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Baby Proves Dirs. Neaman, Elusive For JWT Southworth New York, MJZ’s Go Green For Fredrik Bond AmazonKindle page 8 page 9

THE LEADING PUBLICATION FOR COMMERCIAL, BRANDED CONTENT & ENTERTAINMENT PRODUCTION January 21, 2011 $7.00 The Collaborative Network Nominees Behind The Social Network Reflect On David Fincher reflects on his relationships spanning DGA Honor By Robert Goldrich cinematography, editing, sound, production design LOS ANGELES—”It’s unbelievably By Robert Goldrich meaningful to me,” said David O. Rus- LOS ANGELES—With SHOOT’s 50th Anniversary Issue and “Then, sell of his Directors Guild of America 12 Ad Production Outlook Now & Looking Ahead” series still prominent in the proverbial (DGA) Award nomination for Out- Fearless agency artisans share their rearview mirror, it’s apropos that we kick off 2011 with special standing Directorial Achievement in New Year’s resolutions, conjecture as coverage of The Social Network, a lauded film which reflects both Feature Film for 2010 on the strength to the state of the industry in 2011. change and a constant, in some respects underscoring the blend of of The Fighter. “I think it’s probably new and enduring dynamics that carries relevance for the new year more meaningful and emotional for as it applies to our industry. me now than it would have been at Indeed change is ripe in the The Social Network’s storyline which any other time. In particular just be- brings to the fore the web and the social networking phenomenon, ing older and wiser, you don’t take which have profoundly influenced contemporary culture. Mean- these things for granted. You realize while the alluded to constant is collaboration, which was integral to how rare this is, especially given that the making of the movie. I have had a few years that didn’t go so Continued on page 4 great for me. “It’s a great honor to be nominated during a year when there are so many great films and filmmakers,” he con- tinued. “There’s not anything quite as 17 VES Awards Preview special as being recognized by your A close-up look at TRON: Legacy, a peers, by people who are experienced three-time nominee; plus an overview in and have the eye for what you do.” of the overall nominations field. Russell was one of two first-time DGA Award nominees in this year’s Super Bowl XLV: The field—the other being Darren Aronof- Commercials Lineup sky for The Black Swan. Tom Hooper also garnered his first feature nom- What ads are in store for the Big Game, and who’s doing them? ination—for The King’s Speech—but See page 19 had previously been nominated in a TV category for John Adams, the acclaimed 2008 HBO miniseries. Rounding out the theatrical feature Screenwriter Aaron Sorkin (l) and director David Fincher on the set of Columbia Pictures’ The Social nominees for 2010 are David Fincher Network. (Photo by Merrick Morton.) for The Social Network and Christo- Continued on page 6 Sweet 16s At Sundance For Directors King, Richardson PARK CITY, Utah—A pair of entries Documentary Competition, 16 were Meanwhile Brick Novax’s Diary is end their lives under the state’s Death that are part of sweet 16 lineups in selected from 841 submissions. part of Sundance’s U.S. Narrative Short With Dignity Law. This is Richard- competition as well as a tongue-in- Included in the latter is How To program. Brick Novax’s Diary was di- son’s second documentary—both have

cheek short just shy of 16 minutes are Die In Oregon directed by Peter D. rected by Matt Piedmont who helms made the cut at Sundance, the first be- in the mix at the 2011 Sundance Film Richardson while HERE helmed by commercials and branded content via ing Clear Cut: The Story of Philomath, Festival which just got underway on Braden King earned a place in the PRETTYBIRD, Santa Monica. Oregon, which centered on a cultural/ Thursday and runs through Jan. 30. Dramatic Competition. political conflict that occurred within The initial reference to 16 signifies a Both Richardson and King are Death With Dignity that town’s school district. Clear Cut select group. For Sundance’s Dramatic repped for commercials, respectively, by How to Die In Oregon tells the was part of Sundance’s then Ameri- Competition, 16 films were chosen Food Chain Films, Portland, Ore., and stories of terminally ill Oregonians can Spectrum program in 2006. from 1,102 submissions. For the U.S. Washington Square Films, New York. as they decide whether and when to Continued on page 16 ARE YOU ONE OF TOMORROW’S HOT NEW DIRECTORS? Enter SHOOT’s New Directors Search if you have what it takes to compete in the big leagues. THE NINTH ANNUAL NEW DIRECTORS SEARCH IS ON! WWW.SHOOTONLINE.COM/GO/SEARCH OFFICIAL CALL FOR ENTRIES To Subscribe, Renew or Change Mailing Address visit: www.SHOOTonline.com/go/subscribe

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5992-High_End_Shoot_Nov30_P4CB.indd 1 11/17/10 9:29 PM Perspectives

spot.com.mentary By Robert Goldrich The Leading Publication For Commercial, Branded Content & Entertainment Production The Hidden Persuaders

January 21, 2011 Volume 52 • Number 1 The title of this at large. Ad biz leaders denied the use nors spent $132.5 million to influence big bucks as well. www.SHOOTonline.com spot.com.mentary of subliminal communication in the elections nationwide last year, account- However, heavy spending by groups installment is that peddling of products and services. ing for about one-third of all spending under the Citizens United ruling did EDITORIAL of a seminal book by Vance Packard. But Packard stuck to his guns, par- by outside groups in the 2010 election not ensure victory. In three of the most Publisher & Editorial Director Released in 1957, The Hidden Persuad- ticularly concerned over how politi- cycle. Anonymous or unlimited cor- expensive Senate races, candidates won Roberta Griefer ers 203.227.1699 ext. 13 [email protected] contended that a significant per- cians were being promoted to the porate spending represented 15% of despite heavy Citizens United-spawned centage of advertising was insidiously electorate through unscrupulous mar- all federal political spending in 2010. spending directed against them. Editor Robert Goldrich manipulative, deploying consumer keting and advertising. Such spending amounted to some $85 The Supreme Court decision was 323.960.8035 ext. 6681 [email protected] motivational research and other psy- Now more than 50 years later, million in Senate races, $40 million of based on freedom of speech protec- Contributors chological techniques, in- Christine Champagne cluding subliminal messag- The Supreme Court upheld freedom of speech for corporations. I’m all Millie Takaki ing. “Many of us are being for freedom of speech, as long as I know who’s speaking. ADVERTISING influenced and manipu- Display Advertisng Inquires [email protected] lated, far more than we realize, in the Packard’s concerns have been fueled which went to the 10 most expensive tion for corporations. I’m all for free- 203.227.1699 ext. 13 patterns of our everyday lives,” wrote further by a new generation of hid- contests. Ads paid for by groups solic- dom of speech, as long as I know Advertising Production Packard who passed away in Dec. 1996. den persuaders spawned by the 2010 iting anonymous donors were more who’s speaking. Gerald Giannone 203.227.1699 ext. 12 [email protected] He compared motivational research to Supreme Court ruling dubbed Citi- likely to be negative than those paid In mainstream advertising, the pub- Classified “the chilling world of George Orwell zens United. The high court decision for by groups that disclosed donors. lic knows who’s behind an ad and can 203.227.1699 ext. 12 [email protected] and his Big Brother.” cleared the way for companies, unions Groups including the U.S. Chamber judge those brands and their messages The Hidden Persuaders The SHOOTonline Directory Listings was on and other special interest groups to of Commerce and the American Fed- accordingly, with people making their 203.227.1699. ext. 11 [email protected] New York Times bestseller list for a full spend unlimited funds to try to in- eration of State, County and Municipal buying decisions as they see fit. Even OFFICES year. It was both praised and criticized, fluence elections, often using money Employees took advantage of the new the most manipulative ads critiqued Main Offi ce the latter coming primarily from the from anonymous donors. rules, spending tens of millions of dol- by Packard had a readily identifiable 256 Post Road East #206 Westport, CT 06880 USA ad industry which claimed that moti- According to an Associated Press lars on campaign ads in races across advertiser. Now what’s “hidden” in 203.227.1699 Fax: 203.227.2787 vational research helped advertisers report, independent groups that did the U.S. Other groups formed express- the political ad arena extends all the West and marketers better serve the public not disclose the identity of their do- ly to make use of the new rules spent way to the sponsors themselves. 650 N. Bronson Avenue, Suite B140 Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036

Circulation POV 203.227.1699 ext 12 [email protected] By Robert Goldrich Editorial Production Manager/Reprints/Article Rights Michael Morgera Putting CES Into Perspective 203.227.1699 ext. 11 [email protected]

© 2011 DCA Business Media LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, As chief technol- • Fulton Innovation which show- tied to a particular screen. We don’t Point Inside, a company with which electronic, mechanical, photocopying, recording, or otherwise, ogy catalyst, North have to differentiate so much between McCann partnered to help navigate without the prior written permission of the publisher. cased wireless electricity and cereal America, for Mc- boxes that lit up. The technology al- screens—mobile, the living room, or about the show floor. To Subscribe Go To www.shootonline.com/go/subscribe Cann Worldgroup. Lori H. Schwartz is lowed for electric connectivity in pack- PC. Now it’s all one screen coming This created a personal mapping charged with focusing on partnerships aged goods. “There are so many op- in a variety of sizes with the meat of experience for McCann and its cli- To RENEW Go To processing and content happening in ents at CES, underscoring the power www.SHOOTonline.com/go/renew and innovation, working to understand portunities to leverage that capability and complete our online renewal form today. different technologies, how they’re en- not only from a creative standpoint cloud, with content moving from one of location-based services, facilitating abling opportunities to connect with but just from being able to make a screen to another. Nothing is glued to the seeking out of certain resources For Subscription Service Inquires & list Rental Inquiries, Email: consumers, how those technologies box stand out in a retail environment,” any particular screen.” of interest. Ironically, though, this was [email protected] are involved in content, licensing, in- observed Schwartz. “You can connect During CES, Schwartz had a Sam- undermined a bit, laughed Schwartz, SHOOT (ISSN# 1055-9825) printed edition is published formation and data, and interpreting with consumers on a different level.” sung Galaxy tablet equipped with the by some difficulty in getting Wi-Fi at monthly except in July for $75.00 per year by DCA Business • Media LLC, 256 Post Road East, #206, Westport, CT 06880. all this to discern what’s most relevant Intel with its Atom Processor. “It’s location-based mapping capabilities of the CES venue. Printed periodicals postage paid at Westport, CT and at for clients and marketers. been around for awhile but it’s coming additional mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 In the context of the recently into its own,” said Schwartz. “It’s a chip Flash Back USPS (06-234) wrapped Consumer Electronics Show that enables the connected home and (CES) in Las Vegas, Schwartz also took smart appliances, which colored my January 19, 2001 Steve Sandoz, creative director at Portland- For SHOOT custom reprints please contact Michael Morgera 203.227.1699 ext. 11 or email to: mmorgera@ on the role of tour guide, taking select whole experience at CES as to how based agency Wieden+Kennedy, passed away Dec. 26, 2000, after shootonline.com clients through the booths to explore the future households we’re trying to a long battle with leukemia....RSA Films has launched Top Dog, a di- The SHOOT>e.dition is published weekly on Friday. The e.dition will not be published on the following dates: innovations that are not only cool but reach will be quite different.” vision specializing in garnering spot assignments for select feature 7/1, 11/25, 12/23, & 12/30 that could also affect consumer be- Schwartz also gained at CES big pic- fi lmmakers...Largely on the strength of a self-fi nanced spec reel, SHOOT is produced in the U.S.A. SHOOT havior, perhaps getting a taste for how ture perspectives to share with clients director Shawn Driscoll has landed at his fi rst career spot roost: supports the Sustainable Forestry Initiative by things could change over the short and that transcend any one technology. For purchasing SFI-certifi ed paper. Coppos Films....Director Kevin Dole has joined Tag Team in L.A.... long haul. She explained that McCann example, much has been written about wants its clients to see first hand why how numerous computer-makers are and how technology is so important to jumping aboard the tablet bandwagon January 20, 2006 As its economy looks to recover after the dev- the marketplace at large. in the wake of Apple’s success with the astation wrought by Hurricanes Katrina and Rita, Louisiana has a McCann too sees the importance of iPad. A self-described iPad aficionado, major boost to its fi lming infrastructure on the horizon. Plans have SHOOT is a member of: CES. While the agency’s media side Schwartz at the same time noted that been announced to build a studio complex on 11-plus acres in Ba- has had a strong presence at the show it doesn’t matter all that much which ton Rouge....Anonymous Content has teamed with Sharkle.com to over the years, this was the first time tablet you choose. What’s relevant, she provide original content for the website....DiverseCity, a NY-based that a significant creative contingent observed, is that “we used to talk about production house headed by former agency exec producer Scott turned out for the event. the three-screen world, the four-screen Nicholas, has opened with a lineup that includes directors Lionel Among the many exhibitors that world. But now with the idea of every- Coleman and Thomas Barnes.... caught Schwartz’s eye were: thing being cloud-based, people aren’t January 21, 2011 SHOOT 3

5992-High_End_Shoot_Nov30_P4CB.indd 1 11/17/10 9:29 PM News

Fincher, Cronenweth, Burt Discuss Their Working Relationship

Continued from page 1 Jeff Cronenweth, ASC Fincher whose spotmaking home is as Hewlett Packard, Nike and Apple’s On the collaborative front, shar- Fincher recalled, “I met Jeff work- Anonymous Content.) iPhone. Burt has spotmaking roots ing his insights into the longstanding ing with his father [legendary cinema- Still, Cronenweth is an unabashed that date back to when he first got to working relationships behind The tographer Jordan Cronenweth, ASC], lover of film. “There’s no mystery, no know Chaffin. Social Network is its director, David and asked him to shoot Fight Club in surprises per se when shooting in HD “With David, you feel you are in a Fincher, whose career spanning mu- 1999. Jeff is genetically incapable of which to some is the advantage of HD. collaboration,” related Burt. “Some- sic videos, commercials and theatri- ‘over lighting’ and is a great and prag- But I love the texture of film, the grain, times you work on projects and the di- cal features has been chronicled by matic problem solver.” not always knowing what you have.” rector is unavailable or busy elsewhere. SHOOT over the years. Fight Club is one of a select number On one hand, quipped Cronen- David is always available, always there. Several of Fincher’s prime collabo- of features Jeff Cronenweth, ASC, has weth, “I love not having to call the film You can discuss ideas with him. David rators on The Social Network have also shot over the years (including K-19: lab at 5 a.m. wondering if I will have a gives you space and at the same time is contributed to his past clips and/or The Widowmaker for director Kath- job that day. But not knowing exactly there for discussion. He is so involved. spots as well as other feature-length ryn Bigelow, and One Hour Photo for Jeff Cronenweth, ASC what you captured, sometimes hav- He wants to hear you, he wants to see movies—among those artisans being director Mark Romanek). The cinema- en, contemporary—these were events ing a little fear is not necessarily a bad you. He values the art department and cinematographer Jeff Cronenweth, tographer made a conscious decision of the past six or seven years. It was an thing—I’m not sure all the young DPs you feel he values you and what you ASC, editors Kirk Baxter and Angus to be extremely selective about feature exercise in constraint—visually adding appreciate that. If you’re brave enough can contribute.” Wall, production designer Donald cinematography gigs in that they are to the performances and the words to embrace the mystery and the sur- As for the biggest challenge he Graham Burt, and supervising sound generally time consuming and his per- being said. It was great to see how one prises you can get on film, that pushes faced on The Social Network, Burt editor and sound re-recording mixer sonal priority has been to spend more of our industry’s brightest and most you. Without that, there are people cited “the recreation of Harvard, Ren Klyce. time with his family. However when talented directors tackled this.” who might not be pushing and taking which has a no filming policy. We had Fincher observed, “Films are wars— Fincher called him regarding The At the same time, Cronenweth the risks they should be taking.” to recreate Harvard, doing extensive battles waged over months in the hope Social Network, Cronenweth—who’s observed, “If Fincher calls you, do Asked for how he and Fincher research regarding what the dorm that even with some days resulting repped as a DP by Dattner Dispoto you even need to read the script to have evolved over their years of col- rooms and hallways were like back in lost ground, you can get THERE. and Associates—was all ears. decide if you want to work with him? laboration—spanning spots, two fea- then. We had to recreate Harvard in They require constant vigilance on “For one, it was three to four weeks Of course not—the chance to work tures divided by some 11 years (The such a way that created the right tone, the part of many departmental over- on location, with the rest of the shoot- with David is too good to pass up. You Social Network and Fight Club) and serving the dramatics of the script and seers to make sure that the newborn ing in Los Angeles, meaning I could be know the project will be ambitious earlier Fincher movies for which he the narrative. is not tossed with the suds. If you’ve close to home,” related Cronenweth. and challenging.” served as second unit DP (The Game, been through it before, you know the “But more importantly, I was hooked Cronenweth shot The Social Net- Se7en)—Cronenweth observed. “We Angus Wall, Kirk Baxter value of those who can maintain focus when I read the script—it’s a cerebral work on a state-of-the-art RED One have grown. We are both better, more Reflecting on his working relation- and keep front and center that which movie that’s all dialogue. There was camera, which filmmaker Steven concise as filmmakers. We know how ship with editors Angus Wall and Kirk is narratively essential. Those are the no dark side other than how you inter- Soderbergh provided for Fincher. to arrive at desired points sooner, Baxter of edit house Rock Paper Scis- people you owe it to yourself to invest pret the actions of Mark Zuckerberg Cronenweth had used RED in the easier. We communicate better with sors, Fincher related, “I had worked in; the people who make you look and those around him. There are no past but found this new iteration with each other. I understand his language. with Angus for years on music videos wise and responsible, the people who chase scenes or complex visuals, It’s the Mysterium X chip to be advanta- There’s more short hand between us.” and commercials, and he introduced are dedicated to what the audience essentially a courtroom drama with- geous. “I believe this was the first ma- (Cronenweth, incidentally, is currently me to Kirk. We have worked harmoni- will see and feel most.” out a courtroom. Instead it’s set in two jor movie to use this new chip, which shooting Fincher’s latest film, The Girl ously together on three features (Zodi- Here’s a look at several of those deposition rooms and in surroundings offered increased dynamic range in With The Dragon Tattoo.) ac, Benjamin Button, The Social Net- people and their collaborative film- where certain events took place. The latitude and color, the ability to hold Having worked with the likes of work). Each brings an incredible skill making history with Fincher: visual approach was more reality driv- highlights better than its predecessor, Fincher, Bigelow and Romanek, set, but also a great sense of curiosity, the capability to deal with warm light. Cronenweth noted that these expe- experimentation and determination to So many of our locations dictated what riences have helped him as both a make each moment count.” our lights sources would be...Had RED cinematographer and director (he Wall and Baxter earned a best edit- not progressed with its new chip, then and brother Tim comprise the helm- ing Oscar nomination for The Curious the demands of this movie would have ing duo The Cronenweths at L.A. Case of Benjamin Button. It was after been an issue.” production house Untitled). A prime that movie was released that SHOOT Fincher has been proactive in digi- lesson learned from these filmmak- first discussed with the two editors tal cinematography on his features ers, said Cronenweth, is “all of them their collaborative bond with Fincher in recent years, going with the Viper have strong creative convictions. They on both spots and features. At the time, on Zodiac (with Harris Savides, ASC, believe in themselves. They believe in Baxter related, “I’ve found it incred- serving as cinematographer) and The ideas and fight hard for them.” ibly simple to work with David. He’s Curious Case of Benjamin Button very clear, very helpful yet is always (DP Claudio Miranda), for example. Donald Graham Burt there if you stray off the path. He will Cronenweth explained that this digital Fincher related, “Don Burt was talk to me about a scene as if I’m an ac- bent does not stem from an aversion to someone Ceán [Chaffin, Fincher’s tor who’s going to go out and perform film but rather Fincher’s desire to own longtime producer] introduced me to it. He will talk about it in an ethereal and control as much of the imagery as on Zodiac and I love his taste and will- way, keeping things loose so we can he possibly can, being less vulnerable ingness to sublimate beautiful design consider and then use the right build- to outside forces like film labs where to the needs of the story.” ing blocks. As things start to form, he issues like scratches, handling of the Zodiac started a string of Fincher/ gets even more useful and specific to work and timing can surface. Burt collaborations that went on to help each artist with his specific craft. Cronenweth himself is open- include Benjamin Button, The So- You very much want to please David. minded about new tools, going with cial Network and The Girl With The You try to do things proactively to help what’s best for the particular project. Dragon Tattoo. Burt earned an Oscar him since he has such a great under- He earlier for example had a positive for best achievement in art direction standing of how to give you freedom experience deploying the Sony F35 for Button (shared with set decorator and help you at the same time.” on a Fincher-directed iPhone spot Victor J. Zolfo). Wall observed, “David understands produced by Anonymous Content Burt, who’s handled by The Sk- that the nondestructive aspect of the for TBWA\Chiat\Day and Media Arts ouras Agency, has also served as pro- process is post. In production you can Lab, L.A. (Cronenweth has shot var- duction designer on several Fincher- have the figurative gun to your head The Social Network ied commercials over the years for directed commercials for such clients Continued on page 11 4 SHOOT January 21, 2011 PProdduuctiionn + poost prrodductioonn undderr onee roooof. 312.321.0880 ask for John or Gretchen. oneatoptimus.com ©2011 Optimus. News

DGA Feature, Spot Nominees Refl ect Short Takes

Continued from page 1 DIRECTOR/COP BACKS STREET STORIES pher Nolan for Inception. Calum deHartog’s not like most commercial directors. He moon- This is the second career DGA lights as a Toronto police offi cer. Seeing fi rsthand the ravages of Award nomination in the feature film the drugs and violence that run rampant in Toronto’s inner city category for Fincher, who discusses communities, he became his collaborators on The Social Net- inspired to help inner city work in this week’s SHOOT lead story. youth tell their often har- His prior DGA feature nom came for rowing stories through fi lm. The Curious Case of Benjamin Button Thus was born The City Life in ‘08, the same year he was also nom- Film Project, initiated last inated in the commercials category. spring in partnership with And Fincher, whose spotmaking roost Toronto-based Temple Street is Anonymous Content, won the DGA David O. Russell Tom Hooper Productions and The Remix Award for commercials in ‘03. derstand the love and loyalty between roots of the stuttering as we ultimately Project, a Toronto charity Meanwhile Nolan has three DGA the brothers despite all the trouble see King George VI put his fears aside employing arts and culture to engage young people, mostly from feature film nominations, having been they had between them.” to formally address the U.K. people, priority neighborhoods. The Project partners inner city youth with recognized for The Dark Knight in ‘08 Wahlberg plays Mickey Ward, a wel- informing them of the nation’s declara- industry professionals who provide them with the guidance and and for Memento in ‘01. terweight who’s struggling as a boxer tion of war against Germany. resources to bring their stories to life. Out of 50 applicants, 10 fi - and also struggling with a dysfunctional Hooper said that the stammer it- nalists were chosen and whittled down to three young fi lmmakers The Fighter family. His older half-brother, portrayed self was one of the risks he had to who were given the opportunity to make their fi lms. Russell said he felt fortunate that by Christian Bale, was a boxer himself creatively navigate his way through. The goal, says deHartog, is “to inspire future fi lmmakers by pro- his friend Mark Wahlberg brought until he became a crack addict. “There are many mine fields with viding real hands-on experience in bringing their stories to life. The Fighter to him. “He had been Russell affirmed, “This is very stammering—making it too painful It also reinforces my view that arts and culture are an important around the block with it in various much a movie about love and loyalty and unwatchable or minimizing it component of society in creating dialogue and understanding the incarnations,” related Russell. “As a and that’s how Mark and Christian and having it come off as comedic. If world we live in.” friend, I followed the project through felt about the story and their charac- you’re too heavy, the film’s pace dies. To produce the three fi lms, $250,000 was raised. The project, its ups and downs.” What ultimately ters’ relationship.” There’s also the pitfall of running which will continue to run annually, is being promoted through drew Russell to take on the film was scared of and minimizing the stam- a pro bono campaign developed by Leo Burnett in Toronto. The its “amazing mix of characters. The Eloquent Speech mering which also has the potential to campaign consists of wildposting of fake movie posters and a fake mother and the sisters, the two broth- Also with a challenge inherent in the undermine the film.” movie trailer for The Downfall, a fi lm that was never made because ers and the bartender girlfriend—they storyline is The King’s Speech, which Another concern for Hooper was the young person who would have made it was killed by stray gun- are unbroken people. If they had been centers on King George VI (Colin “whether the climax would be climac- fi re. The trailer, produced by Toronto-based Crush, is currently be- shattered people, I don’t think I would Firth stars as the World War II mon- tic enough. The only way to make the ing shown on cinema screens in Toronto. The movie posters point have been attracted to the story. These arch) whose stammering is treated by a climax work was to be so far into King to TheDownFallMovie.com, which also hosts the trailer. are characters who are alive, spirited speech therapist (portrayed by Geoffrey George’s head that we start to care as The three fi lms, created by Ana Astaiza, Rich Acheampong and and funny despite everything they’ve Rush). While a period piece, the film much as he cared—and at the same Ayanie Naseem, had an invitation-only Toronto premiere in No- endured in life.” centers primarily on the friendship that time to so fully understand the context vember. The fi lms are also being submitted to festivals worldwide Creatively Russell felt the challenge develops between the two characters of going into war and how painful fail- and are being screened at high schools and community centers to make sure to convey the truth of the and the life’s lessons that come from ure in the King’s speech would have throughout Toronto. More info is at http://citylifefi lmproject.com relationships between these charac- confronting and overcoming obstacles. been on that day in that moment. I felt ters, perhaps the hardest being “to un- The therapist gets to the psychological that moment would be unlocked if Co- ADC OPTS FOR 16-YEAR VET AS DIRECTOR lin’s performance were right, if we un- The Art Directors Club has offi cially promoted Olga Grisaitis, locked being a stammerer correctly.” a 16-year vet of the organization, to its top position as director. That moment wound up ringing Founded in N.Y. in 1920, the ADC is a self-funded, not-for-profi t true and climactic, helping to translate global membership organization serving as a hub for creative into a moment which Hooper holds directors, art directors, graphic designers, digital designers, envi- dear—hearing from DGA president Tay- ronmental designers, copywriters, illustrators, photographers and lor Hackford that he had been nomi- others. The club’s mission is to connect creative communications nated for the DGA Award. “I’m thrilled professionals around the globe, and to provoke and elevate world- with the nomination from my fellow changing ideas. ADC encourages students and young profession- directors, my colleagues and peers,” als entering the fi eld. ADC provides a forum for creatives in adver- said Hooper. “If any group knows what tising, design, interactive media and communications to explore directors do, it’s the Guild.” the direction of these rapidly converging industries. Hooper added that he has “a strong affection for the DGA and was particu- PEOPLE IN THE NEWS... The Fighter larly touched to hear about the nomi- Lindsay Stillman has been nation from Taylor. I remember one promoted to sr. producer at of my first trips to Los Angeles when GSD&M Idea City in Austin. She through [actress] Helen Mirren I met has moved up steadily since [her husband] director Taylor Hack- fi rst coming aboard in the fall ford. He wasn’t DGA president then of 2004 as an intern in it A-V and it was before I joined the DGA. He studio. During her tenure at invited me to a DGA induction event GSD&M’s production depart- and I learned that a DGA member was Lidsay Stillman ment, she has produced and guaranteed a 10-week director’s cut. I edited commercials for such clients as Southwest Airlines, Kohler, had only three weeks on my last fea- and L.L.Bean...... Matej Purg has been promoted from head of pro- ture. I was hooked then and there.” duction to exec producer at Paranoid US. He has overseen recent Indeed Hooper’s affinity for the work for Paranoid US such as Nike’s “Mercurial” and Coke’s “Quest” DGA stems in part from his advocacy directed by Edouard Salier, and Optus’ “Secret Training Camp” and of directors’ rights. He supported the Accenture’s “Surfi ng Elephant” directed by Thierry Poiraud... The King’s Speech Continued on page 15 6 SHOOT January 21, 2011 UNIVERSAL STUDIOS

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Find Us Download at mobile.filmmakersdestination.com Top Spot of the Week Director Fredrik Bond, MassMarket Trash A Party For JWT And Huggies By Christine Champagne intricate still moments. move within the environment. Mass- “The music is not like the music When it comes to diaper ads, we don’t At the outset of the project, senior Market used the resulting video to cre- you hear in most diaper ads, and the expect much visual creativity. But “Soi- integrated producer Owen Katz was ate an animated pre-vis. visuals are not what you’re used to rée” for Huggies via JWT New York is confident his creative colleagues at Just over a week later, Bond and DP seeing in most diaper ads,” Gonzalez something to marvel at. Directed by JWT had conceptualized a brilliant Hoyte van Hoytema shot “Soirée” on mused. “That takes a bit of bravery on Fredrik Bond of MJZ and featuring spot, but he confessed he wasn’t sure location at a Manhattan loft. “We shot the part of the client.” the VFX work of N.Y.’s MassMarket, Bond would even look at the brief giv- all of it for real,” Bond said. the :30 centers on a baby who wreaks en that it was for a diaper commercial. Each vignette was arranged and havoc at an upscale loft party. Bond did look at it and was im- lit, and shot individually, a motion top The spot was designed to promote pressed by the possibilities and chal- control camera snaking through the Huggies Little Mov- lenges. The director scene. For the most part, the actors, ers diapers, which are not only executed what which included Rod Luzzi as the dad Spotof the week shaped to fit in a way he read on paper, but and Bond’s friend Emil Moller, whom that allows babies to he “took it the next he described as an amazing panto- move faster and more mile. He added value. mime, had to make an expression and CLIENT freely. That insight led He pushed the bound- hold it. Some were standing, while Huggies. the creative team at aries. He pushed the others hung from the air on wires. AGENCY JWT to wonder, could budget,” Katz said (A mannequin stood in for the baby.) JWT New York. Huggies have created a with a laugh. “He But Bond didn’t require total stillness. Walt Connelly, executive creative diaper that has babies made the spot better, “If you look closely, they are all mov- director; Richie Glickman, creative director; David Suarez, art director; moving so fast they and you don’t always ing slightly,” Bond shared, explaining Daniel Gonzalez, copywriter; Aaron can’t be caught? From get that when you hire that the movement—you’ll see one Padin, head of art; Chadwick White- Fredrik Bond that question came the a director. I hate to say girl’s eyes darting toward the end of head, title animation; Clair Grupp, idea of producing a spot that finds a it on the record, but it’s true.” “Soirée”—gave the spot life. director of integrated production; Joe baby in overdrive. But rather than have As far as postproduction, MassMar- Calabrese, director of brand produc- the baby whizzing around like Road Low-tech ket touched every frame of the spot, tion; Owen Katz, senior integrated Runner, which would seem like an ob- Given the complexity of what JWT rotoscoping the individual vignettes producer; Mike McLoughlin, assistant vious route to take, the creative team, and Bond wanted to pull off, MassMar- and marrying them together; adding producer. including copywriter Daniel Gonzalez ket executive producer Justin Lane 3D elements, including the cake and PRODUCTION COMPANY and art director David Suarez, created felt it was important to get everyone cake bits we see hanging in the air MJZ, bicoastal/international. a sense of speed through a series of involved in the project in one room to- and the water in the fish tank; com- Fredrik Bond, director; Hoyte van frozen vignettes. While the baby is a gether to plot out a course of action. Go- pletely removing the ceiling of the loft Hoytema, DP; Lisa Margulis, execu- whirlwind of destruction, whipping ing low-tech, Lego toys were spread out and replacing it with a 3D ceiling; and tive producer; Jeff Scruton, senior ex- around the party and knocking over on a conference table, serving as repre- speeding up or slowing down certain ecutive producer; Nicholas Wrathall, producer. Shot on location in Man- everything from a plate of spaghetti to sentations of the people in the spot, and segments. Massive amounts of rig and hattan. an aquarium with his dad in hot pur- a camera phone was flown through the wire removal were also performed. VISUAL EFFECTS/EDITORIAL suit, the action is depicted in a series of setup to show how the camera would For marrying the vignettes togeth- MassMarket, New York. er, “Something that worked to our Justin Lane, Rich Rama, executive advantage was the spot was shot on producers; Nancy Nina Hwang, RED,” said sr. Flame artist Jamie Scott. Marcus Lansdell, producers; Justin “Shooting digitally meant the motion Romero, associate producer; Cass control shots lined up a lot better than Vanini, editor; Damon Ciarelli, CG su- if it had been shot on film.” pervisor; Andy Jones, CG lead; Todd The biggest challenge of all for Mass- Akita, Jonah Friedman, Soo Hee Han, Market was the 3D head replacement Xuan Siefert, CG artists; Tom Cushwa, on the baby, according to MassMarket CG modeler; Ian Brauner, CG pre-vis; lead Flame artist David Parker. Katz Joerg Liebold, tracking lead; Denis credited MassMarket with developing Trutanic, tracking; David Parker, lead Flame; Jamie Scott, Joanne Unger, a camera rig that—as unobtrusively as Jeen Lee, Adam Flynn, Flame artists. possible—swung around a real baby ANIMATION and captured numerous facial expres- Buck, New York. sions from varying angles. MassMar- Kate Treacy, Anne Skopas, execu- ket’s 3D department then used those tive producers; Kevin Hall, producer; stills to create CGI baby heads. Orion Tait, creative director; Lars Hol- mgren, CG supervisor; Kevin Couture, On track Arvid Volz, Dave Soto, 3D generalists; The guys at MassMarket weren’t Ryan O’Phelan, CG lead/modeling/ only interested in talking about their comping/texturing; Claudio Salas, work on “Soirée,” by the way. They texturing. also praised the music. Licensed for AUDIO “Soirée,” “Let’s Dance Together” is a JWTwo, New York. Paul Reeves contemporary track with Andy Green, sound mixer; Dan Burt, music producer; Greg Tiefenbrun, a Roaring ‘20s vibe. “A lot of times, we producer. CLICK HERE TO VIEW SPOT find the best spots come out of a ser- PERFORMERS endipitous moment where everything Rod Luzzi, Emil Moller A baby in Huggies proves to be most elusive, wreaking havoc at a loft party. But rather than have the baby move like a blur through the proceedings, a just comes together—the music, the vi- series of frozen vignettes more engagingly and strikingly conveys the feeling of speed--and the utter helplessness of the father who’s in hot pursuit. suals and the storyline,” Lane said. 8 SHOOT January 21, 2011 The Best Work You May Never See Singing The Praises Of AmazonKindle By Robert Goldrich had something special.” In “Tree,” a spec spot conceived, directed and edited by Brian Neaman and Mi- Composer/lyricist O’Dowd, whose day job is as a freelance copywriter (work- chael Southworth, a talking tree sings about the virtues of the AmazonKindle. ing regularly at interactive agency LBi, New York), has a track record of collabo- Seated on a park bench next to the tree is a man, reading Pride and Prejudice on rating with Neaman and Southworth, including on Walmart’s “Guitar.” Another his Kindle. The tree croons the lyrics: integral part of the spec team over the past year is executive producer Jeff Roos, “He likes to read it in the sun. a freelance agency producer (who’s active at Digitas, New York). He reads adventures just for fun. For “Tree,” Neaman additionally served as puppeteer (of the tree) with South- You download stories anywhere. worth filling in the role of animator/VFX artist. A bookstore floating in the air. Yeah, it’s a better way to read. Like-minded That don’t make paper out of me.” Neaman said that upon meeting and working with Southworth, initially as A woman walking her dog passes by and first looks at the singing tree in dis- assistant editors at Crew Cuts, he found that they were like-minded and the two belief. Soon, though, she is bobbing her head to the song, now understanding struck up a rapport. This led initially to their teaming on Walmart’s “Guitar,” the the tree’s gratitude to the Kindle for not being turned into paper for a book. success of which fueled further spec spot collaborations. A voiceover end tag relates, “Download books in 60 seconds,” accompanied The duo has also taken on some recent real-world jobs as directors—both by the slogan, “AmazonKindle. A better way to read.” helming and editing a web and in-store stop motion video for the Tassimo Brew Bot out of TBWA\Chiat\Day, New York, and web videos for Kool-Aid via Ogilvy Day jobs & Mather, New York. (Crew Cuts handled production logistics and finishing for Neaman and Southworth’s main gig is as editors at Crew Cuts in New York. At these projects.) the same time, they are hardly strangers to spec spot directing. Last year Neaman Asked if they harbor directorial aspirations, Southworth and Neaman said and Southworth—at the time primarily assistant editors with Crew Cuts—earned their focus is on editing, “We both love editing,” affirmed Southworth. “There inclusion into “The Best Work You May Never See” gallery (SHOOTonline, are challenges and fun in both editing and directing. We’ll continue doing both 5/7/10) on the strength of “Guitar,” a spec ad they helmed, edited and entered and see where the market takes us and what we can do.” into a Walmart contest seeking original broadcast commercials promoting the giant retailer. “Guitar,” which wound up winning the contest, was a tug-at-the- Client AmazonKindle (spec spot) Agency Brian Neaman, heartstrings piece in which a mother talks about what she’s saving up for—a real Michael Southworth, creative directors. Production guitar for her young daughter who we see ultimately grow up and become a Brian Neaman, Michael Southworth, directors; Jeff Roos, sought-after musician/performer in concert. executive producer; Gary Golembewski, DP. Editorial The directing duo followed that up with a comedic Bud Light spec commer- Crew Cuts, New York. Brian Neaman, Michael Southworth, cial, “Jury Duty,” which too won an advertiser contest, resulting in Neaman and editors. Post Crew Cuts, New York Andy Witkowski, colorist/ Southworth earning a trip to Cannes for a screening of the spot. In the spec VFX artist. Animation/Visual Effects Brian Neaman, piece, jurors immediately feel the defendant is guilty. But upon being presented puppeteer; Michael Southworth, animator/VFX artist. an evidence exhibit—a healthy supply of Bud Light—they decide to “deliberate” Music Matt O’Dowd, composer/lyricist. Audio Crew Cuts for a lengthy stretch. Deliberations turn into an ongoing party and result in fol- Nick Montgomery, mixer.

low-up jury requests for more evidence. credits Southworth related that both the Bud Light and Walmart spec spots were “on Neaman and Southworth bark up the right tree. brand and consistent with existing creative for those companies.” He noted that AmazonKindle’s “Tree” represented a departure from that approach. “We set out to do something quirkier, more in line with our sensibilities and not necessarily following what the client had already done,” said Southworth. “At first we envisioned the guy talking to a tree that was angry over his reading books and wasting paper. But then Matt O’Dowd came up with the idea of a song sung by the tree. We saw the hilarious potential CLICK HERE TO VIEW SPOT and once we heard the song, we felt we definitely

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January 21, 2011 SHOOT 9 Webisodes, Internet Shorts & Promos Bill Hader Channels His Comic Energy Into Volkswagen For Deutsch LA, Dir. Szymanski

CLIENT and Toureg, respectively—available on www.youtube.com/vw Volkswagen Tiguan The new comedic educational series, which pairs Hader with AGENCY the VW product specialist character Danielle Gumro, is called In- Deutsch LA side the VW Academy. The introductory VW Academy spot for Michael Kadin, Josh Rose, executive VPs/group creative di- Tiguan compact SUV is just short of a minute-and-a-half and rectors; Jeremy Stabile, VP/associate creative director; Matt has Gumro and Hader standing on opposite sides of the Tiguan. Sherman, copywriter; Paul Oberlin, art director; Eric Kaufman, Gumro talks about the Tiguan’s 200 horsepower turbo charged producer; Vic Palumbo, executive VP/director of integrated TSI engine, at which point the camera reveals Hader holding a production; Jason Clark, product specialist. cup of latte from which he takes a sip. He says that the Tiguan PRODUCTION is so fast that she missed him driving out in a flash and buying Caviar, Venice, Calif. a latte. Jake Szymanski, director; Mark Williams, DP; Michael Sagol, The camera cuts back to Gumro who doesn’t believe Had- CLICK HERE TO VIEW SPOT executive producer; BP Cooper, producer. er. In an instant, we see Hader holding a little dog he adopted. EDITORIAL Again, he contends that the Tiguan is that fast and responsive, bottomless abyss. Union Editorial, Santa Monica, Calif. giving him time to pick up the pooch before Gumro could But not to worry. Hader is prepared. He has a long rope Paul Plew, editor; Josh Hayes, assistant editor; Michael Rai- blink an eye. wrapped around his shoulder. He explains that three light tugs mondi, executive producer; Rob McCool, producer. The same give-and-take unfolds a few more times as Hader on the rope means he’s okay. Three hard tugs means he’s dead VISUAL EFFECTS relates that he was able to drive all the way to Oxnard, Calif., and or dying. Resolution, Los Angeles buy a crate of fresh strawberries which he’s holding. Next, he of- Hader then declares he’s going into the Jetta, but not before Didier Sand, Muchin Kuo, graphic artists fers no explanation while holding a bass he just caught fishing. articulating a parting request that Gumro tell his wife that he POST Finally we see him severely singed and sun burned, suggesting thinks she’s “alright” and to have her hug “my kids for me”—just Resolution that he was able to drive the Tiguan to the sun and back in what in case he gets lost and doesn’t make it back from the Jetta’s Todd Iorio, Seth Silberfine, online editors/colorists; Evan seems like a nano moment. cavernous interior. Guideria, Ali Laventhol, Amir Qureshi, Chris Moore, online Meanwhile the VW Academy introductory three-minute The third introductory web video promotes the VW Touareg, editors. spot for the Jetta has Gumro talking about the redesign of the with Gumro rattling off a seemingly endless rundown of state- MUSIC vehicle which includes a significantly more spacious interior. of-the-art features and creature comforts. However, Hader The Oh Sees, San Francisco Across the way standing near the passenger side of the vehicle, counters that he is more sophisticated than the Touareg, noting AUDIO Hader is seen wearing a miner’s/mountain climber’s-like outfit, for example that he owns Shakespeare’s bones. He adds that Union Editorial replete with a small headlamp. He says that the Jetta is danger- when growing up he had two pets, a camel and a peacock— Mike Franklin, Milos Zivkovic, mixers/sound designers. ously roomy and he may never return once he goes in. and they both drank fine wine. Gumro then highlights the Jetta’s power, which includes Further showcasing his sophistication, Hader recalled that its engine with 177 pound torque. Hader then relates that he in first grade he was allowed to “smoke a pipe because I’d look THE WORK has to be careful to avoid that beast (a 177-pound torque, re- weird without it.” Saturday Night Live funnyman Bill Hader does his wry best to fig- ferring to it as if it were a wild animal) once he enters and But Gumro continues with an array of sophisticated Touareg uring out everything you’d ever want to know about a Volkswa- explores the Jetta. features, finally causing Hader to wave the white flag and de- gen in these spots on the VW Academy channel from Deutsch More leg room is the next feature extolled by Gumro. How- clare repeatedly that he’s humbled. LA, directed by Jake Szymanski of Caviar Los Angeles. There are ever, Hader views this extra space as a portal which he could He concedes defeat as Gumro keeps on piling on with the a total of nine spots—three each for the 2011 VW Tiguan, Jetta fall through, leaving him “falling and falling” deep into a virtually Touareg’s many virtues. Venables Bell & Partners and Nexus Productions’ Smith & Foulkes Cut To The Chase

CLIENT Human, bicoastal multi-tasking power of the new Core i5 processors. Intel Edmond Dunne, Gareth Williams, composers; Jonathan San- The short—which is available online (thechasefilm.com) AGENCY ford, music producer. and which ran at the Intel booth during the International Con- Venables, Bell & Partners, San Francisco AUDIO POST sumer Electronics Show earlier this month—demonstrates the Paul Venables, Will McGinness, executive creative directors; Play, Santa Monica performance capabilities of the new processors by creating an Paul Foulkes, Tyler Hampton, David Kim, creative directors; John Bolen, mixer. action-movie style chase sequence that takes place through Josh Parschauer, copywriter; Beau Hanson, Dan Kenneally, POST a wide variety of program windows on a computer desktop. art directors; Craig Allen, director of integrated production; Time Based Arts, London. Villains chase a hero woman carrying an envelope containing Kacey Hart, producer; John Eagan, interactive producer; Ezra James Allen, Sheldon Gardner, color/Flame. confidential documents. This espionage-like scenario spans Paulekas, interactive design director. the protagonists, the pursuers and the pursued, existing as live PRODUCTION action and animated characters, racing through a mix of envi- Nexus Productions, London THE WORK ronments—from a hotel room and hallway before being thrust Smith & Foulkes, directors; Oliver Wood, DP, Tracey Cooper, To build excitement around the 2nd Generation Intel® Core™ into the inner workings of a computer and the environments exec producer; Alistair Pratten, production manager. i5 processor, Intel is launching an action-adventure video titled within the PC, in its software and platforms, and screen display. EDITORIAL The Chase. Created by independent San Francisco ad agency Filmed on location in Prague, Czech Republic, the video Trim, London. Venables Bell & Partners and directed by award-winning Lon- features a multitude of programs and sites, including Apple’s Paul Hardcastle, editor. don-based duo, Smith & Foulkes (Honda’s “Grrr” and Coca-Cola’s iTunes, Facebook, YouTube, Microsoft Office and the Adobe CLICK HERE TO VIEW SPOT MUSIC/SOUND DESIGN “Videogame”), the 105-second-long film illustrates the incredible Creative Suite. Moxie Pictures’ Director Neil Gorringe Puts Skins In A Free-Fall For U.K. Series Promo

CLIENT POST moting the fifth season of the wildly popular U.K. television se- Skins The Mill, London/bicoastal ries, Skins, produced by network/agency E4, London. Gorringe NETWORK/AGENCY/PRODUCTION COMPANY AUDIO has been the director of choice for the series’ scandalous trailers E4, London Envy Post, London. since the show premiered in 2007. This latest promo features Neil Gorringe, director (Moxie Pictures, bicoastal and London); the tastefully nude cast falling through space in slow-motion, Jason Delahunty, producer; Tom Townend, DP. then switches gears as their fall hastens, clothing the characters EDITORIAL THE WORK mid-flight. The trailer is an example of how shows are shifting to Final Cut, bicoastal/London Director Neil Gorringe of Moxie Pictures, bicoastal and London, more abstract, artful promotion rather than simply repurposing CLICK HERE TO VIEW SPOT James Rosen, editor propels teen drama through endless space in a new :60 pro- episode footage. 10 SHOOT January 21, 2011 On The “Button”: Collaboration With Editors Wall And Baxter

Continued from page 4 volved. There was a dinner scene in around as Button, while gratifying to to get stuff done, It can be a pressure the movie where Cate [Blanchett] is work on, was also a daunting experi- cooker. But in editorial you can stretch wearing a red dress and is out to din- ence given the sheer size and scope of out and see what is right for the piece. ner with Brad [Pitt] who had just come the project. Major contributions were David is the easiest guy to work with. back from the war and is moving a lot made by such visual effects studios Editorially he’s very clear, open and slower. By contrast she’s moving and as Asylum [tugboat scenes], Digital collaborative. He’s a fantastic director living life a hundred miles an hour. I Domain [Benjamin Button’s face] and who can give you the big picture while assembled the scene to a rough piece Lola [“youth’n’izing” actors], among also commenting on how the reading of music. Angus took a crack at it later others. “You don’t ever want to look at of a single syllable should sound in but turned the flow into dissolves. He the top of the peak of the giant moun- someone’s performance. Obviously showed it to me and I thought that tain when you’re climbing it,” said he is going to give you all the pieces was twice as good as what I had done. Wall. “You learn to watch your feet and you need to put a scene together. As Angus Wall We then worked to continue to refine Kirk Baxter that’s what we did on this film...David an editor, you just try to take it that bilities are inherent in this approach.” that. Based on our changes, David got all the while running up and down the used to ask the question, ‘How do you five percent further to make the work Baxter noted that “while David Cate to re-read the voice faster to fit sidelines as the coach or referee, it was eat a whale?’ The answer—’one bite at a even better.” keeps it simple and allows us to go the pacing. We laid the new voice to a wonderful collaborative experience.” time.’ So we just worked long and hard Wall added that his experience on off and edit, he also brings others in the scene and it moved twenty percent Wall said that he and Baxter each day. And part of what kept us go- Button “highlighted the fact that the to help us so that we all collaborate faster. We trimmed the scene down “leaned on Ren heavily. Ren helped us ing was that the film was so well writ- creation of pictures doesn’t end with on certain scenes. Angus and I ed- and tightened it up. [Sound designer] all the way through [Button] in terms ten and the project was so challenging. photography. Post is such a fascinating ited scenes separately but we also col- Ren Klyce [whose spot roost is his own of rough mixes, music from New Or- We would feed off of that.” place to be because it is increasingly laborated on other scenes. Sometimes Mit Out Sound] refined the music. We leans that kept in time with scenes. Baxter and Wall added, though, that where pictures are being made, not movies are divided in half like in The went into DI and changed the whole Way before composers came in, Ren the challenge wasn’t added to unnec- just being put into a format for peo- Godfather I understand one editor’s section of the dissolves to make sure was there finding the right palette of essarily. “We didn’t get caught up in ple to see. Image making continues work ended and another’s began at there was no ugliness in them. Claudio sound to help drive our work. David the aging process being in reverse for throughout postproduction. The top a certain point. But with David it’s an [cinematographer Miranda] monitored and Ren have known each other since the lead character,” related Wall. “Even directors understand this—that images organic experience for some scenes— this as well. When you think of how their late teens. There’s a trusting cre- though that’s a departure from the are going to be part photography and we’re sending material back and many hands touched that one pure ative bond there.” norm, it’s still a very linear story. That’s part animation. So many creative possi- forth, there’s sort of a group effort in- scene to make it just right—with David Trust came in handy all the way Continued on page 21

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January 21, 2011 SHOOT 11 FORECAST

Changing Tides

As 2011 gets underway, it’s time for New Year’s resolutions—which often aren’t concluded Consumer Electronics Show (CES) in Las Vegas where assorted new Agency artisans kept—and predictions of what’s in store, which often aren’t accurate. Nonethe- tablets were launched. less, SHOOT asked a cross-section of brave creative souls from advertising agen- Meanwhile agencies and clients are taking notice of CES and the relevance of cies to engage in both resolutions and prognostications. developments there on the marketing/branding arena. This is reflected in this share New Year’s Whether you regard the proverbial glass as being half full or half empty, at week’s POV column in which we report on the CES sojourn of Lori H. Schwartz, least that proposition represents an improvement over the depths of the reces- chief technology catalyst, North America, for McCann Worldgroup. sion a year or two ago when some viewed the glass as shattered with many hav- Schwartz’s interest was piqued by various exhibitors, including Fulton Innova- resolutions and ing to walk barefoot over the shards. tion, and Intel with its Atom Processor. The latter is a chip that enables the con- Now, though, while the economy nected home and smart applicances, is still challenged and the high rate of which she said, “colored my whole their predictions unemployment remains of paramount experience at CES as to how the fu- concern, business seems to have ture households we’re trying to reach for 2011 turned a corner as the holiday shop- will be quite different than what we’ve Aping season was decidedly healthier been accustomed to.” than expected, marketers seem to be At the same time, Schwartz gained retooling and exploring new ways of big picture perspectives that went be- A SHOOT Staff Report connecting with prospective consum- yond any individual technology. With ers, and the nature of that relationship all the tablet introductions at CES, she has become increasingly more of an concluded that it doesn’t matter all interactive dialogue. that much which tablet you choose. Indeed there’s a spark of hopeful What’s relevant, she observed, is that optimism in some quarters that 2011 “we used to talk about the three- can be more than merely a transition screen world, the four-screen world. to better times ahead in ‘12. At the very But now with the idea of everything least, this year is being regarded by a being cloud-based, people aren’t tied growing number as one that could put to a particular screen. We don’t have us firmly on the road to recovery. Still, to differentiate so much between recovery is a fragile proposition as po- screens--mobile, the living room or litical and social developments around PC. Now it’s all one screen coming the world, volatile economic dynamics in a variety of sizes with the meat of and other factors can translate into a processing and content happening in quick detour. cloud, with content moving from one But the wondrous thing about cre- screen to another. Nothing is glued to ativity is that it can both reflect and any particular screen.” rise above the times, and its value is arguably even that much greater in a chal- In the spirit of big-picture perspectives and discovery, SHOOT posed the fol- lenging, challenged marketplace. lowing two questions to a field of advertising agency artisans: And there are more platforms for creative content than ever before on screens of various sizes--and those screens are ubiquitous, particularly with the increased 1) What’s your New Year’s resolution creatively speaking and/or from an in- prominence of mobile media as evidenced by the advent of the iPad and smaller dustry standpoint? pocket sized devices. 2) Gazing into your crystal ball, what do you envision for 2011? On the iPad front, Apple has proven there’s a viable marketplace of which now Here’s a sampling of the feedback we received: other manufacturers have taken notice. This became apparent at the recently Continued on page 14 12 SHOOT January 21, 2011

FORECAST

Agency Artisans Gaze Into Their Respective Crystal Balls

Fabio Costa, senior VP/creative director, Greg Ketchum, Tom Godici, The Martin Agency, Richmond, Va. executive creative directors, BBDO New York. 1) In 2011, I’d like to see the advertising industry move away from its fas- 1) Less meetings. More work. cination with the word “digital.” It’s time for everyone in the industry to think 2) Rhetoric regarding the demise of big agencies will finally cease. and operate in a truly integrated way, such that “digital” work is not something We’ll see a renewed emphasis on big ideas no matter what medium we’re trying to incorporate, but something that is second nature to us. “Digital” they appear in—an appreciation for the art and discipline of build- should be removed from job titles, because it should be the responsibility of all ing brands. Smaller, digitally-minded shops will continue to evolve people to make the work more interactive. My own personal resolution is to ensure that The Martin Agency is and strive to become full-service agencies to meet the changing needs of their clients. Bigger, traditionally- leading the pack in championing interactive, engaging work. minded companies will continue to evolve and strive to integrate new technologies and channels to meet the 2) I think 2011 will be the year in which mobile technology, game play, and life truly converge. We’re already changing needs of their clients. We’ll all meet in the middle somewhere, lay down arms and have a beer. beginning to see examples of this, but 2011 will be the year that we redefine traditional advertising. Banner ads and mobile apps will be considered traditional, and more interactive, engaging methods of advertising will emerge as the new norm. Ari Merkin, VP/executive creative director, Crispin Porter+Bogusky 1) Let’s not call it a resolution. Resolutions are broken in ten minutes. Let’s Neil Dawson, chief creative officer on call it, stuff I’m going to do to avoid sucking this year. Here are just a few of Philips, DDB Worldwide, London them: 1) My New Year’s Resolution is to tell my clients and my colleagues to ‘Have 1. Grow people. Not just ideas. Courage!’ 2. Never again put the word “interactive” before the title of copywriter or art In difficult times it’s even easier for clients to play safe, take the easy road. director. The truth is that it is just in such times that your ads need to punch above their 3. See tablet technology as a chance to completely reinvent the medium formerly known as print. weight. Bernbach said – Creativity can make one ad do the work of ten. But that 4. Continue to develop my uncanny ability to capture coworkers likenesses using a Magna-Doodle (Yes, I takes courage and a belief in creativity. really do this). I’m also determined to champion the cause of Creativity itself. Too many clients (and even some agency 5. Get better at fostering creativity in my own children. people) still see it as an indulgence rather than a powerful and effective tool that can make you money !!! 6. Leave room for 6. I am a huge fan of Sir Ken Robinson (See “How Schools are Killing Creativity” on Ted or YouTube). Creativity 2) I would love to give my stock answer of, “creatives don’t make predictions, we make the work.” But I’m needs to be taught and nurtured from an early age, not seen as something that is only done as some kind of afraid that’s not going to fly when there’s a 150 word paragraph to fill. So here it goes. I expect real time digital hobby at the weekend. Robinson’s point is that we grow out of creativity (or it is educated out of us) not grow video will gain tremendous popularity. (That’s only 44 words). Inspired by break out campaigns like Old Spice, into it. Picasso said – We are all born artists. It is remaining one as we grow older that is difficult. If creativity is I expect more traditional packaged goods clients to start taking greater risks (68 words). I expect more col- valued at an early age, then it will start to become valued more in industry. laboration with directors and production companies given the thinning ranks of agency creatives focused on 2) In 2011 I see the rise and rise of mobile digital marketing. TV (That’s 89). And I expect even more tactics, events and sponsorships done in complete isolation and lacking I see a huge jump in the quality of creative work coming out of London. an overarching big idea when, in truth, it should be the other way around (I should have stopped at 89). I see Jon Stewart replacing Joe Biden . Happy new year to all. I see Naomi Campbell running her fingers through my hair. Is that too much to ask?

Stan Richards, founder/principal, The Richards Group, Dallas Tim Flood, director of strategy, BMB New York 1) From a creative standpoint, my New Year’s resolution is the same as it has 1) As a new member of BMB NY, I envision 2011 as an exploration year. A been for the last 58 years: make the work better. time to get involved in some fun and interesting projects outside of classic ad- 2) Despite all of the problems in the advertising industry, 2010 was The Rich- vertising and communications. We’ve begun working with some music labels ards Group’s best financial year yet by a small margin. Looking into 2011, our and soon-to-launch brands. I’d like us to continue to be part of ground floor goal is to meet or exceed last year’s performance. projects, as I call them. It provides us an opportunity to not only showcase our thinking but to have design influence and lead the direction. 2) I envision more clients and shops experimenting...taking creative risks to differentiate themselves. The past two years were about barring down and taking stock--2011 will bring people out of their shells looking to Paul Woolmington, founding partner, make bold moves from a business and creative standpoint. Naked Communications, New York 1) In 2011, I resolve to make damn sure that I continue to surround myself with more “brilliant misfits,” with a view towards challenging the industry’s in- built muscle memory. There is always a better way! I resolve to “make it count Carolyn Hadlock, executive creative director, and make it happen” and to not be afraid to take some risks and make some Young & Laramore, Indianapolis mistakes along the way. If I have one resolution for the industry, it’s that we 1) Shift the perception that social media should be considered a creative need to get out of our own way and start learning to live and operate in an “always on” world. function, not just a PR tool. 2) Gazing into my crystal ball, I see the emergence of a new class of smarter, faster, smaller, more “open” Help brands develop their social persona and eliminate social media status and objective operators who will increasingly eat the big guys breakfast! I see more clients finally taking direct updates like “Happy Monday, what did you do this weekend?” control of their marketing communications strategy and creative. And I see many, many, many more exciting, Become empathetic with the CMO’s world. Embrace their struggle by being shiny, new technologies and, unfortunately, more headless chickens chasing them without purpose. proactive. Don’t wait for the assignment. Play. Be naïve. Embrace the value of being a student. Listen. Help shift focus group testing to testing in a market, not in a room. Behavior is way more interesting than 2) Privacy is going to take precedence over sharing our lives. Consumers will become more savvy with how they opinion. manage their digital footprint. In fact, according to Forrester, 6% of surveyed adults and 50% of Older Boomers age Game as much as possible. Gaming is the modern narrative art form. 54-65 say they are very concerned about their privacy on social networks, up from roughly 30% a year earlier. Read Frank Rose’s book “The Art of Immersion” We’re going to see a continued increase in hacktivism. Wikileaks was only the beginning; The word cyber will go Loiter more. (thank you Grant McCracken) away; Engagement with consumers in product development will pose complex IP issues with marketers; Collaboration Meet less. Make more. (thank you Ed Cotton) among agencies will trump competition among agencies; Brands will have to choose their causes wisely. The tactic of Help eliminate jargon (thank you Apple) leveraging the “cause du jour” to reignite brand interest will backfire with consumers who see through it.

14 SHOOT January 21, 2011 Tim Godsall Stacy Wall Tom Kuntz Craig Gillespie Frank Budgen Commercial Nominees Discuss Their Work, High Regard For DGA

Continued from page 6 felt very strongly he had to be the real you’re trying to execute someone else’s work. That’s the nice thing about the ad agency. formation of Directors UK years back deal. But what we wound up with was or a team’s idea the best way possible. DGA Award—it’s for a body of work, Kuntz explained, “This came out of for that very reason, serving on its a crumbling authentic Russian theory. That’s why I have the agencies to not just one spot. That’s a much bet- a combination of truly feeling that Old board during year one. Hooper cur- We found an Irish guy in Los Angeles thank for this nomination.” ter reflection of how the year went for Spice was my strongest work of the rently sits on the London coordinating who put an accent on and totally fit the a director.” year, and my liking the experimental committee of the DGA. part. I was told he went out drinking Never gets old The DGA Award dynamic has also nature of going with a single cam- The director also hopes to be ac- with a Russian friend the night before For those who have been nominat- fostered a healthy competition within paign for the DGA to consider.” tive in commercials once the awards the audition and got a crash tutorial on ed before, it never gets old. MJZ, observed Gillespie. A different For Budgen of Gorgeous (repped season schedule settles down. Several Russian brashness. He came out swing- “It’s a tremendous honor each time MJZ director has won the DGA spot stateside by Anonymous Content), de- months ago, he signed with Smuggler ing during the audition, impressed us, you’re nominated,” said Gillespie. honor four of the past five years. For termining what to enter into the DGA for U.S. spot representation. and his performance rang true in the “In this business, it’s nice to be able eight of the past nine years, MJZ has competition didn’t require a whole lot final commercial.” to stay current and competitive with had two or more nominees. And MJZ of thought. Spot nominees Meanwhile, Wall’s nomination came everyone. To have this latest nomina- has had at least one director nominated “I submitted pretty much every- There are a couple of first-time as quite a surprise. While vacationing tion feels like I’m still part of what’s in 12 of the last 13 years. thing I did during the year. That was DGA nominees—Tim Godsall of Bis- with this wife, a long-time friend sent going on in the commercial world, “I love to see the work the other guys my ‘strategy’ for the DGA Awards,” cuit Filmworks and Stacy Wall from him a text message along the lines of that what I’m doing is still somehow here are doing,” said Gillespie. “It raises quipped Budgen who feels honored Imperial Woodpecker—in this year’s “how come you were never nominat- relevant and touching audiences. It all the level of your own game in a way.” to be nominated. commercialmaking field. They are ed when we worked together?” Wall comes back to the concepts. I’ve been One of those “other guys” at MJZ is This is Budgen’s second DGA spot joined by Tom Kuntz of MJZ, last didn’t know what he was referring to, lucky enough to get good work from Kuntz who has earned a DGA nomina- nomination, the first garnered for his year’s DGA Award winner and a four- until he soon heard from Doug Hal- talented creatives.” tion each of the last three years, bring- body of submitted work from ‘07. time nominee; Craig Gillespie of MJZ, bert, Imperial Woodpecker’s manag- Gillespie’s fifth nomination was ing his career total to four. Budgen’s second career nomination a five-time nominee who won based ing partner. “I wasn’t even aware that earned on the basis of: Cars.com’s The latest nomination came on the is for Sony Bravia’s “World Cup” and on his work in ‘05; and two-time Doug submitted a reel to the DGA,” “Timothy Richman” for DDB Chi- basis of: Old Spice’s “The Man Your “Thunderstruck” from Anomaly, New nominee Frank Budgen of Gorgeous Wall laughed. cago, Snickers’ “Game” and “Road Man Could Smell Like,” “Questions,” York and London, and Honda’s “RGB” Enterprises, London. That reel contained: Nike’s “Rise” and Trip” from BBDO New York, and “Did You Know?” and “Boat,” all from out of Wieden+Kennedy, London. Godsall was nominated for Direct- “Handshake” from Wieden+Kennedy, CareerBuilder’s “Another Language” Wieden+Kennedy, Portland. “They’re all simple ideas which TV’s “Opulence” out of Grey New Portland, Ore., Microsoft’s “Really?” and “Casual Friday,” both based on “In our business, you are always often can turn out to be the best and York, Hyundai’s “Bull” from Innocean for Crispin Porter+Bogusky, Boulder, user concepts submitted for a Super judging yourself and can be quite hard most challenging,” related Budgen. “I Worldwide Americas, and HBO’s Colo., and adidas’ “Slim Chin & D Rose” Bowl contest. The contestants actually on yourself. I know I am at times,” was attracted to the scripts, including “Eastbound & Mom” out of BBDO via 180LA. shot and entered commercials which shared Kuntz. “To get a DGA nomina- the photographic challenge of Honda New York. “I think those entries represent the Gillespie re-shot, making for execu- tion is an affirmation that you’re still which called for something not typical Upon hearing that he had earned best work we did in 2010,” assessed Wall. tions that were quite different from doing the right things. It feels good.” in automobile advertising.” a coveted DGA Award nomination, “I give Doug credit for making those the originals. Kuntz’s entries over the years have Winners in features, TV, documenta- Godsall said, “I couldn’t resist scroll- selections. But the ultimate credit for Gillespie felt his entries for DGA shown a wide range spanning differ- ries and commercials will be announced ing through some of the directors the reel has to go to Wieden+Kennedy, consideration showed “a range of di- ent clients and agencies. This time and honored at the DGA Awards Dinner who were nominated in recent years Crispin Porter+Bogusky and 180. Their recting chops from large scale produc- around, he went a different route, opt- on Saturday, January 29, at the Grand and seeing their work. What great concepts make the reel and this nomi- tion to dialogue and comedy. You try ing to submit work from one overall Ballroom of Hollywood and Highland company to be in.” nation possible. As a director, being to display some range in the body of campaign for a single advertiser and in Hollywood, Calif. Godsall credited Gary Naccarato, recognized by the DGA is probably the head of creative at Biscuit Filmworks, highest honor. It’s nice to be considered for selecting his entries for DGA consid- in that company.” eration. that resulted in the nomination. Wall said that dating back to when “If he had a strategy, it was his own. I he was an agency writer, he learned the can tell you that when he sent me a link most about directing from Joe Pytka of to the work for approval, I thought the PYTKA who has been nominated for selections were good and represented and won the DGA Award more than some of my best work of the year,” relat- any other commercial director. (Pytka ed Godsall. “There was a bit of breadth has earned 15 nominations and three and scope to them. I liked each spot in DGA Awards.) different ways.” “I’ve always aspired to the level of Each commercial presented its own his eclectic work,” said Wall of Pytka. unique challenges, perhaps most nota- “I feel like each commercial should bly the casting of the lead for DirecTV’s have its own style or voice in service “Opulence,” a Russian whose wealth to the script and idea. I take a great leads to lavish excess. deal of satisfaction building a reel that “We set out on a path to find an au- showcases those values. This is ulti- thentic Russian,” recalled Godsall. “I mately a collaborative business where January 21, 2011 SHOOT 15 News

Directors Discuss How to Die in Oregon, HERE, Brick Novax

Continued from page 1 dolls. I’m a flea market goer anyway and Actually Richardson found the inspi- started to pick up dolls and other props ration for How to Die in Oregon on the for the film. I was gluing cotton balls to morning he was leaving the ‘06 Sun- blue construction paper. I was really into dance Festival. He saw the announce- it. But then we moved, I boxed every- ment that the Supreme Court upheld thing up and went on to other things. the Death With Dignity Law, against For better or worse, though, I have a a challenge filed by the Bush admin- track record of eventually completing istration. “I was immediately struck by what I set out to do.” the news and knew that would be my Indeed an overture from Funny next project,” recalled Richardson. or Die resurrected the project which That next project was four years in took on a comedic bent, ultimately the making. “I was on call almost like Peter D. Richardson Braden King Matt Piedmont evolving into the short, which has a physician,” related Richardson in slated for air later this year on HBO. Foster, the cartographer is there to cre- for friends which led to other projects, been broken up into four segments reference to his jumping into the lives Richardson said of the documentary, ate a more accurate geographic survey including documentaries and com- for episodic airing on the HBO show of terminally ill people to do cinema “What’s surprising is that while the of the country while the photographer, mercials. A friendship with a music Funny or Die Presents (the first install- verite justice to their stories. The film topic is serious and tragic, the film is played by Lubna Azabal, is an expatri- colleague, Peter Sillen, led to Braden ment of Piedmont’s short premiered centers on a 54-year-old woman—a uplifting. That comes entirely from ate Armenian trying to figure out what connecting with Washington Square on HBO earlier this month). The full wife and mother of two children in the people and their stories. They are kind of connection she has, if any, with Films. Sillen was a director there, short film, described by Piedmont as their 20s—who has had a recurrence extraordinary people who led mean- her home country and culture. resulting in Braden building a rela- “a hand-crafted labor of love,” will de- of liver cancer and ultimately faces ingful lives...In some ways this is a very Braden described the film as one tionship with the production house but at Sundance. the decision of whether she should existential film.” that “has been developing and germi- over the years. “We worked for awhile Among those contributing to the use the law to end her life. Prior to documentaries, Richard- nating for years. And to end up in the without any formal representation hand crafting was production designer Richardson also chronicles Ray son got his professional filmmaking position we’re in at Sundance—being agreement. I found it to be a unique, Mark Snelgrove who’s collaborated Carnay, a professional opera singer feet wet with web films he directed for selected for the [U.S.] dramatic compe- creative company,” said Braden of with Piedmont on various projects over and actor with throat cancer. With Microsoft and Nike. The shorts helped tition is a tremendous honor for every- Washington Square. the years, including a 7-Up commercial Carnay, said Richardson, “We encoun- him break into commercialmaking, one involved in the project.” Through his own Truckstop Media, in 2010 produced by PRETTYBIRD. tered the sorts of things that people do including a spot for Nike. Richardson Indeed that development/germina- Braden directs music videos and other Brick Novax’s Diary required that when they have control over the end. has been directing largely :30s over tion has been a long process. “I just projects. He also continues to be active miniature sets be built from scratch. One day I filmed Ray going to a local the past year and a half via Food Chain didn’t wake up one day with the idea in museum installations and created a “Mark couldn’t have been more up studio to record his own eulogy.” Films. “Some of my commercial work of doing a road trip romance about live non-narrative piece that reflects for it,” related Piedmont. “We were on The documentary also took Rich- has a documentary bent to it. I find a map maker. This grew over a long an aspect of HERE and appeared at eBay constantly buying 1973 Ken doll ardson to the nearby State of Washing- that my experience in documentaries stretch of time. This film isn’t auto- the Museum of Modern Art. “The clothes, things like tiny saxophones ton to tell the story of a woman who informs my commercials, and that biographical but it is very personal. It commercials, the art world work, the thinking we might able to use them. played an integral role in the passage commercials inform my documen- began with the desire to make a film videos, the documentary work, the He helped to capture an American de- of a nearly identical Death With Dig- taries. Doing How to Die in Oregon that had a specific atmosphere, feel- feature film represent a wide ranging, sign, 1970’s feel.” nity law there in ‘08. She became the over the past four years while taking ing, and reflected experiences and holistic journey—with each project in- Piedmont also credited DP Giles face of the campaign supporting the on some commercials worked for me. relationships I had in my own travels. forming the next,” said Braden. Dunning who shot the short on the law. Her husband had died of brain They are two passions that have in- The process of making the film has Besides directing HERE, Braden RED camera outfitted with anamor- cancer, suffering over a lengthy pe- formed one another and helped me been a journey in itself, an explora- served as co-writer with Dani Valent. phic lenses. riod. She had promised him that she grow as a filmmaker.” tion on my own part. You start with a The film was produced by Parts and Having Brick Novax’s Diary selected would try to bring to fruition a Death tone and then the question becomes Labor in collaboration with Truckstop. for Sundance is “a huge honor,” said With Dignity Law in Washington. HERE what’s the right story to give you the Piedmont. “To have something you’ve Richardson said he has a soft spot Director Braden King—whose film- structure to contain and capture that Brick Novax done as a labor of love accepted into for Sundance. “My first film made ography includes documentary work tone, a story that reflects how this Director Matt Piedmont makes his a festival where there are people who about my hometown [Philomath, Or- (co-directing the lyrical feature-length seed in your mind feels. I started to Sundance debut with the short Brick appreciate film the most is a thrill. egon] came out of nowhere. I edited Dutch Harbor: Where The Sea Breaks look at different occupations and ran Novax’s Diary. The film picks up the This gives people a chance to appreci- it on my laptop, sent it into Sundance Its Back), commercials (Partnership across a story in the paper about the “legendary” Novax’s life at a point ate the film who might not have had and it got accepted. The festival is so for a Drug-Free America) and music way cartographers go out and land when he is penniless and residing in the chance to see it otherwise.” supportive of filmmakers and such videos (Sonic Youth, Will Oldham)— survey through satellite photographs. a seedy motel, knowing full well that Piedmont is currently in post on his a great platform for documentaries. debuts his first narrative feature, That intrigued me and led to a friend he will die in a matter of weeks. Novax feature film directorial debut, a spa- Now to have them recognize my sec- HERE, which tells the story of a com- of a friend who actually does that for takes the time to reflect on a life span- ghetti Western shot in Mexico, done ond documentary and put it into com- plex relationship between an Arme- a living. The journey in making this ning careers as a famous musician, completely in Spanish with English petition is deeply gratifying.” nian photographer and an American film consisted of finding these kinds astronaut, movie star and corporate subtitles, and starring Will Farrell. How to Die in Oregon makes its cartographer who meet during their of little markers along the way—the CEO. He’s now looking to preserve his As for his alluded to commercial- world premiere at Sundance and is travels in Armenia. Portrayed by Ben process is almost more like archaeol- legacy as the coolest guy of all time. making chops, Piedmont first became ogy than architecture. If the storyline isn’t offbeat and widely known in the advertising arena “The same is true of the location,” tongue-in-cheek enough, the pro- when DDB Chicago hired him to write continued Braden. “I wanted a place duction discipline of the film is as and direct series for the short-lived yet I hadn’t seen in other feature films. I Piedmont has made a short in which ambitious bud.tv online entertain- wanted unique images and landscapes Novax is a one-sixth-scale toy action ment channel. This work caught the and that led along a path to Armenia.” figure whose exploits are seen in an eye of HSI Productions which signed Braden’s own career has been a environment consisting of miniatures, Piedmont for commercials. When path encompassing playing in bands interacting with other dolls. HSI exec Kerstin Emhoff went on to and serving as a recording engineer, Piedmont’s concept for this short co-found PRETTYBIRD, Piedmont completing a formal undergrad film film dates back to 2002 around when joined her there. education at the University of South- he left his writer’s gig at Saturday Night ern California (USC), embracing a Live. “I had the idea to do a seriously Life In A Day do-it-yourself filmmaking ethic in cinematic vehicle using all miniatures Slated for January 27 at Sundance the indie music scene spanning no- and one-sixth-scale dolls,” he recalled. is the world premiere of Life In A Day, HERE budget and low-budget music videos “I became a grown man playing with Continued on page 18 16 SHOOT January 21, 2011 TRON Sequel Creating Its Own Legacy, Scores Three VES Noms

By Robert Goldrich time he was first created in the origi- minutes, and ultimately the now fa- LOS ANGELES—With the naming nal TRON film in 1982. Clu bears mous VFX test that went on to be the of this year’s Visual Effects Society Bridges’ face—grafted onto a younger short that debuted at Comic-Con in (VES) Awards nominees, it’s clear that actor’s body—at about the age of 35 (as ‘08 and became a YouTube sensation, a significant portion of the recognized depicted in the original TRON). building intrigue and buzz for the work reflects certain dynamics that Digital Domain is no stranger to film, serving as its symbol for quite have come of age in recent years. manipulating age, as evidenced in some time until the feature-length In fact the term “recent years” the VFX Oscar-winning effort by the movie’s actual release. might more aptly be characterized as studio’s visual effects supervisor Eric Kosinski’s core commercial team “recent history” being made in that Barba and animation supervisor Steve continued on the TRON sequel, the early days of major feature-length Preeg on the 2008 film The Curious joined by many of those who became movies shot digitally in their entirety Case of Benjamin Button directed by available at Digital Domain once Ben- dates back just a few years. David Fincher. jamin Button wrapped. The overall

New ground is also being broken in In Button, Brad Pitt was digitally Inc. Disney Enterprises, by DouglasPhoto Curran. team grew to nearly 800 people glob- other varied facets of “visual effects,” made to look older. But in sharp con- Jeff Bridges with the helmet cam ally with Digital Domain bringing sev- which too might be more aptly de- trast, TRON: Legacy, directed by Jo- wrinkles and made other key cosmetic course of that work, he also found eral other VFX studios (Mr X, Ollin scribed as evolving into “digital produc- seph Kosinski, had Barba and Preeg changes. Bridges performed a series of himself collaborating with the artisans Studio, Prime Focus, Whiskytree) and tion” on a growing number of projects. working to capture Bridges as a young facial movements that were recorded at Digital Domain as well as such talent talent into the project. “This became a Emblematic of these developments man whose appearance is all too famil- by camera and computerized in 3D. as Miranda (who wound up serving as large-scale global digital production,” among this year’s field of VES nomi- iar to movie-goers. People know not When Bridges acted in scenes as cinematographer on TRON: Legacy). said Ulbrich. “Managing it from Los nees is TRON: Legacy which earned only what Bridges looks like but his Clu, he wore a helmet camera, out- “We all got a shorthand going in Angeles, we tapped into talent in Van- VES nominations in three categories: mannerisms as well. “This made for a fitted with tiny HD lipstick-like cams making commercials,” related Ul- couver, Toronto, Montreal, Mexico City, Outstanding Visual Effects in a Visual high degree of difficulty,” related Ed pointed at his face, recording dozens brich. “Back then Joe had an office on Taiwan, Mumbai. Joe [Kosinksi] could Effects-Driven Feature Motion Picture; Ulbrich, president of Digital Domain’s of dots on his face which served as ref- the premises because he was working sit in the Digital Domain theater and Outstanding Created Environment in commercials division, and executive erence points for the computer. so much here. Based on his relation- see the work—it didn’t matter where a Live-Action Feature Motion Picture; VP of the overall studio. “Nothing is The captured facial expressions were ship with David Fincher, Joe got to the shop was that it was coming from. and Outstanding Compositing in a more complex still to this day than replicated on his younger looking self. see the work on Benjamin Button It was a seamless, transparent process. Feature Motion Picture. creating a digital human being. Plus Actor John Reardon imitated Bridges progressing. Then discussion about On a cloud computing basis, you can Digital Domain served as the lead to do it for a recognizable person like in later takes and had his face swapped a TRON sequel began to develop take advantage of highly specialized VFX house on TRON: Legacy. The Jeff Bridges in stereoscopic 3-D is like out later. Another degree of difficulty around the time of the Writers Guild pools of talent no matter where they studio took on one of the film’s prime a full triple gainer backflip in diving.” came with matching Bridges’ comput- strike [late 2007-early ‘08]. We met are geographically.” creative challenges, which was to find Adding to the complexity was erized head with Reardon’s body. Each Sean [producer Bailey] and through Ulbrich sees this global dynamic the figurative fountain of youth for Bridges’ challenge to play his part in Clu shot was carefully scrutinized to him and Joe were introduced to Steve growing, with benefits beyond cre- 61-year-old actor Jeff Bridges who the moment opposite himself and key make sure it played realistically. [TRON creator Lisberger]. They knew ative talent and skillsets. Also in the played two roles for the TRON sequel— cast members. Creating Clu entailed Ulbrich noted that the paradigm it would be difficult to do traditional mix can be favorable tax rebates with- Kevin Flynn, and the computerized making a silicon mold of Bridge’s face of traditional production has been al- development on a movie since writers in certain geographies as well as labor avatar named Clu. The former is the painted like real flesh. Multiple photos tered significantly. “The conventions were on strike. So we embraced a vi- cost savings. “The economics of it and natural age of Bridges. Clu, though, were taken and placed into a com- of prep, shoot, edit and post have sual development process—something the pools of talent around the planet has aged but a year or two since the puter where a digital facelift removed been turned upside down. There are so visceral and compelling that the are spectacular. Geography is no lon- instances where we’re editing before folks at Disney would clearly get Joe’s ger a barrier to collaboration, and just shooting. For the Avatars, the TRONs, vision for the sequel.” as this is taking shape for film, I see it these kinds of films going forward— Ulbrich noted that much of the coming to fruition for commercials in with the realm of 3D cinema—it’s a commercial team Kosinski worked a major way—maybe not in 2011 but it’s whole new deal. It speaks to the legiti- with, including Digital Domain tal- on the way.” macy of digital in filmmaking. Com- ent such as visual effects supervisor The Venice, Calif.-headquartered puters and digital artists are as valid Vernon Wilbert, was brought to bear Digital Domain itself has grown its geo- as cameras, lights and lenses. We’re on the making of this short piece. graphic footprint. Last year the compa- referred to as the visual effects com- Also contributing was Darren Gilford ny opened a studio in Vancouver, B.C., pany but digital production company who used to run the art department which played an integral role on TRON: is more accurate.” at Digital Domain (and ultimately be- Legacy. Digital Domain also maintains came production designer on TRON: a small studio in San Francisco, has a Working relationships Legacy). Their teaming originally Florida foothold with a couple of hun- The foundation for TRON: Legacy yielded about a minute-long piece dred people, as well as partnerships and was laid long before the project got that showed the look and feel of the alliances around the world. A youthful Jeff Bridges off the ground. Years ago, Kosinski, TRON world as envisioned by Kosin- an architect/designer from New York, ski. The preliminary test resonated Spot-spurred expertise moved to Los Angeles and went on with Disney, serving as jet fuel propel- Ulbrich said that launching into a to become somewhat of a protege of ling the project along. major scale digital feature production Fincher. It was through Fincher that Fincher and Paramount then gave was an easier and more manageable the artisans at Digital Domain—includ- Digital Domain permission to show proposition due to the experience ing Barba, Preeg and Ulbrich—got to Bridges the work being done on Ben- amassed by Digital Domain in recent know Kosinksi. So too did notable art- jamin Button which hadn’t come out years. “Most everything, if not all that ists like DP Claudio Miranda (a Fincher yet. “Jeff [Bridges] saw what we were we shot with Joe over the years—com- collaborator spanning spots and long- doing on Brad [Pitt for Button] and be- mercials and other projects—was shot form, including Benjamin Button). came fascinated with the possibilities,” digitally so the process became sec- Kosinski, who was part of SHOOT’s recalled Ulbrich. This proved to be a ond nature, and the people collaborat- 2005 New Directors Showcase at the meaningful step in getting Bridges to ing with each other were accustomed DGA Theatre in New York, began ultimately agree to the TRON sequel. to working as a team. Coming off of helming commercials and other se- Bridges consented to appear in the Fincher’s Zodiac and Benjamin But- lect projects via Anonymous Content test footage and that one minute film ton and a whole host of TV commer- TRON: Legacy Lightcycle (which continues to rep him). In the evolved into two minutes, then three Continued on page 18 January 21, 2011 SHOOT 17 News

VES Nom Leaders: Inception, Boardwalk Empire, MPC, The Mill

Continued from page 17 Nominated for Outstanding Ani- or commercial. (The other two nomi- cials paved the way. We learned how to mation in an Animated Feature Mo- nees in that category are episodes of use digital photography and workflow. tion Picture are: Tangled (Walt Disney Boardwalk Empire and The Pacific. We became accustomed to working in Animation Studios), How to Train Your Three of the four commercials in all data. Digital workflow in commer- Dragon (DreamWorks Animation), the category recognizing the outstand- cials was becoming more common. Toy Story 3 (Pixar Animation Studios), ing animated character in a broadcast And while the vast majority of feature Shrek Forever After (DreamWorks Ani- program or commercial came from films are shot on film, that’s starting mation), and Legend of the Guardians: the spot arena: the dog Citro from to change—but that wasn’t the case as The Owls of Ga’Hoole (Animal Logic). the Citron C3 Picasso ad titled “The recently as three years ago. Up for Outstanding VFX in a Live- Spacebox” with Mikros Image serv- “As we began to deploy digital pro- Action Commercial are: The Mill New ing as VFX house; Frieda Steer from duction on films, studios weren’t em- York for BarclayCard’s “Rollercoaster”; Cadbury’s “Frieda,” with PSYOP the bracing it,” continued Ulbrich. “They The Mill LA for Wrigley 5 Gum’s “Re- production/VFX company; and the were nervous about the idea. ‘What act” and Verizon’s “Towers”; Method robot in Logitech’s “Robot” with Ring do you mean there’s only data and no TRON: Legacy Studios for Halo’s “Reach”; and The of Fire serving as VFX studio. film?’ Insurance companies wanted ed Fincher in him to begin with. Instead best supporting VFX in a broadcast Moving Picture Company (MPC) for A full rundown of nominees span- physical boxes storing reels. Data was of thinking from the inception in terms program; two noms for outstanding DirecTV’s “Ice Cream.” ning features, TV, spots, video games unfamiliar to them. We were challeng- of let’s do this the way we’re supposed created environment in a live-action Nominees for Outstanding Ani- and other disciplines can be accessed ing convention and the comfort zone. to, he’s thinking let’s do this the way it broadcast program; best models & mated Commercial include Blizzard at www.visualefffectssociety.com. But for us the road to this was paved should be done.” miniatures in a broadcast program or Entertainment’s World of Warcraft, The VES Award winners will be an- by commercials from Fincher in digi- Ulbrich added that this new school commercial; and outstanding compos- Blur Studio for Dante’s Inferno’s “Hell nounced and honored during a gala tal and in the work Joe [Kosinski] was of director is what inspired last year’s iting in a broadcast program or spot). Awaits,” Motion Theory for Target’s evening ceremony on Tuesday, Feb. 1 doing. We had the experience so we opening of Mothership which features Inception led the feature film nomina- “A Better Bullseye,” Framestore for at the Beverly Hilton Hotel. Two win- weren’t in the position of having to a roster cut from the creative cloth of tions derby with four. In the category for Andrex’s “It’s The Little Things,” and ners already known are filmmaker learn from square one on TRON. Com- this contemporary filmmaking gener- Outstanding Visual Effects in a Visual MPC for Cadbury’s “Spots V Stripes.” Christopher Nolan (whose credits in- mercials gave us a lot of expertise.” ation. A sister shop to Digital Domain, Effects-Driven Feature Motion Picture, MPC figures prominently in the clude this year’s feature nominations Plus there’s the orientation of the Mothership is focused on original the nominees are Inception, TRON: VES spot nomination mix. In addi- leader Inception) as recipient of the new breed of filmmakers as represented transmedia content for ad agencies Legacy, Iron Man 2, Alice in Wonder- tion to the aforementioned Cadbury’s inaugural VES Visionary Award; and by Kosinski. “Joe is as comfortable on and brands. land, and Harry Potter and the Deathly “Spots V Stripes” and DirecTV’s “Ice VFX pioneer Ray Harryhausen who the computer workstation as he is be- Hallows: Part 1. Inception also earned Cream,” MPC had a visual effects hand will be presented with the VES Life- hind the camera. He’s a designer, archi- VES nominations nominations for outstanding created en- in: Drench’s “Cubehead” and Travel- time Achievement Award. tect and digital guy who understands HBO series Boardwalk Empire vironment in a live-action feature, best ers’ “Watering Hole,” both nominees In its Feb. 18 issue, SHOOT will take the process. He doesn’t look at things in topped the field of 9th annual VES models & miniatures in a feature, and in the category covering excellence in a close-up look at several of the VES conventional ways. That’s what interest- Awards nominations with five (for outstanding feature compositing. compositing for a broadcast program Award winners. Co-Directors Abound For “Life In A Day” At Sundance Festival

Continued from page 16 helmed Life In A Day, culling from work is featured in Life In A Day are inspire more people to pick up a cam- Aikawa and Taiji Aikawa from Japan, which brings a whole new dimension some 4,500 hours of lensed material a scheduled to appear in a panel discus- era and tell their stories.” Marek Mackovic and Okhwan Yoon of experimental filmmaking to the fes- final movie in the 80-90 minute range. sion immediately following the screen- Scott Free worked with Rick Smolan, from Nepal; Alberto Rauizo Gonzalez, tival. The film’s development has been Exec producing the project is director ing. The Sundance premiere will be CEO of Against All Odds Productions Cain Abel Tapia Chavez and Aveliro chronicled over the past six months in Ridley Scott, with his and brother Tony streamed live simultaneously on You- to distribute cameras to individuals Tapia from Peru; Renat Ardilanov and SHOOT. A YouTube movie, Life In Scott’s feature/TV company Scott Tube. For those who miss the live pre- in remote regions of the world to help Alexander Bayturin of Russia; Patricia A Day intends to document July 24, Free Productions producing the film sentation, the film will be rebroadcast make the film as inclusive as possible. Marinez del Hoyo, Toniu Xou, Virginia 2010, based on user-submitted videos in partnership with YouTube. (Both on youtube.com/lifeinaday on January The film clips capture varied life Salvado Segu and Araceli Segu Muste from around the world. The call for Macdonald and the Scotts have com- 28 at 7 p.m. and subtitled in 25 languag- experiences, including a Korean man from Spain; Boris Grishkevich from entries yielded some 80,000 submis- mercialmaking ties; the Scott brothers es. Plans call for the film to be distrib- who has been cycling the world, and a Ukraine; Harvey Glen from United sions representing 192 countries, with of course maintain RSA Films, while uted to select theaters, on demand, and young mother battling cancer. Arab Emirates; Caryn Waechter, Chris- content in 45 languages. Macdonald is repped stateside for com- placed online later in the year. The 26 co-directors invited to the topher Brian Heerdt, David Jacques, Feature filmmaker (The Last King of mercials and branded content by Chel- Ridley Scott said, “I am delighted panel discussion are: Massoud Hossaini Betsy DelValley, Bob Liginski Jr., Bobby Scotland), documentarian (the Oscar- sea, and in the U.K. by Rogue Films.) that we’re bringing together contribu- of Afghanistan; Cristina Bocchialini and Liginski III and Catherine Anne Ligin- winning One Day in September) and Macdonald along with 26 of the film- tors from all over the globe in such a Ayman El Sayed Hassan from Egypt; ski from the U.S. commercial director Kevin Macdonald makers (dubbed as co-directors) whose unique way. I believe Life In A Day will Soma Helmi from Indonesia; Hiroaki —By Robert Goldrich

The SHOOT Publicity Wire Delivers High Visibility The Publicity Release Distribution Service for the One of a kind. Worldwide. for Less than $50. via Headline Placement on Filmmaking, Commercialmaking, Entertainment, SHOOTonline.com Homepage; Connect your Television , and Online Video Production and Who Gets Your Publicity News? release with journalists and bloggers looking for Postproduction Industries and beyond. 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Speed of Delivery, Audience Coverage, Archiving, and Cost-effectiveness as the Key Benefits. 18 SHOOT January 21, 2011 www.SHOOTonline.com/go/publicitywire On The Wire Big Game: Bigger Demand, Bigger Numbers “The High Level Bridge” Receives Distribution Deal Ad Inventory Sells Out Earlier; Price Tag On A :30 Time Slot Rises PARK CITY, UT -- Early Sundance sale of short fi lm “The High Level Bridge” for exclusive Canadian distribution by CBC for TV, On Demand and inter- A SHOOT Staff Report survey, agency Venables Bell & Part- a brand on Facebook that advertises net rights brokered by Roberta Munroe. LOS ANGELES—During this pre- ners (VB&P), San Francisco, found during the Super Bowl (20 percent) as Burn.Crash.Repeat. Designs For Comedy Central game juncture, the Super Bowl adver- that this year’s viewers plan to be they are to “like” a team (24 percent), NEW YORK -- Burn.Crash.Repeat. recently completed a branding and tising playbook appears to be calling more engaged with the advertising with 25 percent of young adults likely show graphics package for Comedy Central and The Onion’s new sports for an economic rebound. Currently 30 than ever before and to pass along that to “like” a brand. program, Onion Sportsdome. seconds of airtime on the Big Game is enthusiasm via their own networks. Social networks will also benefit Northern Lights Adds Beauty Editor Karama Brown going for an average of $2.8 million to “The math’s pretty amazing,” said brands after the game, as 43 percent NEW YORK -- Northern Lights announced that it now reps 12-year edito- $3 million, up from last year’s spread Lucy Farey-Jones, partner and head plan to rewatch their favorite ads and rial vet Karama Brown. Karama has has cut some of the top commercials of $2.5 million to $2.8 million. of strategy, VB&P. “Fifteen percent of 31 percent plan to pass those along to on television today. The upturn represents even more watchers plan to post something about others via email or social networking Director Evan Silver, Editor Nathan Byrne For MTV ‘Skins’ of an advance when one considers the Super Bowl on Facebook alone. If sites like Facebook and Twitter, up NEW YORK -- Post Millennium, NY editor Nathan Byrne and director Evan that the 2010 Super Bowl as compared Fox gets the estimated audience of 100 from 26 percent last year. These num- Silver retrace teen debauchery in a stylish new 2:30 web fi lm, “Reverse to ’09 represented a rare year-to-year million this year, that means that there bers rise with younger adults, with Party,” promoting the U.S. version premiere of the smash-hit U.K. teen decrease in the average cost of a Big will be 15 million people come game almost 49 percent saying they’ll share drama “Skins” for MTV. Game :30 timeslot. day ready to send a message to a fur- and 55 percent reporting they’ll re- ASSIMILATE Congratulates Sundance 2011 Film Entries Furthermore, ad slots for the up- ther average of 130 friends. That’s 1.95 watch ads online. When asked which SANTA CLARA, CA -- ASSIMILATE congratulates customers Stuck On On coming Super Bowl telecast on Fox billion potential impressions during social network site people will use to (Austin, TX, USA), Off hollywood (New York, USA), Opus Digital Lab (Tel sold out in October, much earlier than and post game.” share ads, 39 percent said Facebook Aviv, Israel) and Hangar Films (Bogota, Colombia) for their high-quality its 2010 counterpart which had com- This means the ripple effect can be with 59 percent of young adults using post production of the following fi lms and documentaries accepted by mercial time available as late as the exponential for advertising that is en- this site to share ads. Twitter, Linkedin, the Sundance Film Festival 2011. week of the game. And reportedly gaging enough for people to talk about. YouTube and texting accounted for TEAK Executes Microsite for Google’s Chrome Notebook that inventory wasn’t because CBS During the game per the VB&P less than 10 percent of respondents. SAN FRANCISCO -- Continuing its relationship with Google, TEAK con- was holding out in order to charge research, 22 percent of Americans cepted and delivered a unique microsite that promotes the new Chrome higher prices to last-minute buyers. plan to be on Facebook (vs. 16 percent Lineup card notebook by asking users to take part in destroying notebooks in elabo- So the Super Bowl is indeed back. in 2010) and 22 percent plan to be Per usual during the weeks leading rate and entertaining ways. In an era of media fragmentation, texting, while only four percent plan up to the Super Bowl, which this year CAPTURE Launches At HELLO! this variety of surefire mega-audience to tweet. These percentages nearly is set for Feb. 6 in Arlington, Texas, LOS ANGELES -- HELLO! welcomes CAPTURE to their new home . CAPTURE grabber becomes all the more valu- double for young adults (age 18-29), many advertisers, agencies, production is an independent photography rep and production service company sup- able. Plus the Big Game offers the with 41 percent saying they’ll be on houses, post shops and other support ported by the expertise of HELLO! and sales experience of Giant Artists. rare dynamic of an environment in Facebook, 44 percent reporting they’ll services are reticent about their Big Shooters & DIVE Complete “Puzzle” For Sovereign Bank which the commercials are part of be texting and 12 percent tweeting. Game projects. In some cases, secrecy PHILADELPHIA -- Shooters and DIVE joined forces to produce “Puzzle,” the attraction—fodder for water cooler When asked what they will be posting has been heightened as clients don’t a :30 image and awareness broadcast advertising spot with Sovereign talk, social media gab, and polls rating about on their social networks, almost want to tip their ad strategies to the Bank’s in-house agency 601. the best and worst spots. a quarter of survey respondents cited competition. Nonetheless, through AvatarLabs Names Josh Lawson as Interactive Producer ads over plays, the half-time show, the industry grapevine and other cir- ENCINO, CA -- Digital creative services agency AvatarLabs has named Josh New rules of engagement parties, players and coaches. Ameri- cuitous routes, SHOOT garnered de- Lawson as an Interactive Producer. He joins the company from Paramount In its second annual Super Bowl cans are also almost as likely to “like” tails and a number of credits for some Pictures, where he held the same post. of what may very well emerge during Director Peyton Wilson Directs Visually Stunning Doc the Super Bowl telecast. SANTA MONICA, CA & NEW YORK -- Nonfi ction Unlimited has completed VB&P has taken heed of its re- production on a documentary project for TIAA CREF. Directed by Peyton search as it is again a Big Game player Wilson for Digitas, New York, the “Your Future You” spots feature a diverse with work for Audi scheduled to de- cross section of TIAA CREF’s own clients pursing their passion to make a but. This will mark Audi’s fourth con- diff erence in the world. secutive Super Bowl appearance. This Global Mechanic Media Hired By Bensimon Byrne time around, the agency has enlisted With a need to communicate a complex message that runs the risk of director Bryan Buckley of Hungry being pretty dry for the general public, the agency turned to Global Man, The Mill LA and Final Cut LA Mechanic Media to engage and entertain. The fi nal product was a series of editor Rick Russell to contribute their illustrated stories using the playful intelligence of the ‘RSA style’ of anima- talents to an Audi A8 spot slated to tion. run during the first break right after CNN World Sport Revs Up New Stephen Arnold Music kick off. DALLAS -- With a global audience watching, CNN World Sport needed a Audi and VB&P already debuted new show theme that would hold international sonic and visual appeal. The Bridgestone’s “Carma” a :60 billed as a prelude to its upcom- solution was the sonic branding experience of Stephen Arnold Music, which ing Super Bowl ad. The prelude spot composed an aggressive new alternative rock sound for the network. is titled “Goodnight” and was inspired Gravity Launches West Coast Offi ce by the cadence and rhyme sequence of NEW YORK & SANTA MONICA, CA -- Gravity has launched a West Coast of- the original “Goodnight Moon” while fi ce to be spearheaded by Karin Levinson, Vice President of Features and taking viewers on a journey through Television. Gravity has been named the sole visual eff ects vendor for two a traditional-style mansion laden with upcoming Warner Bros. fi lms: “Crazy, Stupid, Love” and “Arthur.” In addi- trite symbols of old, stuffy luxury. tion, Gravity’s NY operation has just been awarded visual eff ects work for “Goodnight” was directed by Daniel the Universal Pictures’ fi lm “Tower Heist,” directed by Brett Ratner. Kleinman of Rattling Stick, London, and Epoch Films (which handles him For the full stories, videos, and contacts [and many more] visit SHOOT Publicity stateside). Framestore London was the Wire (SPW) at www.SHOOTonline.com. SPW is a publicity news release distribu- VFX house, with Steve Gandolfi of tion service for the fi lmmaking, commercialmaking, television, cinema, and Cut+Run editing, Stefan Sonnenfeld online & mobile video production and postproduction Industries. To get info on of Company 3 serving as colorist, and SPW and to post your news release visit www.shootonline.com/go/publicitywire. music and sound design from Elias Arts Bridgestone’s “Reply All” Continued on page 21 January 21, 2011 SHOOT 19 photoSHOOT 50th 1 2 Anniversary Party December 16, 2010 Raleigh Studios, Hollywood op

Directors, producers, creatives & industry guests mingle at the party to cel- ebrate the past, present & future of the industry on a cool December evening. Guests gathered inside the warm studio cafe, outside by the fire pit lounge 3 4 or upstairs at the Charlie Chaplin Theater during a screening of the docu- mentary “Art & Copy” provided for SHOOT’s use by The One Club. Film history expert Marc Wanamaker shared great historical photos and stories during the evening and DJ Klev.C treated guests to a selection of music from the 1960s to the present day to complement the celebration of 50 years of the industry. Party Gold Sponsors were Optimus, Raleigh Studios, Deluxe, Sony and One at Optimus. Silver Sponsors were Company 3, Method Studios and Beast. Photos by Randall Michelson.

1 L to R: Bob Goldrich, SHOOT; Tom Duff, Optimus 2 L to R: Cathy Main, 5 6 7 Deluxe; Doug Pray, DC9; Roberta Griefer, SHOOT; Michael Nadeau, The One Club (Pray directed "Art & Copy" which was screened during the party, Nadeau was the film's producer) 3 LtoR: Fabian Ruepp; Ella Gaumer, Ascent Media; Melissa Knight, Company 3 4 LtoR: Jim Matlosz, cinematographer; Shant Hamassian, director; Fay Dattner, Dattner Dispoto & Associates; Bob Goldrich, SHOOT; Steve James and Meredith Emmanuel, Emmanuel Bates Communications 5 LtoR: Keith Wells, Number 11 Films; Michelle Serchuk; Fernando Viquez, First Cut Films; Peter Serchuk, Front Line Communications Partners 6 LtoR: Jennifer Mersis, David&Goliath; Jonathan Dillon, Rigged The Film 7 LtoR: Fernanda Desa Schwartz; Paul Albanese, David&Goliath, Jennifer Mersis, David&Goliath 8 LtoR: Todd Young, Plastic Poetry; Alex 8 9 10 Anderson, One at Optimus; Henning Winkelmann, Plastic Poetry 9 Lto R: Michael Yessian, Yessian; Scott McCullough, Random-Banter, Inc. 10 LtoR: Eileen Kramer, Hollywood Post Alliance (HPA); Greg Ciaccio, Next Element by Deluxe; Denise Eckstrom, Chace Audio by Deluxe 11 LtoR: Tanya & Craig Farkas, Instant Karma Films 12 LtoR: Alexandra Leh, LaCheraqui Media; Chip Kettering, Campbell-Ewald 13 LtoR: Rick Markovitz, Weissman/ Markovitz Communications; Jim Matlosz, cinematographer; Shant Hamassian 14 LtoR: Martin & Cardula Weisz, Weird Pictures; Oliver Agostini, Weird Pictures 15 LtoR: Linda O'Hanlon, Straightline Communications; Leimomi Coloretti, Media Services 16 LtoR: Virginia Scripps, Press Kitchen; Bob Goldrich, SHOOT; Lauri Aloi, Independent 11 12 13 Publicist; Jenna Wigman, Press Kitchen 17 LtoR: Otto Arsenault, One at Optimus; Sophia Rubio; Jon Barlow, Black Lake Productions 18 LtoR: Jason Docter, Docter Twins; Roberta Griefer, SHOOT 19 LtoR: Dawn Moore; David Moore, Capture at Hello 20 LtoR: Erik Press, Zoic Studios; Colleen O'Mara, Hype; Lorraine Schreyer, Mirror Films; Jessie Nagel, Hype 21 LtoR: Maria Elgar, hardtribe; Damon Webster, freelance producer 22 LtoR: Roberta Griefer, SHOOT; Robin Rosenthal NBC Universal 23 Marc Wanamaker, Bison Archives 24 LtoR: Lisa Houck, Salon; Luc Schurgers, Minivegas 25 LtoR: Tia Dobi, Expand The Brand; Irving Correa, Clairmont Camera 26 LtoR: Franchesa Free & Billy Mallery, MalleryScores 14 15 16

17 18 19 20 21

22 23 24 25 26 20 SHOOT January 21, 2011 Big Game Ad Lineup Steeped In Cars; A-B, PepsiCo Major Players

Continued from page 19 encounter on an idyllic woodland drich of Furlined and edited by Tom spot and PepsiCo is one of the biggest Betty White, might also surface in this and 740 Sound Design, respectively. road puts one driver’s fate squarely in Scherma of Cosmo Street. The creative advertisers on Super Sunday with a year’s Big Game. Agency is BBDO Audi is part of a Super Bowl lineup the paws of a very special little beaver. ensemble from The Martin Agency total of seven commercials. New York. which is steeped in automotive ad- What happens next may change the included group creative director Andy Coca-Cola is rumored to be in Country music singer Faith Hill—of vertising from the likes of General way you drive forever. Azula, creative director Steve Sage, as- the Super Bowl with work out of Sunday Night football fame—will star Motors, Chrysler (Wieden+Kennedy), For “Reply All,” imagine you’ve just sociate creative director Eric Dome, ex- Wieden+Kennedy, Portland, Ore. in a Super Bowl spot for Teleflora BMW (Kirshenbaum Bond Senecal accidentally hit “Reply All” instead ecutive producer John McAdorey and There’s also some buzz that Coke Reality TV’s Kim Kardashian will & Partners), Mercedes-Benz (Merkley of “Reply” on an email. Imagine it’s jr. producer Colleen Burke. Zero could have a Super Bowl spot in be featured in a spot promoting the & Partners), Volkswagen (Deutsch), one of those really personal emails HomeAway Inc., the online vacation- store from Crispin Porter+Bogusky. Skechers Shape-Up shoe line. Hyundai (Innocean and Hyundai’s that you only wanted one person to home rentals company, is on the Super Additionally Crispin figures in a :30 And race car driver Danica Patrick in-house agency) Kia (David&Goliath) read. And now, imagine that everyone Bowl for the second straight year. This for Best Buy, which is making its first and fitness trainer Jillian Michaels are and Cars.com (DDB Chicago). you’ve ever worked with is about to time HomeAway introduces us to a fic- ever Super Bowl run. set to star in Super Sunday advertising Mercedes-Benz is also launching find out what you “really think.” In tional government agency, the Ministry CareerBuilder via its in-house for GoDaddy.com what’s billed as “The World’s First this spot, you’ll see just how far one of Detourism. Rocky Morton of MJZ is agency is slated to run a :30. SHOOT will be updating this story Twitter-Fueled Race,” with the grand man is willing to go to right his “Reply believed to be the director for Austin, Candy maker Mars, which made and adding to the lineup with produc- prize being two new cars for the two- All” wrongs Texas-based agency Vendor, with mu- such a major splash in last year’s Su- tion and other credits online as the person team of social-media entrants The Richards Group’s Glenn Dady sic by Beacon Street Studios. per Bowl with its “Game” starring Big Game approaches on Feb. 6. who earns the most tweets for Mer- and J.R. Dixon were creative director As for the Super Bowl’s big ad play- cedes-Benz. Last month on its Face- and producer, respectively on both ers, there’s a perennial—Anheuser- GOLD SPONSORS book page Mercedes issued a casting spots. Patrick Murray was art director Busch InBev—and a returnee, Pep- call for social media users who want to and Bill Cochran the copywriter on “Re- siCo. The former could have eight or compete in the contest. ply All.” Shane Altman was art director perhaps more :30s on the Super Bowl Continuing in the vehicular vein, and Mike Bales the writer on “Carma.” spanning such brands as Bud and Bud Bridgestone continues as the half-time Meanwhile Grey New York is pro- Lite from a mix of agencies, with DDB sponsor and has two :30s at the ready ducing two Super Bowl commercials Chicago figuring prominently. The from The Richards Group, Dallas. One with The Mill New York—one for the annual rite of Big Game advertising is entitled “Carma,” directed by Kinka NFL, the other for E*Trade. The for Anheuser-Busch is its decision, Usher of House of Usher, shot by DP former has Grey N.Y. president Tor sometimes close to the 11th hour, as to John Toll and edited by Tom Muldoon Myhren as chief creative officer, team- what spots to run from a pool of com- of Nomad with VFX/animation from ing with creative directors Eric Segal mercials created by different ad shops. Method Studios, and music/sound de- and Lars Jorgensen, and agency pro- As for PepsiCo, last year Pepsi aban- THANK sign out of Wave, London. ducer Alison Horn. doned the ranks of Super Bowl adver- Bridgestone’s other spot is titled Myhren and Jeff Vinick are creative tisers. Pepsi now returns with three “Reply All” and was directed by Jim directors on the E*Trade commercial consumer-generated spots for its Pepsi Jenkins of O Positive, shot by Claudio with Vinick additionally serving as Max brand, taking a page from Pep- YOU! Miranda, edited by Ian Mackenzie of copywriter along with John Clarkson siCo’s Doritos which has enjoyed Big TH Mackenzie Cutler, with The Mill New and Pete Holmes. Agency producer is Game success with its annual contests York as VFX/animation studio. Kim Kietz. seeking consumer-created commer- “Carma” is predicated on the belief Pizza Hut has a spot scheduled for cials. This year three more Doritos that one’s good driving deeds do not the first half from The Martin Agency, spots from consumers are again in the go unrewarded. In this tale, a chance Richmond, Va., directed by Brian Al- offing; add to that a another rumored Fincher’s Editing, Sound Compatriots

Continued from page 11 include Stand Up 2 Cancer’s “Stand one of the aspects that’s interesting Up For Something” and the alluded to about the movie. It doesn’t make a Apple iPhone launch. huge deal about Benjamin’s predica- For The Social Network, Wall and ment. The movie treats him as an ‘ev- Baxter culled through some 268 eryman’ who just happens to be aging hours of footage, finding the subtleties the other way. That’s the approach Da- in each take that best served the nar- vid took for the film. It’s an approach rative. Now the two editors are team- ANNIVERSARY that brought realism to the story.” ing on their latest Fincher project, the Wall met Fincher in 1998 back aforementioned The Girl With The during their days together at the now Dragon Tattoo. defunct Propaganda Films. “I was the vault guy and he generously give me Ren Klyce Ren Klyce a commercial to edit,” recalled Wall. tures Panic Room (which he and Hay- Fincher recollected first meeting “Originally Jim Haygood was supposed good edited) and Zodiac. Wall also was Ren Klyce “as a production assistant to edit it but he had to leave for a family an editorial consultant on Fincher’s in 1981 and we’ve worked together emergency. So I got the chance.” Fight Club (edited by Haygood). on sound ideas and soundtracks for PARTY The commercial was “Mr. Robin- Baxter doesn’t have quite as long a over 25 years.” son’s Neighborhood” for Nike and it history with Fincher as Wall, but the In an interview with SHOOT after helped to launch Wall’s career as an collaborations have been notable, the Benjamin Button was wrapped, Klyce Zodiac editor. “I owe David a huge amount for first feature being for which provided more detail on his chronology SPONSORSSILVER SPONSORS the opportunities he’s given me.” Baxter did some cutting before land- with Fincher. Klyce recalled that the Those opportunities span assorted ing the full-fledged editorial gig with two met when they were 18 years old spots, including some memorable Nike Wall on Button. And the commercials while working for maverick indepen- fare, as well as the Fincher-directed fea- Baxter cut for Fincher along the way Continued on page 22 January 21, 2011 SHOOT 21 News

Long-time Colleagues: Klyce, Fincher

Continued from page 21 for not only Fincher but other film- conversations about craft and you con- dent filmmaker John Korty in the Bay makers such as Spike Jonze (including stantly learn. I have learned way more Los Angeles-based HELLO! has signed director Robert Area on an animated film Twice Upon Nike’s Emmy-winning “The Morning from him than he has from me.” Hales for commercial, integrated, and music video rep- A Time. Klyce was an art assistant in the After” spot; Klyce’s collaborations Asked if Fincher’s success comes resentation. His credits include videos for artists such as animation department while Fincher with Jonze also include the big screen from giving creative space to those he Justin Timberlake, Gnarls Barkley, Britney Spears, Kings was working in visual effects. Korty and with Where The Wild Things Are.) works with, Klyce replied, “Yes and of Leon, Miley Cyrus, Janet Jackson, and Nine Inch Nails, others on the movie started handing Klyce’s start in the feature film are- no. He will give me the creative free- and commercials for Mazda, Microsoft, AT&T, Givenchy, out shots to the various animators, giv- na came in ‘93 when Fincher brought dom to explore things, certainly. But at Southern Comfort, Smart Car, and Levi’s, among oth- ing Fincher what amounted to a second him on board Se7en as sound de- the same time, it’s not like he doesn’t ers. Hale’s Jet’s clip “Are You Gonna be My Girl” won Best unit photography gig. signer/sound effects editor/sound ef- check in. He will want to hear some- Rock Video at the 2004 MTV VMA Awards and only two years later his Rorschach-themed music video for Gnarls “David wanted to direct those shots— fects supervisor and music consultant. thing immediately—over the phone or Barkley’s “Crazy” won the MTV VMA for Best Direction.... whether they be 8, 10 or 15 seconds— via the Internet. I remember sending Later Klyce served as sound designer Deutsch New York has hired Helen O’Neill as VP, director completely,” recalled Klyce, “and he on Fight Club and Panic Room, sound him different versions of Brad Pitt’s of art production. She was most recently director of art production came up to me and asked if I wanted to re-recording mixer/supervising sound voice as a young boy in Benjamin But- for Young + Rubicam N.Y. O’Neill earlier served in the same capacity do music and sound. He knew that was editor/sound designer on Zodiac, and ton. On the Internet, we very much go at Mother NYC, where she produced work for Dell, Virgin Mobile, 10 what I was interested in pursuing.” sound re-recording mixer/supervising back and forth constantly over every Cane Rum, Rembrandt, K-Y and other clients for Mother Advertising, Around that same time, Fincher sound editor on The Curious Case of little nuance. The beauty of all this is Mother Productions and Mother Design. She also produced two of directed his first commercial, the Benjamin Button. Klyce earned Oscar David gives you feedback. Often what the Mother books: “Yo, Check the Perm” and “I Date aHooker,” as well American Cancer Society’s “Smoking nominations for best sound effects ed- happens with sound is there’s little as images for a line of candy, gum and air fresheners....Following its Fetus,” which created quite a stir for iting in 2000 on the strength of Fight communication between the filmmak- acquisition by Francisco Partners, Grass Valley has formed an execu- its imagery. Klyce did the music and Club, and best achievement in sound er and sound designer so the sound tive team which will be headquartered in San Francisco and led by sound on the piece. “Even back then in ‘09 for Benjamin Button. designer doesn’t truly know what the president/CEO Alain Andreoli, most recently an operating partner at the age of 18, David had this ability Klyce shared the latter Academy creative people want and ends up all at Francisco Partners, and prior to that in such leadership roles as to get everybody to listen to him,” re- Award nomination with audio col- over the map. With David, he lets you president of Sun Microsystems Europe and chairman/CEO of Hub- woo. Jeff Rosica has bee named Grass Valley exec VP/chief sales and lated Klyce. “He could describe ideas leagues David Parker, Michael Seman- get inside his head. You know if you marketing offi cer. Rosica is an industry and company veteran who so passionately. It was like watching en- ick and Mark Weingarten whom he also have nothing or the right sound ap- previously served as a sr. VP and division head for the organization. tertaining and engaging television. You teamed with on The Social Network. proach. You can get him on the phone. And Grass Valley has hired Ian Halifax as executive VP/CFO.... could visualize what he was saying.” Fincher and Klyce’s ad collabora- He’ll respond immediately to an e- A strong friendship was born but tions over the years include such spots mail. It all comes down to my being there was a prolonged stretch during as adidas’ “Mechanical Legs,” and a able to get good feedback, great direc- which the two went their separate ways mix of breakthrough Nike fare such tion from him throughout the process professionally. Fincher moved into the as ”Magazine Wars,” “Gamebreakers” whether it be for a feature or a spot.” music video world while Klyce cut his (a spot which helped Fincher win the Klyce described Fincher as being teeth in the studio on music produc- DGA Award as Best Commercial Di- “very disciplined, an absolute crafts- tion and recording. Trained in musical rector of 2004), and “Fate” (one of the man, the finest craftsman. It’s an composition, he started to explore the spots—showing us the bond of friend- amazing treat to work with him on his Char & Associates is representing Santa Monica, Calif.- French musique concrète movement ship and competition between NFL commercials and movies.” based music/sound house Endless Noise exclusively on the West Coast and in Texas...Below the line talent agen- of the 1940s which experimented stars Ladainian Tomlinson and Troy cy Orlando Management, L.A., has merged with All Crew with sound as music, a philosophical Pomalalu—for which Fincher earned a Networking Agency in Burbank, Calif., representing DPs, production precursor in a sense to sound design DGA nomination in ‘09). Conversely, Fincher—who earlier this designers, producers, editors, costume designers, and as we know it today. “There are filmmakers who don’t month on the strength of The Social other below-the-line talent for features, TV, commercials, Inter- Then what was to become a long really understand sound,” observed Network earned a Directors Guild of net advertising and music videos. Brian Ellis is managing partner fruitful collaboration on features and Klyce. “For a feature, they will hand- America (DGA) Award nomination for at All Crew Agency where he is joined by Orlando Management’s spots began when Fincher called to pick a cinematographer, their picture Outstanding Directorial Achievement Kirk Orlando. Orlando Management’s DPs, production designers tell Klyce he had just landed a feature, editor. But when it comes to sound, in Feature Film for 2010—talked about and editors join ALL Crew Agency’s roster. Some of the DPs are also Alien 3. At the time, Klyce didn’t have the studio usually turns them on to his special connection to and commu- available as directors/cameramen...Haworth, N.J.-based Global Im- enough experience to be sold to the and hands them some sound people nication with collaborators Klyce, Wall, ageWorks (GIW) and London based footage sales company Screen- studio powers that be as a sound ar- who handle the audio end. Baxter, Burt and Cronenweth. ocean have entered into a sales and marketing partnership to serve tisan on the film. Nonetheless Klyce “But there’s a way,” continued The director noted that The Social clients on both sides of the Atlantic. Screenocean’s inventory is now helped out as much as possible, re- Klyce, “in which if the relationship Network “needed to be made quickly—I available to North American based clients via the offi ces of GIW, and searching scores from the prior Alien between a filmmaker and a sound felt that if we’d been allowed a ‘realistic’ Screenocean will promote and make GIW content available to U.K. films, and other works by composers designer can be cultivated, then the pre-production schedule, we might’ve and European clients.... who worked on those movies, assem- filmmaker can realize all the power missed the opportunity to actually get bling a catalog of music. Klyce handed that film can render through sound. the film made while it was topical. I Fincher a bunch of DAT tapes reflect- It’s only through working and learn- felt that the few years removed from ing these relevant scores to be used as ing from each other that we can real- ‘Ground Zero’ of the Facebook phe- a foundation or starting point of sorts ize more of our potential. I remember nomenon was okay for the purposes from which to build on. working on some director’s cuts for of emotional clarity, but we didn’t want Meanwhile commercials emerged David on commercials many years ago to make too much of a ‘period’ piece. >January 29/Hollywood. Directors Guild of America as projects for which Fincher and and I told him that I cleaned up some All of these artists are people I trust to (DGA) Awards. www.dga.org Klyce could directly team. The first, dialogue, taking keys from other parts serve the intention of the narrative. We >February 1/Beverly Hills. Visual Eff ects Society (VES) Coke’s “Blade Roller” (an homage to of the spot so that the words being all have a shorthand.” Awards. www.visualeff ectssociety.com/ves-awards Blade Runner) came in ‘90. And then spoken by the actress were more un- Among other accolades recently >February 5/Beverly Hills. The Art Directors Guild (ADG) there was Nike’s “Magazine Wars” in derstandable and had better diction. earned by The Social Network are: Awards. www.adg.org which people pictured on magazine I zoomed in on an ‘s’ and placed it in Best Picture of 2010 distinction from >February 13/Los Angeles. American Society of covers at a newsstand come to life and her dialogue. At the time, David didn’t both the National Society of Film Crit- Cinematographers (ASC) Awards. www.theasc.com engage in a raucous game of tennis. know that could be done. He not only ics and the L.A. Film Critics Associa- >Feb. 26/Santa Monica. Independent Spirit Awards. The spot won a Clio, helped bring discovered another possibility but the tion, a Writers Guild Award nomina- www.spiritawards.com Klyce into prominence as a sound de- art behind it. The discoveries, though, tion for Aaron Sorkin’s screenplay, signer and began his track record of go beyond actually working together. and Golden Globes for best drama, di- >Feb. 27/Hollywood. Academy Awards. www.oscars.org notable work with Wieden+Kennedy As friends over the years, we have rector, screenplay and musical score. 22 SHOOT January 21, 2011 The art and science of visual effects.

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