered house Excluding travel spending, online consumer spending from Nov. 1 Division will be representing two headed by executive producer through Dec. 25 totaled $18.11 billion dollars according to comScore FEATURE ATTRACTIONS films slated for Sundance screen- Craig Rodgers and director Jesse Networks. This is a 25% increase from the corresponding period in 2004 Among the feature premieres ing: Flannel Pajamas written Dylan. that saw $14.50 billion in spending. The top three product categories for from talent with ties to the spot- and directed by Jeff Lipsky; and Headquarters is meeting all online holiday spending were computer hardware including peripherals and making biz are: Salvage, a thriller co-directed by its financial obligations, said PDAs at $4.1 billion and a 14% rise from ‘04, apparel and accessories • Thank You For Not Smoking, Joshua and Jeffrey Crook. Mooney. “The timing for this at $3.0 billion and a change of 37%, and consumer electronics excluding from director/screenwriter Jason [company closure] is right… PC peripherals at $1.3 billion, which represents a 20% change over ‘04. Reitman, who helms spots via Tate SHORT TAKES We’re coming off of a pretty Online sales of gift certificates saw a 19% increase over ‘04. The top 10 USA, Santa Monica. This satirical Returning to the shorts leg of good year and are able to honor retail sites measured by total visits are eBay, Amazon sites, Wal-Mart, comedy follows the machinations Sundance, 73 films were select- all our commitments.” Apple Computers, Target Corporation, Dell, Toys”R”Us sites, Overstock. of Big Tobacco’s chief spokesman ed from a total of 4,327 short Mooney observed that com, Best Buy sites and Circuit City stores, Inc. (source: comScore who manages “spin” on behalf of submissions. In addition to the Headquarters’ business model Networks: www.comscore.com) cigarettes while trying to remain aforementioned Dealbreaker, wasn’t ideal in the current mar- a positive role model for his 12- the Sundance shorts that com- ketplace. “Headquarters has been IS NEW YORK LOSING ITS CREATIVE EDGE? year-old son. mercialmaking artisans were a mid-sized company and those The Center for an Urban Future, a New York-based think tank dedi- • Director/screenwriter Michel involved in include: types of shops are really feeling cated to independent, fact-based research about critcal issues affecting Gondry brings The Science of • An animation film, At The the squeeze today,” he related. New York’s future, recently released the findings of Creative New York, Sleep to Sundance. Gondry’s Quinte Hotel, directed by Bruce “We weren’t a small boutique. the first comprehensive report to focus on the economic importance of commercialmaking roost is Alcock of Global Mechanic, And we weren’t a huge house— New York’s creative industries. Supported by a grant from The Rockefeller bicoastal/international Partizan. Vancouver, B.C., and Boston. This but we had bicoastal operations Foundation, Creative New York provides a new, complete definition of The Science of Sleep centers on animated version of the Al Purdy and the overhead that went with New York’s creative core and delineates the unique set of public policy a man held captive by the people poem features a man who waxes that.” By being mid-sized, he challenges confronting this sector. The study, co-authored by Mt. Auburn in his dreams. He tries to wake on about various topics, including added, the company was affected Associates, defines New York’s creative economy in its entirety - from himself up and take control of his beer, in a small-town basement more dramatically by the comings nonprofit arts and cultural organizations to for-profit creative businesses own imaginings. tavern. Alcock directs commer- and goings of directorial talent. such as advertising firms, film production companies, and publishers, • Little Miss Sunshine, directed cials via Global Mechanic. The decision to close the to the individual creative workers who drive them. When examined as a by Jonathan Dayton and Valerie • Aruba, helmed by Hubert longstanding Headquarters was single entity, New York’s creative core represents a vital sector that is Faris, the spot helming duo from Davis, who directs spots via “painful,” said Mooney, who’s often overlooked in favor of the traditional industries (like finance, insur- Bob Industries, Santa Monica. Toronto-based Untitled’s Runt actually worked with Cornell ance and real estate) that contribute to the city’s economy. Creative New The film tells the story of a fam- division. The film tells the story for the past 16 years, the first York makes a persuasive case that this sector is as vital to the city’s ily determined to get their young of a young boy who uses his two at the former Spots Films. economy as it is to its creative life. The study provides an overview of daughter into the finals of a beau- imagination to escape a home “But it was the right decision the challenges to New York’s dominance in the creative industries. The ty pageant. life marked by domestic violence for Headquarters to go out with study reports that although only London has a larger creative workforce, • The Secret Life of Words, and drug abuse. dignity as we all continue our New York’s longtime preeminence in the creative industries is threatened directed by Isabel Coixet, whose • Losing Lusk, directed by careers in the industry.” by a growing number of cities, both domestically and abroad, that are spotmaking home is Santa Vance Malone, who helms spots Mooney said Headquarters’ developing comprehensive economic development strategies to attract and Monica-based Carbo Films. In via Food Chain Films, Portland, directors knew of the plan to shutter support creative workers.“We intend the Creative New York study to be this film from Spain, a nurse for- Ore. The short focuses on a operations for some time, enabling the catalyst for policymakers, creative professionals and local advocates goes her first holiday in years, young man who leaves the small them to explore their production to discuss the importance of sustaining the City’s creative economy,” said instead opting to travel to a remote town of Lusk, Wyoming. house prospects in recent months. Robin Keegan, a Fellow with the Center for an Urban Future and co-author oil rig where she cares for a man • Bugcrush, directed by Carter Director Lloyd Stein, for example, of the report. To access the entire Creative New York study, visit the suffering from severe burns. Smith whose spotmaking roost who’s been with Headquarters since Center’s website at www.nycfuture.org. • The Illusionist, directed by is bicoastal Park Pictures. The late ’99, has joined Crossroads spotmaking veteran Neil Burger. film centers on a high school Films, bicoastal and Chicago (see ONLINE ADVERTISING PREDICTION THRU 2010 In this film set in Vienna, a magi- loner who is led by a “friend” story, p. 7). Headquarters’ director JupiterResearch forecasts that spending on online display and search cian uses his talents to win the along a sinister, destructive path. Agust Baldursson has signed with advertising will increase at an average annual rate of 10% between 2005 love of a woman far above his The short was edited by Holle bicoastal/international Partizan. and ’10. Media and entertainment as well as the financial services and social standing. Singer, a partner at Consulate, And tabletop director Jerry automotive industries will drive the growth. According to the research, the • Alpha Dog from feature film- New York. Simpson has joined the newly industries expected to see the most impressive growth during that time maker Nick Cassavetes, who is • Gopher Broke, an Oscar- formed New York production period are automotive with an expected average of 24% and travel with a repped as a commercials director nominated animation short, house Nola. 13% average. The report, “U.S. Category Advertising Forecast, 2005 to via Creative Film Management directed by Jeff Fowler via Blur The other Headquarters’ direc- 2010,” examines the driving forces behind online spending for top catego- International, New York. This Studio, a Venice-based CGI/ani- tors being courted by various ries and online advertising spending plans for branding-focused categories. drama is based on the real life of mation house active in spots. companies include Eric King, The report finds that health and consumer packaged goods companies do a suburban drug dealer who made • Antonio’s Breakfast, direct- Matt Ogens and Richie Smyth. not spend a great deal online, but their focus on branding will propel them toward different media to deliver their consumer messaging. (source: Page 7 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 JupiterResearch: www.jupitermedia.com )

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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 Bryan Buckley Makes The Grass Greener For Ace Spot Out Of Goodby Silverstein & Partners, San Francisco, Spoofs Home Improvement Shows

By Christine Champagne

f you watch any of those TOP SPOT home improvement shows OF THE WEEK Ithat populate the airwaves these days, you can’t help but notice that the hosts and designers essentially assault Client homeowners, oftentimes strong-arming them into mak- Ace Hardware ing “improvements” that aren’t so great. The same thing hap- Production Company pens in a new series of comical Ace Hardware spots created by Goodby Silverstein & Partners, Hungry Man, bicoastal. San Francisco, and directed by Bryan Buckley, director; Scott Bryan Buckley of bicoastal/ Henriksen, DP; Stephen Orent, international Hungry Man that partner/executive producer; spoofs the home improvement Dan Duffy, executive producer; show genre. One of the com- mercials entitled “Grass” is Caroline Gibney, head of produc- Top Spot of the Week. tion; Tom Rossano, staff producer; Like all of the other ads in Kevin Byrne, producer; Steve the campaign, “Grass” finds a Ruggieri, production supervisor. homeowner returning from a Shot on location in Los Angeles. trip to an Ace Hardware store holding the supplies that he Agency intends to use for a specific #,)#+(%2%4/6)%730/4 project. In the case of “Grass,” the homeowner has just gotten Light out of DDB Chicago, came up through modeling and sion. Shooting on video had Goodby Silverstein & Partners, back home from the store with Mapp was one of the talents probably didn’t know a thing the added advantage of giving San Francisco. sacks of remedies to apply to behind the Ikea “Lamp” spot about home improvement, Buckley the luxury of doing Jeff Goodby, creative director/ his patchy front lawn. (a previous SHOOT Top Spot) and in keeping with that idea, a lot of takes, which, in turn, But as the homeowner exits during a stint at Crispin Porter Buckley gave the guy a very gave editor Ian Mackenzie of principal; Bob Winter, copywriter; his car, a crew from Shortcutz, + Bogusky in Miami. 1980’s wardrobe—think white Mackenzie Cutler, New York, Steve Mapp, art director; Tod a fictional home improvement Secondly, they came up with Reeboks and tight pants and some flexibility as to estab- Puckett, executive producer. shows, descends upon him, a fantastic concept for Ace polo shirts. “[The Shortcutz lishing tone. and the show’s cheesy host Hardware. “I thought for Ace host’s] best days were when he Additionally, Buckley did Editorial/Post insists that he can give this guy it seemed like such a bold and was 21 or 22 and was an under- takes with and without the a new green lawn. Before the potentially different direction wear model,” Buckley mused. Shortcutz helpers that we see man can even object, two crew for them to go into,” Buckley “The white Reeboks and tight dash into the scene, ripping Mackenzie Cutler, New York. members from the show rip his shared. “So I was excited about the Ace Hardware bags out of Ian Mackenzie, editor; Jimmy bags out of his hands, and the trying to create the [Shortcutz] the homeowner’s hands. That’s Hayhow, Smoke artist; John team gets to work. show and take Ace to a whole “I thought for Ace because those two characters Geehreng, assistant Smoke artist. By the end of the spot, the other place.” weren’t in the original boards Ntropic, San Francisco. man does indeed have a new Buckley wasn’t intimate- it seemed like that the client had seen. lawn—a spray painted lawn. It ly familiar with the current Jimi Simmons, Matt Tremaglio looks like the Shortcutz team home improvement show such a bold and LAWN AND ORDER and Cole Schreiber, Flame artists. really does take shortcuts. If genre before taking on the Ace potentially differ- All in all, the shoot went only the man had stuck with Hardware assignment, so he quite smoothly, Buckley report- Sound his plan of using the products immersed himself in it. The ent direction for ed, and everyone involved was he bought at Ace Hardware to director remarked on how them to go into,” a real pro—even the squirrel Ripe Sound, San Rafael, Calif. fix his lawn. “Don’t fall for different home improvement that we see walking about the Andy Newell, sound designer. Shortcutz. For the right prod- shows are today compared to lawn toward the end of the ucts and advice, come to Ace— show’s like This Old House —Director Bryan spot. Crescendo Studios, San the helpful place,” a voiceover that first became popular in the Buckley Especially impressive Francisco. at the spot concludes. 1980s. “When you think back was the actor who played the Dave Baker, mixer. to home improvement stuff Shortcutz host, according to the THE SEED OF AN IDEA from a few years back, it was pants and shirt worked for him director. “He had never done The concept for “Grass” always a guy in a flannel shirt then, so that’s what he’s in anything comedic before,” pealing one. and the four other spots in and that whole bit,” Buckley today. He’s locked into that Buckley noted of Bresk. “And Thankfully for the actual the campaign—all directed commented, “and now it’s not look.” he was so funny and flex- homeowners, the crew removed by Buckley—came from the that at all. It’s Ty Pennington With their host cast, Buckley ible—he could do things like the lawn at the end of the shoot minds of Goodby’s Bob Winter and that whole schmaltzy, ‘I and his crew, including DP Jujitsu.” Bresk’s Jujitsu moves and replaced it with nice new and Steve Mapp, copywriter care about you, but I’m the Scott Henriksen, shot the Ace are on display in the opening sod. That had to help take the and art director, respectively. coolest guy around!’ ” Hardware spots over the course of “Grass.” He makes quite an sting out of having their home (They weren’t available for an Given the fact that these of four days on location in Los entrance into the scene. selected for a spot because of interview at press time.) shows are now personality driv- Angeles. For “Grass,” they Aside from Bresk as the the pathetic lawn. Buckley was eager to work en, Buckley’s first priority was shot at a nondescript house obnoxious Shortcutz host, the Actually, the homeowners with the two creatives for a to cast the right guy to play the with a bad lawn. lawn itself was a key charac- weren’t insulted at all when couple of reasons. First of all, Shortcutz host. He went with a “Grass”—as well as the ter in the spot. Buckley and they were approached, Buckley they have great credentials, the good-looking actor named Carl other spots—were shot on his crew really did spray paint said. “Believe me,” Buckley director said. While Winter’s Bresk. In constructing a back- video in an effort to mimic it, experimenting with various said, “these people were like, resume includes the “Real Men story for the Shortcutz host, the look of the home improve- shades of green before settling ‘We’ll take the money and a of Genius” campaign for Bud Buckley envisioned a guy who ment shows we see on televi- on the most appropriate unap- new lawn!’

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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 Arnold Worldwide Creates A Poignant “Car” Shoot Biscuit Filmworks’ Jeffrey Fleisig Directs Horizons For Homeless Children’s PSA By Robert Goldrich

eeing a youngster getting tucked into bed is a slice of Americana that would make SNorman Rockwell proud. However, this sleep-well, sweet-dreams scenario tugs at the heartstrings in quite a different way as depicted in this PSA from Arnold Worldwide, Boston. We open on a mother kissing her young son good night. He then asks her to also kiss #,)#+(%2%4/6)%730/4 Smokey, a stuffed animal. She obliges, addition- ally wishing a peaceful slumber for Smokey. The organization also administers the Playspace program to facilitate healthy play activi- As her son and Smokey settle under the covers, the mom puts her head down, presum- ties for kids living in homeless shelters. Horizons teams with shelter residents and staff to ably to stay until the lad is fast asleep. She turns off the light. design and build age-appropriate kid-friendly spaces that come equipped with libraries, However what we’re about to see is sadly illuminating. The camera cuts from the scene building blocks, art supplies and other resources to challenge children physically and cre- to reveal that mother and child are not safe and snug in bed at home. Instead, they are sleep- atively. The initiative recruits, trains and places volunteers in shelter Playspaces to supervise ing inside a car that’s situated in a dimly lit parking lot at night. and engage the kids in fun, educational play so that they can grow and develop their imagi- A super against this sobering backdrop simply reads, “There are 20,000 homeless chil- nations. Horizons’ goal is to create a positive and stimulating environment for homeless dren in Massachusetts who need your help.” children while helping their parents to try to work themselves back to self-sufficiency. A succeeding super relates, “You can make a difference,” accompanied by the logo for Jeff Fleisig of Biscuit Filmworks, Los Angeles, directed the PSA, titled “Car,” for Arnold the PSA’s sponsor, Horizons For Homeless Children, a nonprofit organization. A Web site Worldwide, Boston. Shawn Tessaro executive produced for Biscuit, with Shelby Ross serv- address (www.horizonsforhomelesschildren.org) and a toll-free phone number (1-800-560- ing as producer. The DP was Tony Wolberg. 7702) also appear. The Arnold creative team consisted of creative director/art director Ron Wilcox, associ- Homeless children experience more health problems, developmental delays, anxiety, ate creative director/copywriter Rick Frisiello, agency producer Kevin Shale and assistant depression, and behavioral problems than kids in low-income housing. Educational achieve- producer Julie Benevides. “Car” represents Arnold’s first TV effort on behalf of Horizons ment is also lower for homeless children as compared to those in low-income accommoda- For Homeless Children. tions. Horizons looks to address this situation by raising awareness about homelessness, Jay Friedkin of Union Editorial, Santa Monica, was the editor and sound designer. Online and by providing early care and education in homeless shelters and community children’s editor/compositor was Union’s Craig Price. Colorist was Sean Coleman of Company 3, centers all across Massachusetts. Santa Monica. Audio post mixer was Kevin McLaughlin of Soundtrack, Boston. “Mid-life Crisis” By Robert Goldrich puzzled guy and then walks off. A super appears along the bottom of the screen, which o you’re a middle-aged guy trying to slide across reads, “Be there for them. And they’ll be there for you.” the hood of your car like Luke or Bo from The We then cut from this quiet residential neighborhood SDukes of Hazzard. To the objective observer of to an end tag, which shows a picture of a Loyola female such behavior, you’re probably in the throes of a mid-life player in action on the basketball court, accompanied by crisis. But don’t worry. There’s always a sympathetic a phone number for ticket info. soul somewhere who will understand. And finding that “Mid-life Crisis” is a continuation of the successful person is the tongue-in-cheek serendipity of this :30 for “We’ll be there for you” campaign which broke in 2004, the women’s basketball program at Loyola Marymount the centerpiece ad being “Static Cling,” which went on to University, Los Angeles. #,)#+(%2%4/6)%730/4 garner assorted awards, including an AICP Show honor. We open on the guy who takes unsuccessful flying That spot was directed by Michael Downing of harvest leap after flying leap onto the hood of the car, which is “It’s slowing you down.” films, Santa Monica. parked in his home’s driveway. Though the effort is there, After the diagnosis comes the cure. “I’d use a polymer This time around, “Mid-life Crisis” was helmed by he can’t quite slide all the way across, landing after the based wax,” she advises. “It gives you that extra glide. feature filmmaker Lisa Cholodenko (Laurel Canyon, fifth try on his wallet in front of the automobile. Ever thought about silk pants?” High Art) via bicoastal/international Partizan for agency A female basketball player passes by along the side- The guy nods “no,” at which point the gal sheds Ignited Minds, Marina del Rey, Calif. walk. She offers a quick analysis of what’s wrong. her silk warm-up pants, under which is her Loyola The Ignited Minds creative team consisted of exec- “Not enough wax on the hood,” she smartly assesses. Marymount uniform. She tosses the pants over to the Continued on page 11

SAY NO, NO, NO, NO YES NO, NO, NO, NO, NO, NO, NO, NO, FASTER.

Online Casting from Sound Lounge. Review it, cull it down, let clients listen. Online. No downloading. Take a tour: www.soundlounge.com/casting Contact Vicky or Erik 212-388-1212 [email protected]

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IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWORK IWO FCB Chicago Gives The Power To The People For KFC By Emily Vines ChooseYour o promote KFC’s new Sauce.com Flavor Station, which iWork credits Tallows customers to have their chicken wings dipped in the sauce of their choice—say two Agency wings that are Sweet & Spicy Foote Cone & Belding (FCB), while the rest are Fiery Buffalo or Chicago Honey BBQ—creatives at Foote Cone & Belding (FCB), Chicago, Alex Zamiar and Stephen have created ChooseYourSauce. Spring, art directors; Jonathan com. Richman and Larry Koplow, The home page of the site copywriters; Tom O’Keefe, features the view from an office executive creative director; Matt cubicle with the traditional acces- Horton, group creative director; sories: the standard PC, phone, David Jones, group creative Post-its and calendar. But, in this director; LeNore Murovic, #,)#+(%2%4/6)%70!'% creative project manager; Ivo scene, the Post-it has a note that Knezevic, executive producer; says “I ♥ Chicken” and the com- Enter the zany world of zesty sauces Stump Mahoney, Lisa Berg and puter’s screen rotates still images Zoe Garcia, producers; Stephen of people from a story that is about three options as the story progress- elements of a short film, sitcom pants may encounter two viral ele- Strong, director of interactive to unfold. es: the solid choice/Honey BBQ, and video game, he points out, “I ments. One is an e-mail that you services; Graham Cousens, Clicking on the monitor allows the daring choice/Fiery Buffalo didn’t want it to be like a video can send to a friend with compo- interactive producer; Jason the site’s visitor to start his adven- or the wild card choice/Sweet & game. I wanted it to be an interac- nents from the site and the second Mitton, interactive solutions ture and the story begins. The Spicy. “Choose a flavor and choose tive sitcom.” is a Mad Libs-style document. The manager. characters in the videos are office your destiny … You’re in charge Kohl Norville of Z Group Films, latter allows you to fill in the blanks Production Company workers and the tone is not unlike now,” the instructions explain. Chicago, directed the 70-plus in a script and have a computerized Z Group Films, Chicago the television show The Office or scenes showcased on the site over voice call a friend and read that the film Office Space. But, in this THE DRAMA UNFOLDS a weekend in FCB’s offices. “What custom-made message to him. The Kohl Norville, director; Chris comedy, you are a character in In the first scene, the boss, Mr. we basically wanted to do was give last feature can also be accessed DeFord, DP; Cory Berg, pro- the action because you choose the Waldowitz, comes by your cubi- the illusion of infinity—that there is by clicking on the “I ♥ Chicken” ducer; Dan Zigulich, executive path the story will take like the old cle while you are chatting with a an infinite amount of choices and note once you have begun your producer. choose-you-own adventure books. co-worker to dump some work there kind of really are. There are adventure. With a target audience of 18-30 in your lap. After that, you make certain places in the story where it year old males, this main character your first choice in developing the will take you all the way back to THE RIGHT APPROACH Editorial is, however, a man. story. Continuously making the the beginning and then the choices From a practical standpoint, the Red Car, Chicago The camera moves about from solid choice is the quickest way you make are going to be different office setting was ideal; it worked Phillip Marinari, editor; Carlo your point of view and people talk to “die,” art director Alex Zamiar this time,” Zamiar noted. Group well with the agency’s limited Aparo, first assistant editor; directly to you (at the camera). You explained using a video game refer- creative director on this project budget and tight timeline. From a Derek Viramontes, second choose your path by selecting one of ence. Though he said this site has and executive creative director of creative standpoint it was clever assistant editor. emerging platforms David Jones because the environment is likely said the storyline board was without to be similar to many of the Web exaggeration 17 feet long. site visitors’ own surroundings. an estimated 90 in a matter of days. “Every time you make a choice, “We knew that the people using Additionally Jones related that the you split off into three different this were going to be at work … director’s prior experience work- alternate realities so it was incred- how funny is it that you’re at work ing at an agency gave him a deep ibly deep and rich and terrifying not doing work watching someone understanding of the client’s leap of and intimidating as far as the size at work not doing work,” Zamiar faith with this endeavor. of this idea and the randomness of related. Norville also makes an appear- where it goes. So they went a little Besides its entertaining quali- ance in the live action while wear- nuts and I kind of dug that,” Jones ties, Jones explained that this proj- ing a chicken suit. This surely is a said. Jonathan Richman and Larry ect is about empowerment. That testament to Jones’ comment that Koplow served as copywriters. In concept is reflected in the product the helmer embraced the “random- addition to Zamiar, Stephen Spring as well as the platform. Both put the ness and fun of the project.” was also art director on the project. customer, or Web surfer, in control. Your choice: A solid, daring, or wild card adventure awaits As the story progresses, partici- On why Norville was the right choice for the project, Zamiar com- “Mid-life Crisis” Continued from page 10 mented on his enthusiasm while Jones pointed to the helmer’s expe- utive creative director Ron rience. “[Kohl] was at the perfect Gould, creative director Mike inspiration: frame by frame moment in his career, in that he was Wolfsohn, art director Reece young enough and therefore foolish Hoverkamp, copywriters Matt enough to think that this was pos- Garthoff and Prentice Howe, and sible to pull this off and old enough producer Diego Espana. and mature enough to actually get Sheila Stepanek executive it done once he committed to doing produced for Partizan, with it,” Jones humorously related. David Wolfson serving as pro- “An older, more seasoned director ducer. The DP was Eric Treml. Search our database @ www.footagefinders.com would probably, rightly so, say you Editor was Ben Darling of Spot can’t possibly get this done for the Welders, Venice, Calif. Colorist time and for the money. A younger was the mono-monikered Adolfo we’ve got it, or we’ll get it footagefi nders one would promise us everything of R!OT, Santa Monica. Audio and then be unable to deliver; he post mixer was Mitch Dorf of 201.384.7715 GLOBALIMAGEWORKS was at the right moment.” POP Sound, Santa Monica. STOCK FOOTAGE • RESEARCH • CLEARANCES VIDEO • FILM • HI DEF Though there are approximately Principal actors were Jevay 70 scenes on the site, Norville shot Grooms and Michael Brown.

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GGrowingrowing

MarketMarket Photo credits: Chicago skyline and Wrigley Field courtesy of the Illinois Film Offi ce. Sweet Land photo (upper right) courtesy of Lars Samuelsson. Companies in the Midwest report an upswing.

By Kristin Wilcha

roduction and post companies in key cities editors, and the broader exposure of our talent pool.” filming to the state. The program established a 25 percent in the Midwest report that business is doing Kansas City, Missouri-headquartered Take Two, a pro- tax credit, which applies to the first $25,000 in wages per well, with an increase in work, and in some duction and post facility which also houses Take Two/CliP, worker per production. (Excluded from the tax credit are cases, expansion and diversification. For offering visual effects services, is growing as well—in the two highest paid Illinois workers on a project.) Workers instance, Griot Editorial, Southfield, Mich., a the form of moving to larger digs, reports Linda Buchner, must be Illinois residents hired for a qualified feature, TV division of the Grace & Wild family of com- director of marketing at the shop. “Kansas City-based program, commercial or sponsored content piece shot in Ppanies headquartered in Farmington Hills, Mich., merged agencies continue to provide the market with an abundance the state. Projects for advertising purposes (30 minutes with STS Editorial Services, an edit shop with offices in of great creative opportunities,” relates Buchner. She notes or less), including spots and branded entertainment, can Southfield, Mich., and Santa Monica. Per the merger, the that she has seen more interest from ad agencies in New receive the tax credit as long as each has a minimum of STS facilities will take the Griot name. Griot will maintain York, Nashville, North Carolina, and Tulsa, Okla. $50,000 in wages being paid to Illinois residents. For fea- two offices in Southfield—its ongoing shop within sister The shop is finishing up a video project for Sprint (Take tures and TV programs, each production has to spend at company Postique, and the former STS site. Editors com- Two recently completed work on the client-direct Sprint least $100,000 on Illinois labor in order to be eligible for ing into the Griot fold from STS are: Terry King, Steve spot “Sprint PCSVision”), and an effects-driven effort the tax credit. Persin, Michelle Ballard, Gary Cries, and Alaric Martin. for Walmart, out of Bernstein-Rein, Kansas City. Other In addition to the filming crew, the 25 percent wage tax The existing Griot talent base includes editors Louis Lyne, recent spots out of Take Two include “The Discover Card” credit applies to other Illinois residents, including editorial Jim Talbot, Dave Mariani, Cindy Morin, Brian Chidester, for Walmart, directed by Derek McKane of Bark, Kansas labor, acting talent and use fees up to one year, and agency and Dan Succarde. The merger will offer the talents of City, and Winn-Dixie’s “Produce Manager,” out of agency labor (i.e., creative director, art director, copywriter, head Griot editors to both the Detroit and West Coast markets. Valentine McCormick Ligibel, Kansas City, and directed of production, producer) from the time the final storyboard “We saw this merger as a great opportunity that brings by Domenic Mastrippolito of BeachHouse Films, Santa is finished through production and post. The tax credit can mutual benefit to both organizations,” explains Steve Wild, Monica, and produced via Take Two. additionally apply to the labor costs of other Illinois-based president of Grace & Wild. “We have very complementary firms, such as a caterer, casting agency or set construction resources in edit staff, administration, sales and facilities ILLINOIS entity. (The Chicago Film Office, headed up by Richard that we expect will combine to the advantage of our cus- Production in Illinois, and Chicago, has benefited Moskal, estimates that spot work generates about $200 tomers, staff, and community. Certainly, of immediate greatly from the Illinois Film Production Services Tax million for Chicago.) value is the shared use of the Santa Monica office by our Credit, a generous incentive package meant to attract more Continued on page 13

Page 12 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 ment rental house, and the newly opened stage complex, Resolution Execs, Artisians Assess Digital Studios. Other produc- tion shops in the city, including Production/Post Market Ebel Productions and Manarchy Continued from page 12 Films, have also remained busy. These are jobs that likely would Recent credits out of Manarchy “The incentives are working have ended up shooting in Canada include V0-5’s “Desert Drive,” great from my point of view,” or South America if not for the while Ebel’s Karen Carter direct- says Mark Androw, owner/ credit.” ed “Come See My World,” out of executive producer of The Story Another benefit of the credit, DDB Chicago, for the Chicago Companies, which have offices notes Androw, is that production International Children’s Film in Chicago, New York and Santa support businesses are growing Festival. A spot called “Lab,” Monica. “We have done twenty- and opening in the city, citing directed by Bill Ebel via agency five jobs utilizing the tax credit. Fletcher, an established equip- Chicago Creative Partnership for the Illinois Bright Start col- lege savings program was hon- ored with a Telly Award, and Bob Ebel recently helmed Build-A- Bear Workshop’s “Twins,” out of Barkley Evergreen & Partners, Kansas City. Chicago has always been noted for its post talent. Shops such as The Whitehouse and Red Car have large facilities in the area, and houses like Cutters and Optimus provide editing services for a wide range of ad shops. “It’s been a real strong year,” says Tom Duff, president of Optimus. “For two years running now, it’s been good for us, and certainly healthy Sweet Land, a fi lm by Ali Selim, shot in Minnesota. for the city as well.” Duff reports Photo courtesy of Lars Samuelsson. that his company, which also has Gatorade’s “Winning Formula,” Worldwide and Gotham, both in a four-year old office in Santa directed by The Brothers Strause New York. Monica, has been seeing a great of Tight Films, Santa Monica for The Minnesota Film and deal of work from agencies in the Element 79 Partners, Chicago; Television Board (MFTVB) Midwest and Texas, and reports Craig Lewandowski cut the spot. appointed a new executive direc- that in 2005, they did a good Duff reports the shop will contin- tor, Lucinda Winter, in November. amount of work out of Detroit, ue with its OptiTV project, which Winter will work to attract more including work for General offers employees of the shop the production to the state. “These are Motors and Jeep. Other work chance to create their own 27- challenging times for our indus- out of Optimus includes ads for second spot. Optimus purchased try,” relates Winter, “with water- Sears and Budweiser, as well as time on local stations to the air the shed technological changes, and commercials, which could also be increasingly tough international seen at www.OptiTV.com. competition for production dol- Additionally, the company lars.” is expanding its design depart- To that end, Winter will work ment, Optimus Design, with the with various factions within the addition of visual effects artist state to attract more work to the Matt Daly, who comes to the shop area. “One of my most impor- from Digital Kitchen, Chicago. tant jobs is to support an active Optimus Design, which is over- and open dialogue between the seen by Glen Noren, partner/ creative community, state gov- effects editor, now has nine full- ernment officials, business lead- time designers/editors and three ers, and Minnesota residents. The full-time assistants. MFTVB will work hard to com- municate the positive impact that MINNESOTA television, film, corporate and Diversification and growth commercial production has on is one of the big trends in our state and local economies. Minneapolis post and production Our goal is to be able to com- shops. Jim Geib, president/exec- pete internationally with the right utive producer at Twist, a pro- combination of incentives and duction house headquartered in production services so we can Minneapolis, reports that “region- bring more production dollars to ally, we’re seeing a bit more activity,” though the company continues to market itself nation- ally. “We produced several jobs in Minneapolis [in 2005]—many from New York, where we have opened an office,” explains Geib, who adds that the company will announce a formal structure for the office later this month. “We are seeing more work out of the larger agencies as they look to our ability to shoot effectively in the regional film centers as well as the major film centers.” Twist worked on jobs for agencies such as DDB San Francisco, and Grey Donna Drewick

Page 13 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 MMIDWESTIDWEST meticulously maintained Infrastructure Grows, custom camera packages

Expands In Heartland Arriflex/Aaton/Panasonic Minnesota.” Last year Minnesota Photo-Sonics 4ER+ hosted a number of features, 35mm/16mm/DV/HD including North Country; Last Broadcast, which will open the accessories/support SouthXSouthwest Film Festival lenses/speciality items in Austin, Texas; Factotum, which is screening at the upcom- filters/expendables. ing Sundance Film Fesitval; new: Arricam Lite–modular ARRICAM LITE and Sweet Land, which scored the top prize for narrative film at design–ideal for hand-held, the Hamptons International Film studio, steadicam/Panasonic Festival. VariCam with Pro 35 adapter. On the post front, many facili- ties are expanding their services, Digital acquisition. Film look. something applauded by Michael call for details. Aaron, supervising editorial pro- ducer of The Assembly Line, the PANASONIC VARICAM AJ-HDC27F in-house editorial arm of Fallon Worldwide, Minneapolis. He notes that the expansions and Linda Buchner offerings of diverse services offer flexibility to ad agencies. focused on promotional pieces,” Hi-Wire, a Minneapolis post he explains. “This group has facility, launched Gasket last already contributed motion 2-D year, a design, animation and and 3-D graphics on a number of effects boutique under the aegis broadcast projects. We’re excited of designer Greg Shultz. Hi-Wire to see where this group will go in had already successfully expand- the coming year.” ed into music and sound design In addition to expanding its with Brahmsted White Noise. graphics offerings, Fischer relates “Ad agencies, film and broad- that his shop has been approached cast creatives seem to respond by some clients for help in produc- well to working directly with their tion. “We were able to help these creative counterparts, especially clients in ways that we hadn’t in effects and animation,” says considered before,” he says. “We Tammy Kimbler Weber, manag- have had more and more of these ing partner of Hi-Wire/Gasket. projects come our way and have In the past year, Hi-Wire colorist developed some directing talent Oscar Oboza has worked with and created some relationships agency Kerker, Minneapolis, with a few directors.” on spots for Taco Johns. Works Crash & Sue’s, Minneapolis, in progress for Hi-Wire include offers editorial, animation, visual spots for Famous Dave’s BBQ effects, and color correction ser- out of BBDO Minneapolis, and vices. Donna Drewick, execu- H&R Block for Campbell Mithun, tive producer at the shop, reports Minneapolis. Currently, Gasket, that in the coming year Crash BWN and Hi-Wire are collaborat- & Sue’s plans to further expand ing on an animated campaign for its creative services and effects a golf equipment client. offerings. On the creative services Tony Fischer, owner/executive front, the shop last year created a producer at Minneapolis-based spot called “Bread and Butter” for Fischer Edit and Modern Music, the Salvation Army. “Now more relates that his business is grow- than ever, [our] clients are look- ing its design offerings in addi- ing for us to plus the creative,” tion to its edit and music arms. says Drewick. “To collaborate in “We have begun the evolution order to spin the idea with a new of a design team within Fischer twist—or, at times, just plain Edit and at the present time have come up with it.”

schumacher CAMERA 312.243.3400 Chicago www.schumachercamera.com Photo courtesy of the Illinois Film Offi ce. Photo courtesy of the Illinois Film Offi Union Station

Page 14 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N

Stiefel Named Chair, Fisher Vice Chair Of AICP reaching its members, identifying, greater interactivity through online Continued from page 1 discussing and addressing their conversation areas, blog-format INSURANCE client, the production company is concerns. During the past year, communications, and forums to On the labor front, Miller The AICP board has issued actively involved in the insurance the AICP has issued bulletins and facilitate the expression of opin- noted that a prime topic was the an insurance guideline to help process and there are costs associ- updates on labor, business affairs, ions. “We want to become more actors’ commercials contract, members get a better handle on ated with this involvement. For government affairs and other top- of a direct-info house, creating which is set to expire at the end this area. With advertiser wrap- wrap-up, the production company ics, with links to reference tools tools to help people as they run of October. He said it would be up insurance, for instance, there’s must identify special risks, have and resources. This organizing of their day-to-day business,” related premature for the AICP to pub- confusion as to what coverage the insurance certificates issued or info, said Miller, has made such Miller. licly discuss specifics about its production house should carry. In directed to vendors and locations, communication more relevant to Also under consideration is the national board discussion on the some cases, certain coverage can and negotiate and process insur- AICP members. formation of AICP committees or issue. Suffice it to say that the prove redundant. However, other ance claims should the need arise. Miller said the AICP is looking councils to address such areas as SAG contract is of concern and insurance can help to complete In most cases, the production com- to build upon this, taking commu- emerging technology and Hispanic that the hope is that the industry necessary coverage. pany is required by the advertiser nication to the next level, yielding advertising. can learn from the past. In 2000, The AICP guideline reads, or agency to maintain ‘usual and actors struck against the adver- “Production insurance—encom- customary’ insurance coverage in tising industry, which spurred passing commercial general addition to that provided under on production of U.S. spots in liability, non-owned and hired the wrap-up insurance program. Changes In The Offing foreign countries. This exacer- automobile liability and physical It is therefore appropriate that the bated an already serious runaway damage, errors and omissions lia- production company include in production problem, exacting a bility, umbrella liability, foreign its estimate a charge for wrap-up For 2006 AICP Show heavy toll on the American econ- liability and group travel accident administration, purchased insur- By Robert Goldrich thus will be competing against omy. insurance for the production—has ance (including coverage required NEW YORK—In a prec- and can potentially be recog- Meanwhile, as chronicled in traditionally been purchased by by the wrap-up policy), and/or any edent-setting move, the 2006 nized alongside commercials SHOOT, production incentives the production company, but may coverage costs associated with Association of Independent for television and the cinema in are emerging or being proposed also be provided by the client or uninsured risks.” Commercial Producers (AICP) the Show’s Technique, Concept in various states. The AICP board the advertising agencies in poli- Show will become thoroughly and Specialty categories. For examined the prospects for these cies known as ‘wrap-up.’ DIALOGUE inclusive of work that appears example, honorees in a category initiatives, which largely include “When the production com- Miller noted that over the past in nontraditional media such as like Editorial could include a TV commercials. A key recent exam- pany is providing the production year the AICP engaged in outreach cell phones, iPods, PDAs and commercial as well as a spot cre- ple is the package of incentives insurance for the job, the produc- programs to different segments computer screens. Across nearly ated specifically for PDAs. that will soon be available in tion company should indemnify, of the business. For example, the all AICP Show categories, this Only in the AICP Show’s Massachusetts (SHOOT, 12/9/05, defend and hold harmless the group held meetings in Chicago fare will be eligible for recogni- Advertising Excellence cat- p. 1). advertising agency and the client. and Minneapolis with agency tion alongside TV and cinema egories will there be differentia- Also of particular interest is Likewise, when the advertising heads of production and heads of commercials. tion between Internet/emerging the bid to gain passage for a spots- agency or client is providing the business affairs to discuss guide- Reflecting this expansion is media spots and ads for TV or only tax credit incentive in New production insurance, the advertis- lines and industry practices. the deletion of a single word cinema. The previous Excellence York State. As previously report- ing agency and/or client should There was also a session from the annual AICP Show’s categories—Advertising ed, the AICP has lobbied vigor- indemnify, defend and hold harm- between AICP representatives and longstanding description, Excellence/Single Commercial, ously for this measure, which has less the production company from senior management at The Richards which changes from “The Art Advertising Excellence/ gained bipartisan support in both any and all claims arising from the Group, Dallas. Additionally, there & Technique of the American Campaign and Advertising houses of the New York legisla- production regardless of the limits was letter writing back and forth Television Commercial” to “The Excellence/International—will ture. The industry hope is that the set in their policy, and the produc- between the AICP and the head of Art & Technique of the American remain restricted to spots that initiative will be introduced—and tion company should be added as a advertising at Mitsubishi regard- Commercial.” run on television or in movie passed—in the current state legis- ‘named insured’ on the policy for ing that advertiser’s guidelines. AICP president/CEO Matt theaters. However, a new cat- lature session. that job. Miller said that the AICP plans Miller explained, “Contrary to egory—Advertising Excellence/ On another front, the AICP can “The production company is to accelerate efforts to initiate dia- the doomsayers who predicted Nontraditional—will be devot- look to positive change in ’06 as the preferred procurer of insur- logue and share ideas with varied the demise of the thirty-second ed exclusively to commercials its annual AICP Show expands ance for the production since it is sectors of the industry, including spot, commercial production isn’t appearing on media other than to honor commercials created for in the best position to understand agencies and clients. He reasoned dead; much of it is just changing TV and theaters. such alternative outlets as cell the need for special risk insurance that open discussion can prove channels. There will always be a The other major change in the phones, iPODs, PDAs, and com- and since it is in a contractual rela- valuable to all involved parties, call for the talent and expertise ’06 AICP Show as compared to puter screens. These spots will tionship with equipment vendors and promote awareness of the big- needed to create motion picture past years is the reduction of hon- be eligible across nearly all AICP and/or locations should there be picture impact made by policies imagery, and the same skills that orees in each category from three Show categories, which will con- a loss.” and practices. make a brilliant television com- to two. The number of honorees tinue to recognize the best in TV The guideline concludes, Beyond improving communi- mercial are now being applied will expand to three only in the and cinema advertising (see sepa- “Whether production insurance is cation between the AICP and out- elsewhere.” event of a tie in judging scores, or rate story,on this page). provided by the production compa- side entities, the board hopes to do Thus the AICP Show’s in cases where the AICP Show’s ny or the advertising agency and/or the same from within in terms of Technique (Visual Style; Dialogue curatorial committee makes an or Monologue; Humor; Tabletop; exception. The AICP Show will Cinematography; Animation; continue not to rank the honor- Editorial; Graphics; Visual ees. All spots in the Show are Effects; Original Music; Sound presented as equally outstanding Design; Musical Arrangement; examples within their categories. Production; Production Design; As earlier reported (SHOOT, and Talent Performance), 11/11/05, p. 1), Mindy Goldberg, Concept (Agency Art Direction; president/co-owner of bicoastal/ Copywriting) and Specialty cat- international Epoch Films, has egories (PSA; Low Budget; Spec been named chairwoman for the Spot; Student Commercial) will ’06 AICP Show. be open to commercials spanning The AICP Show was estab- traditional (TV, cinema) as well lished in 1992, in cooperation as nontraditional media (com- with The Museum of Modern puter monitors, and small screen Art (MoMA) in New York. The outlets). honored commercials are made While several other major part of the permanent archives of advertising industry shows have MoMA’s Department of Film and set up separate categories and/or Media. The ’06 AICP Show will awards to recognize new media premiere at MoMA on June 8. content, the AICP Show becomes Now in its 15th year, the AICP the first to honor work for all out- Show has its call for entries avail- (L to R): Newly elected AICP national chairman Frank Stiefel; AICP president/CEO Matt Miller; reelected AICP trea- lets virtually throughout its com- able online at www.aicp.com. surer Sally Antonacchio; new AICP vice chairman Bob Fisher; and immediate past AICP chairman Mark Androw petition. Alternative media spots The deadline is Feb. 15.

Page 15 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 AADD AAGENCYGENCY CCREATIVEREATIVE Playtime Toy opens in New York, launches first campaign for Oxygen. By Kristin Wilcha

oy is a metaphor for the kind of work we want ally produced some pretty wonderful results—not just in to do,” says Ari Merkin, founding partner at the work, but in the agency culture. … We believed that the the just opened agency named Toy, New York. partnership had the makings of a great company.” “No matter what age you are, everybody loves The hope is that the new agency will create work that a toy—it’s something you share, it’s something makes clients stand out to consumers. “It’s a great kick, you interact with, something you will go out and we just want to do work that matters, and not be bound Tof your way for. To us, that was a perfect way to describe the by traditional formulas and formats,” stresses Merkin, who kind of work we want while at Crispin Porter + to do.” Bogusky, Miami, worked Merkin, along with on the innovative launch Anne Bologna, launched campaign for the Mini Toy late last year with Cooper. “We want to Oxygen Media as its break through, and we first client. Both were want to have fun doing senior execs at the New it—and create work York office of Fallon, that’s as exciting and as which closed after the engaging as a new Toy.” pair departed; Merkin Smaller, more nimble was executive creative ad shops abound these director at the shop, days, and Toy will play while Bologna served as with the agency model president. A third part- as many do, offering cli- ner, David Dabill, joined ents executions that take Toy earlier this month advantage of new and as chief operating offi- old media. The agency cer, coming over from currently has six fulltime a similar role at Fallon, staffers, whom Bologna Minneapolis. While at refers to as “cross- Fallon, Merkin oversaw breeds,” meaning they innovative creative for A print ad for Campus Ladies, part of Toy’s multifaceted can tackle projects from the likes of Virgin Mobile fi rst effort for the Oxygen network. a variety of angles. “The (the holiday promotion media world is pretty tagged “Chrismahanukwanzakah”); Brawny (revamping diverse these days, and in some ways it’s also true of the kind the Brawny Man icon); and Starbucks, for which the shop of people [who work here],” says Merkin. “That’s the kind of created “Glen,” a spot directed by Noam Murro of Biscuit talent that we have been bringing on, and intend to bring on Filmworks, Los Angeles, that featured the band Survivor more of.” helping a guy reach middle management. The shop also offers what it calls the toy chest, which Opening their own shop made sense to the partners. offers clients access to companies and people with expertise “Working together at Fallon, Anne and I realized that we across a wide range of fields, which can augment the ad world had the kind of partnership that makes for good leadership,” expertise offered by the agency and its staff. “The toy chest is explains Merkin. “It was the kind of partnership that actu- really an opportunity for us to bring to a client’s business what

Continued on page 18

16-Playtime 17-New Leadership 17-Moving Forward

Page 16 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 AD AGENCY CREATIVE New Leadership Moving Forward Leo Burnett USA kicks off 2006 with a new chief creative, and a new head of production. Michael Folino takes the top creative job at DDB Chicago.

By Kristin Wilcha ceeding Jonathan Davis, who left a larger scale,” relates Rossiter. Procter & Gamble, Nintendo, By Kristin Wilcha Michael, we found an exception- fter a nearly yearlong the agency to return to London, “What I know people here are so Altoids, as well as the afore- t’s eighty degrees here right al talent who really cares about search, Leo Burnett where he is now with bicoastal/ excited about with John is that he mentioned McDonald’s, Disney, now, so it’s a decision not people and their ability to deliver AUSA, Chicago, has a new international @radical.media. is one-hundred percent about the Hallmark and Coca-Cola. While Imade lightly,” jokes Michael their very best ideas.” creative leader, John Condon. A Condon and Rossiter have work, and doing the best work Condon has not yet made any Folino, who this month is depart- In June of 2005, Folino left 19-year veteran of the agency, collaborated extensively dur- that we can. I think that makes it plans to restructure, he notes ing L.A. to become chief cre- his post as chief creative offi- who is an executive VP/group ing their tenures at Leo Burnett, very easy for people to put any- that as advertising evolves into ative officer at DDB Chicago. cer at Dailey & Associates, West creative head, he will assume including on the whimsical ani- thing and everything else aside new mediums and consumer “I wasn’t looking to leave Los Hollywood, Calif., after three ����������������������� the chief creative officer role mated spot “Poptartica” for Pop- and just do that.” participation, ideas will be para- Angeles, so it would take some- years at the shop. After leaving Nike's “Beautiful” in March. Condon will succeed Tarts, directed by Sam Morrison mount. “The simple aspiration John Condon thing incredible to get me to go. I Dailey, Folino collaborated with Cheryl Berman, who will con- of Nexus Productions, London. THE NEXT of the Leo Burnett Company has think DDB is already doing won- director Jeff Labbé of bicoastal/ able stateside on Motorola for all of it. So as long as you’re tinue to serve as chairman of Leo The agency pair looks forward GENERATION always been to be the best in the More recently, Condon was derful work, and there’s incred- international @radical.media to VCAST phones through Comedy creating great work, it doesn’t Burnett USA, while also offering to continuing and expanding on Condon will oversee a 200- world bar none,” he states. “[It’s] one of the key creatives on the ible potential to do more.” create and write a series of short Central. Folino anticipates that matter what the application is.” insights into accounts such as that collaboration. “We’re going person department that works a lofty goal, but the way I take Cadillac “Under5 Seconds” cam- At DDB, Folino will oversee films for Motorola and MTV he will continue with similarly McDonald’s, Hallmark, Disney to continue what we’ve done on on accounts such as Kellogg’s, the brief, is step by step, day by paign, which launched during the a 130-person creative depart- Networks. (Folino and Labbé styled projects at DDB. “I think CREATIVE PEDIGREE and Coca-Cola, as well as new day, idea by idea, let’s try and 2005 Super Bowl to promote the ment that works on brands Michael Folino previously worked together as a lot of people are really nervous Folino has an extensive creative business prospects. close the gap between where we Cadillac V-series. The package such as Anheuser-Busch, creatives at TBWA/Chiat/Day, about what’s going to happen in pedigree. Before joining Dailey & “After an extensive search are and where we hope to be.” featured five second spots like McDonald’s, Dell, All State and in March of 2005, previously Los Angeles and San Francisco, advertising in the next couple of Associates, he spent two years as both internally and externally, The agency is no stranger to “Don’t Blink,” “Introducing” J.C. Penney. “You’re really on oversaw the creative output at and Wieden + Kennedy, Portland, years, and I don’t have any appre- a creative director with TWBA/ John emerged as the best leader exploring media solutions out- and “Burnout” that illustrated a huge national stage here—like DDB Chicago while serving as Ore.) The series, called “Head hension at all,” says Folino. “I’m Chiat/Day, working on adidas and to take our creative department side of the traditional. When how cars in the V-series line are playing in Yankee Stadium in U.S. creative chief. At the time and Body,” was one of the first really excited about it because PlayStation. Prior to that, he spent into the future,” states Berman. the U.S. Army effort “An Army capable of going from zero to front of everyone at the World of his promotion, a search was projects created exclusively for for really good creatives there’s two years at the Los Angeles out- “He understands the Leo Burnett of One” was launched in early 60 in five seconds. The spots Series, or I guess I should say undertaken for a new chief cre- broadcast on mobile phones, and just not going to be any better post of Fallon Worldwide; he came brand.” 2001, the campaign included a directed viewers to the www. Chicago Cubs,” quips Folino. ative for Chicago. “We looked for featured a guy whose body and opportunity—everything is wide to that creative position after a In addition to Condon’s series of Webisodes under the cadillacunder5.com Web site, “It’s exciting to do that, and the someone who embodies the two head are detached, leading to open. We’re going to be invent- stint at Wieden + Kennedy. While appointment as chief creative “Basic Training” banner, which which contained tie-ins to the scope of the brands—you don’t traits we believe are the founda- humorous scenarios. The shorts, ing new mediums. It’s going to there he worked on “Beautiful,” officer, another long-time Leo allowed users to go to a Web feature film Be Cool, as well as find brands like this everywhere tion of our company—creativity “Morning,” “Bus,” “Clinic,” be a thrilling time to be working for Nike, directed by Frank Burnett executive, Chris Rossiter, site to view recruits’ progress to the Cadillac five second film in one place. I think that’s amaz- and humanity,” says Scarpelli, “You’re Up,” “Jogging,” “Club,” in our business. Some things are Budgen of Gorgeous Enterprises, was upped to executive VP/direc- through boot camp. (The Army contest, which invited filmmak- ing. who in addition to his world- “Taxi 1,” and “Taxi 2,” debuted going to go away, some things London. The spot, which features tor of broadcast production at account recently shifted over to Bob Scarpelli, who was made wide creative role also serves as in October in Asia, Europe and are going to be invented, and Continued on page 18 the agency last November, suc- Pop Tarts’ “Poptartica” McCann Erickson, New York.) Continued on page 18 worldwide chief creative officer chairman of DDB Chicago. “In Latin America, and were avail- good creative is the foundation

January 13, 2006 SHOOT 19 AADD AAGENCYGENCY CCREATIVEREATIVE

Merkin, Bologna Break Out New Toy Continued from Page 16 one roof. Toy chest allows us to go Additionally, there will be promos we consider to be best in breed to outside sources to help produce on the network, radio, print, online, people—individuals or compa- and inspire ideas.” transit, out of home and guerilla nies—who can help us either con- marketing. The TV spots—“Hot ceive or execute marketing solu- BREATHE RIGHT Flashes,” “Old” and “Support”— tions and ideas,” relates Bologna, Earlier this month, Toy broke feature some rather mature cheer- explaining that some of the experts its first work for Oxygen, a promo- leaders who apply their talents to in the toy chest might include tional campaign for a new original rooting for the freshman. The radio anthropologists, architects or event series called Campus Ladies, which work includes mock PSAs from planners. Merkin relates that the follows two middle-aged house- a group billing itself as Students roster in the toy chest offers the wives as they return to college, and Against Overage Drinking, while shop’s clients more solutions than engage in typical undergrad activi- bus ads feature comments from what might be offered at a larger, ties—wild parties and all the wrong critics, including “Best comedy more traditional shop. “We’re not men. The work, which has an irrev- of the season—granted, it’s only a freelance model,” he notes. “Toy erent, humorous tone, includes January.” Other elements include (L to R): Ari Merkin and Anne Bologna is a house for big, strategic and some traditional television spots, Campus Ladies branded toilet creative thinking. A big agency which were directed by Tom Kuntz paper in bars and a print ad that on the Campus Ladies push, Toy We’re going to be defined by our will house all of its services under of bicoastal/international MJZ. sends up the movie poster for The will focus on more overall brand- clients, and so there’s nothing more Graduate. On the promo front, the ing for the network. Merkin relates important to us than making sure Campus Ladies will take viewer that the shop is also working on we date as much as possible before calls on another Oxygen show, Talk projects for marketers he wasn’t at we marry.” Sex With Sue Johanson. Merkin liberty to discuss. Both Merkin and And Merkin hopes those pro- directed the promo work. “It wasn’t Bologna plan to grow the agency fessional marriages result in good the first time [directing], but I’m slowly, selecting whom they work work. “We’re having a lot of fun,” still not very good at it. I’m learning with carefully. “We’re not looking he says. “Opening an agency is as I go,” jokes Merkin. “These were for clients who want a brand name a big scary move, and people tell pretty simple. It was really writing and a commodity product,” states you all about how hard it’s going scripts and directing the talent, so it Merkin, relating to large compa- to be, and I now understand what wasn’t all that hard for me, but I’m nies who add a smaller, creatively they were talking about. But the not about to kick off my directing focused shop to the agency ros- part I didn’t expect was the total career. I kind of like what I do at ter more for the cool factor than joy of being an entrepreneur— #,)#+(%2%4/6)%730/4 the moment, and I want to leave the the work. “Anne and I both do our that’s kind of unexpected. We have directing up to those who are far best to make sure that clients are a long way to go to become what better than I am.” coming to us for the right reasons, we really want to be, but the seed “Old” for Oxygen’s Campus Ladies Now that work has wrapped and we screen them pretty heavily. is there, the spark is there.” Changing Of The Guard At Leo Burnett Continued from Page 17 stresses Condon. “Ideas that can cast the producers and the produc- be taken into a variety of different tion groups, and attach them to ers to submit a five-second film channels readily and easily. … I creative groups that allow every- that incorporated the accelera- don’t anticipate all of our clients body the best opportunities to work tion rate—the carmaker received rushing into any particular channel together and advance the work. 2,600 films. or section—it’s case by case, what’s Rossiter will take some of his Condon and his department will right and relevant for that particular cues from how Condon restructures continue exploring new ways to product at that point in time, and the the creative department, though get their clients’ messages heard in people they are trying to talk to.” nothing concrete has yet to be deter- a crowded media landscape, start- mined. “What we’ll do over time is ing with solid ideas. “There are PRODUCTION DEPT. adjust things according to whatever shifts going on in the media mix, Rossiter, who has been with Leo restructuring that John [might do] but I don’t know that it’s all shift- Burnett for 17 years, most recently with the creatives.” ing to any one thing in particular,” as senior VP/executive producer, Rossiter relates that while the explains Condon. “What you see, will oversee the entire production department still has broadcast pro- I think, is that the idea is really the department at the agency, includ- ducers and art buyers, over time “Introducing” for the Cadillac “Under 5 Seconds” campaign. key thing to get—probably more so ing: Music Aid, the agency’s in- “people are going to—and I don’t and/or print. campaign. than ever before.” house music studio headed up by know how immediate this really “I think that in order to work As for teaming more closely And those ideas need to be all Ira Antelis; art buyers; and the is—but people are going to pro- smarter and faster, we need to con- with Condon, Rossiter looks for- encompassing to succeed, with shop’s in-house editing and visual duce whatever work their project tinue to have everybody cross-pur- ward to the collaboration. “The the ability to easily move among effects arms. “In terms of struc- calls for, whether that’s an online pose so to speak,” he continues, work part for us has always been media. “Bigger, better, stronger, ture,” explains Rossiter, “what we component, short film, long form citing as an example the agency’s really easy,” he notes, “because we more scalable ideas [are needed],” try and do is align ourselves and stuff, a :30 in the broadcast medium work on the aforementioned Army get along so well.”

ence. It was also really nice to see Folino Becomes CCO At DDB Chicago the level of work rise, and people Continued from Page 17 really becoming addicted to doing athletes showing off the scars taking the creative reins at DDB While at Dailey & Associates, good work. It was fun.” they’ve received while engaging Chicago.“ I probably couldn’t new business at the shop grew sub- Folino will work closely with in sport to the Joe Cocker tune have had a better career track to stantially—at the time he depart- Grant Hill, executive VP/executive “You Are So Beautiful To Me,” prepare me,” he notes. “I worked ed, the agency’s account roster production director at the shop, as won several industry accolades, at some of the best shops in the had grown to 25 from 12. During well as David Rolfe, senior VP/ including a Gold Lion at the 2000 world. … It’s been great to learn his time there, Suissa Miller & director of branded production, Cannes International Advertising from people like a Dan Wieden, Associates was merged into and is looking forward to diving Festival. (Ironically, that spot was a David Lubars, or Hal Curtis or Dailey. “I probably needed to go into his new role. “I’m just thrilled a contender for the Grand Prix at Jim Riswold. I think that working to about four different places to with this opportunity,” he relates. Cannes that year, which went to with people who are truly great get that much experience in under “It’s going to be great—I think the Budweiser’s “Whassup,” out of and help you achieve greatness is three years,” says Folino of his mandate to do great work is here. DDB Chicago.) something that you couldn’t pay time there. “We were constantly And, to work at Bill Bernbach’s His agency experiences have for. It’s like the greatest advertising pitching new business and win- agency for Bob Scarpelli, it doesn’t put him in the perfect position for graduate school there is.” ning, and it was a great experi- get much better.” MTV/Motorola's “Bus” Page 18 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS NEWS N

#,)#+(%2%4/6)%730/4 #,)#+(%2%4/6)%730/4 #,)#+(%2%4/6)%730/4 #,)#+(%2%4/6)%730/4 #,)#+(%2%4/6)%730/4 Orange’s “Black Out” The Gap’s “Pardon Our Dust” X-Box’s “Joy” Cheese Nips’ “Offi ce” Ameriquest’s “Mini Mart” Biscuit’s Murro, Four MJZ Directors Nominated For DGA Spot Award & Rubicam, Chicago, and The helms spots via bicoastal/inter- Christian Van Fleet was sec- duction managers, Ronaldo Continued from page 1 Gap’s “Pardon Our Dust,” out national Hungry Man, earned ond assistant director on all the Nacionales and Richard O’Brien this year’s competition concerns of Crispin Porter + Bogusky, his first career DGA nomina- Gillespie-helmed commercials: Moran were first assistant direc- the remaining director—Noam Miami. tion. Ameriquest’s “Surprise Dinner” tors, and Charles Crossin was Murro of Los Angeles-headquar- Morton’s latest nomination Also nominated for the DGA and “Mini-Mart,” and Altoids’ second assistant director. tered Biscuit Filmworks—who’s was for a pair of Bell South Feature Film Award are: George “People of Pain” and “Fable of The DGA Awards are in their now been nominated for the spot spots—“Kung Fu Clowns” and Clooney for Good Night, And the Fruit Bat.” Ken Gilbert was 58th year. The DGA opened honor each of the past four years. “Dance Fight Plumbers”—for Good Luck, Paul Haggis for first assistant director on the the annual competition to com- Murro is the only one in this WestWayne, Atlanta, Cheese Crash, Ang Lee for Brokeback two Ameriquest ads, and Steven mercial directors in 1980. This year’s field to actually have ever Nips’ “Office” via J. Walter Mountain, and Steven Spielberg Fernandez was first assistant year’s DGA Award winners— won the DGA Award for com- Thompson, New York, and a for Munich. director on the pair of Altoid spanning theatrical features, mercials. He earned the award CSI promo spot, “Take Me spots. TV, documentaries and com- last year as the top director of Home” out of The Martin SUPPORTING CAST And for Miller’s feature mercials—will be announced ’04. Agency, Richmond, Va. The DGA also continues to nomination on the strength and honored during a gala cer- Gillespie is a three-time nomi- Gillespie earned his third recognize and credit the first of Capote, Ellen Rutter and emony in Los Angeles on Jan. nee, the previous two coming for nomination on the strength of and/or second assistant direc- Caroline Baron were unit pro- 28. his work in ’01 and ’02. Morton two Ameriquest ads that debuted tors, as well as the unit produc- too has been nominated three on the ’05 Super Bowl telecast, tion managers, who worked on times, the prior pair in recogni- “Surprise Dinner” and “Mini- the nominated commercials. tion of his spot endeavors in ’98 Mart,” for DDB, Los Angeles, Mike Dignum was first and ’99. and a couple of Altoids ads, assistant director on the Murro- Classifieds This is the first DGA spot “People of Pain” and “Fable helmed “Monsters” for Hummer nomination for Jonze—but not of the Fruit Bat,” out of Leo H3, with Michael Saffie serving HELP WANTED his first DGA nomination. He Burnett USA, Chicago. as second assistant director. For Seeking an Assistant Editor for a NYC DUPLICATION AND POST PRO- was a nominee for the DGA And Murro’s fourth career Orange’s “Black Out,” Robert commercial post production house. DUCTION FACILITY UNDER MAJOR Feature Film Award in ‘99 for nomination came for Hummer Jackson was first assistant direc- Must be bright, motivated, organized EXPANSION IS SEEKING EXPERIENCED Being John Malkovich. H3’s “Monsters” from tor, C. Duncan Sutherland the with previous experience in the fi eld; PERSONNEL FOR ALL DEPARTMENTS Sanders is a first-time DGA Modernista!, Boston, Nike’s second assistant director, and including prepping for online, fi lm to INCLUDING DUBBERS, EDITORS, nominee. He earned the honor “Run Barefoot” for Wieden Doug Webster, Watori Nishida tape and audio sessions. Knowledge TAPE OPERATORS, SCHEDULERS, on the basis of adidas’ “Made To + Kennedy, Portland, Ore., and Gary Rake the 2nd second of fi nal cut is a must. Great benefi ts, NEW MEDIA, ENGINEERING AND salary based on experience. Perfection,” which was produced and Orange’s “Black Out” for assistant directors. And for the SHIPPING. by Omaha Pictures for TBWA/ Mother, London. Murro-directed “Run Barefoot” E-mail: [email protected] FAX RESUME IN CONFIDENCE TO: Chiat/Day, San Francisco; and for Nike, James Giovannetti Jr., Fax: (212) 685-8686 212-398-9660 the MJZ-produced “Joy” for FEATURE FIRST was the first assistant director Xbox via McCann Erickson, San Another commercialmaker and Trey Batchelor the second REAL ESTATE 2%#%04)/.)34 "USY.9#0OST0RODUCTIONHOUSELOOKING Francisco. also made this year’s field of assistant director. FORRECEPTIONISTMUSTBEFRIENDLY MOTI Jonze’s commercialmak- DGA nominees—but in the fea- For adidas’ “Made To Beautiful West LA Post facility has VATED ANDABLETOMULTITASKINTERESTIN space available for short term lease. ing nomination came for adi- ture film category. For his the- Perfection,” directed by Long term is possible as well. 2nd fl oor THEPOSTPRODUCTIONINDUSTRYAMUST das’ “Hello Tomorrow,” also atrical motion picture directing Sanders, the first assistant direc- Edit/Video/Audio bays with isolated VO EMAILRESUMESTO from TBWA/Chiat/Day, Miller debut—the critically acclaimed tor was Gary Marcus and the booth, lobby and separate entrance. POSTPROD YAHOOCOM Beer’s “Penguin” from Young Capote—Bennett Miller, who second assistant director was Reply to: Peter Hollocker. On Xbox’s [email protected] “Joy,” Haze Bergeron III was Crossroads Signs Director Lloyd Stein first assistant director. DUPLICATION SERVICES Continued from page 4 For all three Jonze- writer/producer at the on-air pro- For the latter’s mountain bik- helmed spots—adidas’ “Hello motions department of TNT. He ing apparel line, via Goodby, Tomorrow,” Miller’s “Penguin” went on to MTV where for four Silverstein & Partners, Stein and Gap’s “Pardon Our Dust”— years he wrote, directed and edit- directed an award-winning cam- Vince Landay was the unit pro- ed image campaigns and contest paign that parodied public safe- duction manager, Thomas Smith promos for the network. Stein ty films of the 1950s and ‘60s. the first assistant director and described his MTV tenure as Individually and/or in various Greg Smith the second assis- “film school,” recalling that he combinations, the six spots— tant director. Additionally, Erv would conceptualize, then direct “Mountain Lions,” “Hunting Gentry served as second assistant PRODUCTION SERVICES and edit a promo spot all in a and Gathering,” “Mosquito,” director on “Pardon Our Dust.” week, “with no one looking over “Shrubbery,” “Poison Oak” and Chris Blanch was first assis- my shoulder.” “Tourniquet”—earned several tant director on all the Morton- The body of work at MTV Silver Clios as well as honors directed ads, Bell South’s elicited interest from the com- from The One Show, the ADDYs, “Kung Fu Clowns” and “Dance mercialmaking community, the San Francisco Show, and the Fight Plumbers,” Cheese Nips’ resulting in his coming aboard the British D&AD Awards. “Office,” and CSI’s “Take Me directorial roster of now defunct Stein said he was drawn to Home.” Ryan Lippert was sec- Propaganda Films, where he Crossroads’ longevity, its produc- ond assistant director on both spent two years. He then moved tion and sales support, and its Bell South commercials, as well over to bicoastal Epoch Films. reputation for doing top-drawer as the Cheese Nips spot. Robert To place a classified ad simply After about a year there, he joined work. He also felt Crossroads Torres was second assistant email copy to: Headquarters in late ’99. Among could provide him opportunities director on the CSI promo, and the clients Stein directed spots to diversify into other disciplines, 2nd second assistant director on [email protected] for over the years were ESPN, citing the company’s music the two Bell South spots. or Call 203-227-1699 ext. 14 Heineken, Sony, Kinko’s, Sprint video, promo/trailer and feature Deborah Tietjen was unit and Nike. divisions. production manager and "It Works"

Page 19 | SHOOT >e.dition www.shootonline.com | (203)227-1699 January 13, 2006 street talk Ending months of rumors and speculation, it has been announced that the Rank Group Plc, the international gaming and leisure group, has reached an agreement to sell Deluxe Film to DX III Holdings Corp., a subsidiary of MacAndrews & Forbes Holdings, whose chairman and CEO is business- man Ron Perelman. The deal is valued at $750 million and is expected to be completed in early ’06. Deluxe, with operations in Hollywood, Toronto, London, Barcelona and Rome, is among the world’s largest processors of 35mm film for the motion picture industry and physical distributors of release and trailer prints for motion pictures. Perelman is also the principal share- holder in Panavision….Director Samuel Bayer and bicoastal/ international RSA Films have parted ways…..Director Larry Frey has signed with bicoastal Chelsea Pictures. He brings an agency creative pedigree to Chelsea and previously was repped as a director by such houses as Uncle, Santa Monica, and bicoastal Villains….Sharon Lew, national head of sales for Crossroads Films, bicoastal and Chicago, has addition- ally assumed the role of executive producer on the East Coast for the company. In this latter capacity, she succeeds Charlie Curran who has moved on to head up a new live-action com- pany, Nola, based in New York…. rep report Independent rep Barrie Isaacson will team with Pamala Buzick to handle the East Coast for bicoastal/international HSI….Independent Midwest reps Marci Miles and Kristina “KK” Kovacevic have formally teamed up under the Reelize banner. Reelize was the rep firm formed by Miles four years ago. Miles and Kovacevic will combine their rosters and work as a team to handle Midwest representation for their ensemble of talent. The lineup repped by Chicago-based Reelize includes Rhythm + Hues, Curious Pictures, Mirror, Playroom, Red Rover, Picasso, Yu+Co. and JSM Music…..Ear to Ear Music & Sound Design, Santa Monica and London, has named Tanja Crouch to serve as its exclusive rep on the East Coast and in the Midwest. Ear to Ear is headed by creative director Brian Banks and exec producer Amy Lyngos….Dattner Dispoto and Associates, Los Angeles, has added Academy Award winner Russell Carpenter, ASC, to its roster. The DP recently wrapped the Lena Olin, Jessica Alba and Hayden Christensen thriller Awake, directed by Joby Harold, and is currently available for commercials and features. Carpenter won a best cinematog- raphy Oscar for director James Cameron’s Titanic….Agent Jeannine Angelique has departed LSP Agency and come aboard the Stacy Cheriff Agency, Venice, Calif., bringing along with her a coterie of talent consisting of DPs Sergio Arguello, Scott Buttfield, Douglas Cooper, Brandon Cox, Jim Hawkinson, Joe Maxwell, Tom McGrath, Zeus Morand, Mike Ozier, Dave Perkal, Sebastian Pffaffenbichler, Adam Santelli, Florian Stadler and Checco Varese as well as production designers Benjamin Bamps, Robert de Vico, Matthew Holt, Brock Houghton and Teri Whittaker…. bulletinboard

❑Jan. 19-29/Park City Utah: The Sundance Film Festival. www.sundance.org…. ❑Jan. 19-27/Park City Utah: The Slamdance Film Festival. www.slamdance.com…. ❑Jan. 27London: Call for entries deadline for the Design and Art Direction (D&AD) Awards. www.dandad.org/ awards06… ❑Jan. 31/New York: Call for entries deadline for the 2006 One Show, One Show Interactive, and One Show Design www.enteroneshow.org…. ❑Feb. 22-24/Palm Springs, Calif.: Hollywood Post Alliance (HPA) Technology Retreat. www.hpaonline.com…. ❑April 7-9/Santa Monica: Association of Film Commissioners International (AFCI) Locations Expo at the Santa Monica Civic Auditorium. www.afci.org…. ❑April 22-27/Las Vegas: National Association of Broadcasters (NAB) Covention at the Las Vegas Convention Center. www.nab.org….

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Though this year’s competi- Carmelle Flanagan Wins AICE Detroit Filmspotting Competition tion was a success, next year’s event will be different, though Continued from page 4 lot more cohabitation.” Garth, director, Avalon Films, Detroit; Jim MacBeth, creative the specific changes have not yet they are indeed at the end of their Regarding the Filmspotting Farmington, Mich. The remaining director, The Berline Group, been determined. It’s possible that ropes, the heightening drama competitors, he laughingly noted, judges were: Linda Kemp, execu- Bloomfield Hills, Mich.; Daniel AICE Detroit will host a competi- subsides with the statement, “Try “The assistants, they never knew tive producer, Campbell-Ewald, Hennessy creative director, Leo tion that more closely resembles Decaf.” Now the music becomes each other really before and now Warren, Mich.; Lisa Nagro, exec- Burnett Detroit, Troy, Mich.; and the popular Trailer Park festivals. soothing and imagery shifts to they get together and they all get utive producer, BBDO Detroit, Skip Holloway creative direc- Shevin proposed that the process peaceful images of the films’ to complain about their bosses.” Troy, Mich.; David Vawter, cre- tor, Young & Rubicam Detroit, of cutting a trailer might be more characters with a crawl below The judges for this year’s ative director, Doner, Southfield, Dearborn, Mich. The judges’ cri- entertaining for the participants the action relating messages like, event were from local agencies Mich.; Brad Phillips, creative tiques were compiled and given to and their audience. “Change is “Side effects may include calm- with the exception of Anthony director, J. Walter Thompson, each assistant as a learning tool. good,” he remarked. ness, serenity, clarity of thought.”

LIKE MINDS Like Trailer Park, the goal of this competition is to give assis- tant editors an opportunity to demonstrate their cutting skills All Paths Connect Via SHOOT in 2006 and open the doors of opportuni- SHOOT ty for them. In Detroit, explained www.shootonline.com AICE Detroit president Stewart The online/dvd SHOOT Directory Shevin, an editor at Mad River The SHOOT HTML >e.dition Post, Royal Oak, Mich., the deci- Global SHOOT Events rtising sion to have entrants edit com- mercials was because “in Detroit Locations le Adve In addition to publishing twice-monthly we all cut spots, we’re not cut- print issues, SHOOT is pleased to announce a & Mobi the January re-launch of www.shooton- ting features. So we thought this inem would take the basic concept of line.com and the launch of a new weekly tive, C HTML “SHOOT >e.dition”. New columns Trailer Park [creating trailers] and features in SHOOT will offer insight and adapt it or make it a little Interac Branded Entertainment into all areas of the business. Online ser- more our own.” Commercial Production e & Post vices will include searchable editorial ar- There was a tie for second chives, directory listings, and commercial place between Zach DuFresne work database. New enhancements are of Griot Editorial, Southfield, Agency Creativ planned for SHOOT’s annual New Direc- Mich., for “Best Buds” and Origina tors Showcase and Forum events. Carrie Shepherd of Mad River tion & Post Post for “IPatch.” DuFresne’s Connecting readers with news, spot models MasterCard’s price- Technology information, great work and each other less approach—A Samurai is SHOOT’s goal in 2006! Movie: $11, Wine Country Tour: Getty Images BWO_013 $350, Five-Star Restaurant: $200, Falling in Love … Priceless. HERE'S A PREVIEW OF SHOOT 'S JAN. JANUARY 27 APRIL 7 Shepard’s spot features a fic- -MAY PRINT ISSUE FEATURES .... Editing & Postproduction Ad Agency Creative Visual Effects & Animation Film Commissions / Hot Locations tional item, the iPatch. With this Superbowl Preview California: North & South/Road to NAB 3 eye patch, the wearer has a vir- EVERY ISSUE OFFERS A NEW Australia & New Zealand Bonus Distribution: Locations tual experience with images that OPPORTUNITY TO REACH YOUR are playing inside the patch from FEBRUARY 10 APRIL 21 popular films. In this case the PROSPECTIVE CLIENTS. SHOOT'S Ad Agency Heads of Production Music & Sound images are from Moulin Rouge. AUDIENCE OF AD AGENCY Music & Sound / HD Special Report Visual Effects & Animation Paul Giamatti’s character in CREATIVE & PRODUCTION Superbowl wrap up/DGA Commercial Florida / Mexico & Cost Rica Sideways, Miles, is the lead char- DECISION-MAKERS READ EVERY Director Winner/Sundance wrap up Bonus Distribution: NAB acter in the spot and a voiceover ISSUE FOR THE LATEST NEWS, suggests he is lost, lonely and FEBRURAY 24 MAY 12 COLUMNS, AND SCREENWORK New York / Creative Clients Agency Producers uninspired. Then when he puts SECTION FEATURING THE BEST Stock Footage & Music Libraries SHOOT's New Directors Showcase on this high-tech Moulin Rouge VES Award Winners Music Video Directors iPatch he suddenly seems to NEW COMMERCIALS, INTERACTIVE Argentina & Brazil Bonus Distribution: SHOOT's New Directors have one-on-one experiences ADVERTISING & BRANDED CON- Showcase, MVPA Awards, Clio Festival with Nicole Kidman’s character TENT . MARCH 10 Satine in Moulin Rouge. His Editing & Postproduction MAY 26 confidence grows and he is final- Interactive: web & gaming New York ly able to pursue the real-life HPA Tech retreat wrap up Cinema Adv. & Mobile Adv. woman of his dreams. The first PLACE A PRINT ISSUE AD & Road to NAB 1 Cinematographers & Cameras place winner took home a $300 YOU'LL RECEIVE AN AD IN SAME South Africa / D & AD winners MARCH 24 cash prize while the runners up AICP Preview/ One show winners WEEK'S PDF VERSION (WELL READ Directors Issue EXTRAVAGANZA Bonus Distribution: CineGear Expo, AICP, split the $150 second place prize. INTERNATIONALLY) AT NO EXTRA & Cinematographers and cameras AICE CHARGE! Chile, Uruguay & Columbia MEMBERSHIP BENEFITS Road to NAB 2 The AICE Detroit chapter has been in existence for about three years and like the Filmspotting contest, the overall chapter efforts have enriched the editing  WWW.SHOOTONLINE.COM community in the area, Shevin related. “A lot of [the focus of Ad Deadlines: • Space Reservations: Fridays, two weeks prior to issue date • Ad Material Deadline: Fridays, one week prior to issue date this competition] is just about camaraderie and normally these CONTACT US TODAY TO RESERVE ADVERTISING SPACE companies, we don’t get together. Detroit was a very sectarian mar- East/Midwest: West/International: Classifi ed: Robert Alvarado Roberta Griefer Kelly Boyle ket as far as us being competitors [email protected] [email protected] [email protected] and we didn’t talk to each other 203.227.1699 ext. 15 203.227.1699 ext. 13 203.227.1699 ext. 14 and now with AICE we talk to each other a lot more. There is a

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