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John O’Hagan Hits DNA’s Rich Lee Spot Assignment Pops Up As A In Stride For JWT, Director To Watch New York In “The City” page 10 page 11
THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION May 23, 2008 $6.00
Mini-profi les of Talent In New Directors Showcase Martinez When you factor in a three-person Global Warming Up Tops AICE team and six directorial duos, there are a total of 38 directors who fill 30 International Helmers Gain Increased Prominence slots in SHOOT’s sixth annual New Awards Directors Showcase. Get an overview In SHOOT’s 6th Annual New Directors Showcase By Robert Goldrich of this year’s field with mini-profiles NEW YORK—Editor Paul Martinez of our select helmers offering insights A SHOOT Staff Report studio and Player X. Work You May Never See” gallery of bicoastal Lost Planet was the big into their latest work and how they NEW YORK—SHOOT’s sixth an- • Keith Bearden of Mr. Hyde, Par- (SHOOT, 11/30/07). individual winner, garnering a pair broke into the directing ranks. nual New Directors Showcase— is, who’s repped stateside by Good • Baby, a duo from production of honors during the seventh annual See page 12 which will be marked by an eve- Films, New York. His “Apartment house Rebolucion in Buenos Aires, Association of Independent Creative ning screening, panel discussion Sharing” spot for Brandt Washing who helmed Huggies’ “Uterus” for Editors (AICE) Awards Show gala Director James Wahlberg and reception next week (5/28) Machines via DDB Paris first gained Ogilvy & Mather, Buenos Aires. held on Wednesday (5/21) at Gotham Gets Into Spot Rhythm at the Directors Guild of America inclusion in SHOOT’s “The Best Continued on page 19 Hall in midtown Manhattan. Martinez The noted helmer, most recently at (DGA) Theater in New York—of- topped the Storytelling and Visual Ef- the former Plum Productions, casts his fers a total of 38 up-and-coming fects categories with Radio Shack’s lot with Rhythm + Hues, bringing his helmers filling 30 slots (23 individ- “Record Problem” and PepsiCo’s live-action/effects/animation prowess ual directors, a three-person team “Pinball,” respectively. to a studio with a simpatico multi-dis- and six directorial duos). Martinez cut “Record Problem” for ciplinary reputation. Fresh off of two Per usual, prominent in the mix Arnold Boston. The spot was directed Oscar wins this year, Rhythm + Hues’ are ad agency artisans who have by feature filmmaker Todd Field (In feature talent and resources are play- pursued their directing aspirations. The Bedroom) via Uber Content, Hol- ing a bigger spotmaking role. And while directors from outside lywood. Meanwhile Pepsi’s “Pinball,” See page 4 the U.S. have traditionally been a directed by the Traktor collective, Showcase Director Lands part of the SHOOT Showcase over came out of BBDO New York. Visual the years, this time around they effects studio on the job was Method, Stateside Representation are even more prevalent. Among Santa Monica. Luis Carone, who broke into commer- the notables are: All in all it was a good night for cials via Brazilian shop 02 Filmes, has • Mattias Montero of Social Club Lost Planet as Martinez’s colleague garnered U.S. representation via Ven- in Stockholm whose ATG’s “Stat- IIntroducingntroducing there, editor Jennifer Dean, won the ice, Calif.-based Backyard. A young, ues” commercial is featured in the AICE competition’s newly formed up-and-coming talent, Carone--who New Directors Showcase TThehe ClassClass ooff 22008008 Music Video category for the Cold made his first major directorial mark • The young duo known as War Kids’ clip titled “Cold War Kids: in music videos--is part of the select Sumo Science of Aardman Anima- Hospital Beds,” which was directed field of directors who have gained tions in Bristol, U.K., who scored by Jay Martin of DNA, Hollywood. inclusion into SHOOT’s 2008 New with their first major helming en- Right behind Lost Planet’s three Directors Showcase. deavor, Stereo vs. Vacuum, a pilot AICE Award wins were four shops See page 4 episode for a mobile phone series that garnered two honors apiece: commissioned by the Aardman FilmCore, Optimus, Outside Editorial and Final Cut. New York Series: Continued on page 8 Increased Incentives Production prospects on the rise; AICP Show To Underscore Traditional, New Media Mix Tribeca Film Festival update See page 9 By Robert Goldrich view of how strong they think the has been prematurely stated and for emplified in the entries we received.” NEW YORK—While the honorees for work will be and some were wonder- that matter overstated.” At press time the AICP was in the the 17th annual AICP Show, The Art ing about this past year in the indus- At the same time, though, Miller process of tallying up exactly what & Technique of the American Com- try,” related Matt Miller, president/ noted that there were more entries percentage of entries entailed nontra- mercial, will be announced, shown CEO of the Association of Indepen- from non-TV media than ever before. ditional media for commercials. But and feted on June 3 at the Museum dent Commercial Producers. “But the “We’re really starting to see that in the even without that statistical confir- of Modern Art (MoMA) in New York, bottom line for us this year was simply makeup of the show. Three years ago mation, Miller felt confident in saying there are already some conclusions that the collective body of work was the AICP Show redefined the com- that this percentage was “noticeably to be drawn from the entries and the really outstanding. And that in and of mercial, allowing it to be something higher” in ‘08 than in years past. “It overall body of work they represent. itself is encouraging and speaks to the that aired on any medium. And this certainly struck me sitting at some of “Each year people have their own fact that the death of the commercial year that ‘any medium’ aspect was ex- Continued on page 5
The publicity wire www.SHOOTonline.com/go/publicitywire Perspectives
spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Grammy Hall May 23, 2008 Volume 49 • Number 10 www.SHOOTonline.com Over the years while at BBDO San Francisco hired way and could face a long, hard road Grammy Award recognition of com- when I heard the up-and-coming songwriters Paul Wil- to its desired destination, Lyle Green- mercials would be akin to the Di- EDITORIAL Publisher & Editorial Director words “Grammy liams and Roger Nichols to compose field, recently elected AMP’s national rectors Guild of America’s decision Roberta Griefer 203.227.1699 ext. 13 [email protected] Hall,” two things came to mind. In the a theme for Crocker Bank. The song, board president, thinks the timing of to recognize commercials with the 1978 Oscar-winning best picture Annie “We’ve Only Just Begun,” went on such a lobbying effort is ideal in that establishment of a DGA Awards cat- Editor Robert Goldrich Hall, Diane Keaton—playing the title to become a number one hit by The commercial music is becoming more egory in 1979. Today the DGA Award 323.960.8035 ext. 6681 [email protected] role—tells Woody Allen (Alvy Singer) Carpenters. Williams reflected on that widely regarded as mainstream en- is arguably the most coveted honor iSPOT Senior Editor/Reporter that the necktie she’s wearing was a experience and Riney in our last in- tertainment—so much so that major for commercial directors. Ken Liebeskind 203.227.1699 ext. 17 [email protected] gift from her Grammy Hall. The sound stallment of this column (5/9). recording artists are embracing the So we’re jumping on the AMP Contributors of the name Grammy Hall Christine Champagne prompts Allen to ask Annie The industry’s [Grammy] lobbying effort is worthwhile because it ADVERTISING if she grew up in a Norman Sales Director, East/Midwest/Canada/Latin America promotes wider spread recognition of advertising music’s artistry. Robert Alvarado Rockwell painting. 203.227.1699 ext. 15 [email protected] More to the industry point, the other “We’ve Only Just Begun” was in- ad discipline, and original music that bandwagon for Grammy recognition Sales Director, West Coast/International more obvious Grammy Hall reference ducted into the Grammy Hall of Fame strikes a responsive chord with audi- before there’s that large a bandwag- Meridith Riley 323.960-8035 ext. 6685 [email protected] for me would be to the National Acad- in 1998. And while that to some might ences is regularly making spots stan- on—but we’re confident there will be. Advertising Production emy Of Recording Arts and Sciences’ be a bit of interesting trivia, it carries dard fare on YouTube. (Greenfield As we sift through music for spots and Gerald Giannone (NARAS) Grammy Hall of Fame in particular relevance today as the As- is president/creative director of New branded content from week to week— 203.227.1699 ext. 12 [email protected] which music of lasting quality and/or sociation of Music Producers (AMP) York-headquartered Bang Music.) not just for our regular coverage but Classified 203.227.1699 ext. 12 [email protected] historical significance resides. plans to petition NARAS for the cre- Though I’m not much on awards also for SHOOT’s quarterly Top Ten But what I didn’t think of when ation of two Grammy Award catego- shows—much less the need for yet Tracks Charts—it’s clear that this mu- SHOOTonline Directory Listings 203.227.1699. ext. 14 [email protected] hearing “Grammy Hall” was com- ries honoring commercials—one for another award—this industry lobby- sic when done at its best is a most de- OFFICES mercials—that is, until the recent pass- best original score, the other for best ing effort is worthwhile because it serving art form that advances story- Main Offi ce ing of legendary ad man Hal Riney original song. promotes wider spread recognition telling, message, emotional tone and 21 Charles Street #203 Westport, CT 06880 USA prompted some research which While AMP’s Grammy campaign of advertising music’s artistry and ultimately is integral to connecting 203.227.1699 Fax: 203.227.2787 opened my eyes. It was Riney who (SHOOT, 4/18) is just getting under- its creative artists. In many respects, meaningfully with an audience. West 650 N. Bronson Avenue, Suite B140 Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036 POV Circulation 203.227.1699 ext 12 [email protected] By Robert Goldrich Editorial Production Manager/Reprints/Article Rights Michael Morgera 203.227.1699 ext. 11 [email protected] “Brinkmanship” © 2008 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, The entry period has opened for the to the nominating instructor of each Picture & Television Engineers and address issues and have a collective electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Hollywood Production Alliance’s of the students who win a Scholarship the defunct International Telepro- voice. He also envisioned the HPA as To Subscribe Go To (HPA) fourth annual J. Michael Award to be used for scholarly activ- duction Society (ITS), Brinkman be- being inclusive of all those who make www.shootonline.com/go/subscribe Brinkman Scholarship and Men- ity such as books, research materials, came a founding member of the HPA their livelihoods in post, and in help- For Subscription Service Inquires Call: 1.847.763.9620 toring Fund. The total value of the or equipment (instructor winners will because he believed the demise of the ing to mentor those who aspired to If your mailing label says RENEW, Brinkman Scholarship awards have be recognized along with the Schol- ITS created a void that needed to be careers in the industry. then go to www.SHOOTonline.com/go/renew increased to $9.335 for 2008. This arship Award winner); conference filled. He felt the HPA could do even So it’s most fitting that this Schol- and complete our online renewal form today. year, a stipend has been added for the registration for 2009 HPA Technol- more than ITS to better the industry arship and Mentoring Fund bears his SHOOT (ISSN# 1055-9825) printed edition is published bi- weekly except in July and August when published monthly) faculty member who nominates each ogy Retreat, February 17-20 in Palm and foster a sense of community. name. It continues Brinkman’s quest for $125.00 per year by DCA Business Media LLC, at 21 winning student. Springs plus $500 towards the cost of Brinkman talked about the need to open up opportunities for others Charles Street, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. Former winners include students transportation and lodging in Palm for post artisans and executives to and serves as an occasion for us to re- POSTMASTER: Send address changes to SHOOT, P.O. Box 2142, Skokie, IL 60076-9505. from Los Angeles City College, Cali- Springs; and registration to three band together, share information, member his legacy. fornia State University Northridge HPA networking events. USPS (06-234) For SHOOT custom reprints please contact Michael and UC San Diego as well as individu- Applicant does not need to be an Morgera 203.227.1699 ext. 11 or email to: mmorgera@ als already working in post. HPA member. For additional info and Flash Back shootonline.com Application is open to any resident to enter, visit www.hpaonline.com and May 23, 2003 Form, the Los Angeles-based production house SHOOT >e.dition published weekly except in January, July, August, and December when three-times per of Southern California who meets click on “J. Michael Brinkman Schol- launched a year-and-a-half ago by executive producer Craig Rodgers month. at least one of the following criteria: arship Fund” in the left menu. Ap- and director Jesse Dylan, has added directors Enda McCallion, Harry iSPOT, the digital newspaper for broadband video Entrant is currently working in the plication form and required materials Patramanis and Lisa Cholodenko for commercials....Ikea’s “Lamp,” advertising, is published weekly on Wednesdays. For further information go online to www.shootonline. postproduction industry and looking must be in the HPA office by 5 p.m. on directed by Spike Jonze of bicoastal/international Morton Jankel com/go/ispot to advance his or her career; entrant June 15. Awards will be announced on Zander, out of agency Crispin Porter+Bogusky, Miami, won the Grand SHOOT is produced in the U.S.A. is currently working in the entertain- July 15. For further questions, contact Clio at the 44th annual Clio Festival, held May 18-21, at Miami Beach’s ment industry and looking to cross the HPA office at 213-614-0860 or e- Eden Roc Resort & Spa....Bicoastal, international Believe Media has SHOOT is a member of over into a post career; or entrant is mail [email protected]. signed the directing team of MAD (Max Giwa and Dania Pasquini) for a student (minimum of nine credits) SHOOT is glad to get the word exclusive U.S. commercial and music video representation. working toward a degree and has a out in that we have fond memories strong interest in a career in post. of Brinkman, the VP of strategic May 15, 1998 The 22nd annual One Show saw BMP DDB/London The ‘08 Brinkman Scholarship business development for Panasonic shine in the TV portion of the competition, taking the Best of Show provides: up to six Scholarship Broadcast & Television Systems, who honor for its VW campaign....Following a stint as director of broadcast Awards of $1000 to be given to the passed away in 2003 at the age of 54. I at now closed Wells BDDP, ad veteran John Garland has moved to an- college or university where award last saw him in ‘02 in Los Angeles. We other Omnicom shop, TBWA/Chiat/Day, New York, as director of broad- winner is currently enrolled, on their met because he wanted to discuss the cast production....Mark Tripp, a former freelance agency producer, is behalf, to cover tuition or related edu- recent formation of the HPA. A main- now repped by bicoastal Moxie Pictures as a director. cational costs; up to six $250 awards stay member of the Society of Motion 2 SHOOT May 23, 2008
News
DirectorPEOPLE & PROJECTS James Wahlberg Signs With Rhythm + Hues
By Robert Goldrich Chicago, and Land of Lakes Butter LAIKA. Wahlberg was also a found- The project led to a Celluloid pilot, where he helmed a mix of live action LOS ANGELES—Director James for Campbell-Mithun, Minneapolis. ing partner in Fusion Idea Lab, a which became the Comedy Central and combination live-action/visual Wahlberg, who first established him- Much of this work was done prior Chicago ad agency best known for its series South Park. Wahlberg was a effects/animation commercials. Af- self in animation and then diversi- to his officially signing with Rhythm work on behalf of Anheuser-Busch. producer on that pilot. ter Visitor, he came aboard Fabrica- fied successfully into live action, has + Hues, giving Wahlberg a bit of a At Celluloid, he produced the buzz- After the sale of Celluloid in 2002, tion Films, Hollywood, and then No joined Los Angeles-based Rhythm + trial run with the studio. The favor- generating video Xmas card, Santa vs. Wahlberg continued to direct via its Smoke, New York, before joining Hues for exclusive spot representa- able experience on these jobs led Jesus, directed by a pair of then un- live-action sister shop Visitor. Wahl- Plum about a year ago. tion. With a reputation in comedy him to commit to coming aboard the knowns, Trey Parker and Matt Stone. berg headed the since closed Visitor Continued on page 23 and combo work as well as eliciting company’s roster. strong actor performances, Wahlberg Wahlberg had been looking for a is a good fit for the multi-disciplin- new roost, having most recently been Backyard Addition: Director Luis Carone ary (visual effects/animation/live at Plum Productions, which founders, action) Rhythm + Hues as reflected executive producer Chuck Sloan and VENICE, Calif.—Luis Carone, who Eriks Krumins was drawn to Carone’s sic video in 2004 and went on to earn in his initial projects via the studio: director/cameraman Eric Saarinen, gained inclusion in this year’s field talent spanning live action and visual Best Music Video Director honors at combo live-action/animation fare for decided to close after a 26-year run. for SHOOT’s New Directors Show- effects. Carone got established in the the Video Music Brazil competition in case (see separate story and profiles latter discipline when he was only 19 both ‘05 and ‘06. In ‘05 he won for the Wahlberg is adept at in this issue), has joined Venice-based years old, working as a 3D motion Autoramas clip “Voce Sabe” and the Backyard for his first stateside spot graphics designer for noted effects/ following year for Sepultura’s “Con- live action, EFX and representation. He continues to direct post house The Mill, London. victed In Life” video. animation, a hybrid mix commercials for the Latin American Carone is largely self taught, de- Looking to maintain his music market via spot/feature (The Con- scribing his formal filmmaking educa- video involvement while segueing that parallels R+H. stant Gardener, City of God) director tion as having taken place at The Mill. into commercials, Carone has success- Fernando Meirelles’ 02 Filmes in Sao He learned in hands-on fashion about fully made that transition thus far via Kraft’s Pebbles Cereal out of Ogilvy (Saarinen has since signed with Santa Paulo, Brazil. Carone came aboard 02 directing, editing, cinematography, vi- 02 Filmes. Among his latest work is a & Mather, Los Angeles, and live ac- Monica-based TWC). last September. sual effects and varied aspects of post- spot for mobile phone company Claro tion-driven spots for Mattel (including Wahlberg initially made his indus- While the Brazilian market is in a production. Carone refers to his initial based on the concept that people can a tie-in campaign to the recently re- try mark as a founder of Celluloid growth mode, Carone is eager to ex- music video work as “homemade” in listen to music on their cell phones leased movie Speed Racer) via Young Studios, an animation house which pand his opportunities further by en- that he spent nearly four months per from anyplace in the world. For this & Rubicam, Irvine, Calif., Kellogg’s was eventually acquired by Portland, tering into the American advertising clip completing all of the post and ef- job, Carone and his crew ended up (shot in Mexico City) for Leo Burnett, Ore.-based Will Vinton Studios, now arena. Backyard executive producer fects himself. He helmed his first mu- Continued on page 7 Documentary Filmmaker Rob Devor Newest Nomad Artisan: Makes Spot Debut For Bonefish Grill Editor Jason Painter Nonfiction Unlimited Produces Campaign For Cliff Freeman NEW YORK—Bicoastal house Nomad Painter made his first major industry has brought editor Jason Painter on mark, cutting Reebok’s ‘03 Super NEW YORK—Director Rob De- board its roster. He is already at work Bowl commercial “Terry Tate: Of- vor—whose controversial, crit- in the company’s New York shop on fice Linebacker,” which went on to ically acclaimed documentary an integrated Twix campaign (two win a Gold Lion at the Cannes In- Zoo created a major stir at the spots and a web film) for agency Nitro ternational Advertising Festival, as 2007 Sundance Film Festival— USA, New York, and di- well as recognition from has just made his spotmaking rected by Rob Pearlstein the Clio Awards and in debut with a campaign pro- of Los Angeles-based the comedy category of duced by bicoastal commercial Rockhard Films. the Association of Inde- house Nonfi ction Unlimited Prior to joining No- pendent Creative Edi- (formerly Nonfi ction Spots) for mad, Painter had been tors (AICE) Awards. The Florida-headquartered restau- freelancing for three “Terry Tate” fare was rant chain Bonefi sh Grill out months at several edito- directed by Rawson Mar- of Cliff Freeman and Partners, rial companies, cutting shall Thurber. New York. Devor is one of the Bonefish Grill’s “Recipes/Malta” projects for such clients Among other Painter select helmers in this year’s age for spots and the web in his to capture the sense of being as AT&T for GSD&M, editing credits are Zune’s SHOOT New Directors Show- signature visual, documentary exposed to a totally new envi- Austin, Texas, Safeway “Piece of Me, Piece of case (see separate story and style. The task was to explore ronment for the fi rst time and I out of DDB Chicago Jason Painter You” directed by the profi les in this issue). the people, the food and the think we did.” and the hit webisodic series Matumbo Three Legged Legs collective of Headed by executive produc- sensuality of exotic cultures and The spots are about expe- Goldberg from helmer Pearlstein, Green Dot Films, Santa Monica, a spot er Loretta Jeneski, Nonfi ction in doing so invite the viewer to riencing something new and which has generated a million-plus collaboration (Kyocera cell phones brought Devor on board its see Bonefish Grill in that same include everything from stun- hits on break.com and is showcased for Robertson Vitro, San Diego) with roster following Zoo’s premiere light—a place that is exciting ning Mediterranean exteriors on actor/comedian Will Ferrell’s on- feature filmmaker Jason Reitman at Sundance and recently pro- to visit, where a good meal and to locals on the street (or in the line channel Funnyordie.com. (Juno, Thank You For Smoking) who cured the Bonefi sh assignment good time go hand in hand. The lava heated waters of Iceland), Painter was last on staff at bicoastal helms commercials via Tate & Part- for him. campaign also depicted the impromptu festivals, exciting Spot Welders, which he joined in late ners, Santa Monica, and the recent After research and securing lengths that Bonefi sh goes to nightlife, friends sharing meals 2006 after having been at Mad River MTV “Train” PSA directed by Mark locations in Grenada, Malta, in order to fi nd great seafood, and local fishermen bringing in Post, which maintains shops in New Franzini for Arnold Boston that poi- Iceland and Buenos Aires for spices and recipes from around the day’s catch from the sea. York, Detroit, Santa Monica and San gnantly brings the Holocaust into a the “Taste The Pursuit”-themed the world. Along the way Devor and Francisco. Earlier he was at Jigsaw, modern context (SHOOT, 2/15). Bonefi sh campaign, Devor shot “Visiting a new culture and crew had a few adventures of Santa Monica. Previous to that Painter Over the years, Painter has cut for with his crew over the course of seeing it for the first time is fan- their own. On a short fl ight broke into the business at the former such clients as Budweiser, Burger three months, capturing foot- tastic,” Devor related. “I wanted Continued on page 7 Swietlik Editorial, Santa Monica. King, Ford, Dodge, Honda, Schick It was at the latter shop that and Earthlink. 4 SHOOT May 23, 2008 AICP Show Preview: Next Insights, A.M. Session, Evening Screening
Continued from page 1 their points of view,” said Miller. work itself. ning technique, craft and concept—and an excellent addition to the archives the judging sessions and looking at Those POVs will be expressed via all this work will be displayed in HD. at MoMA and a wonderful overview the work,” he said. two means—the panel as well as a film Evening gala “The AICP Show annually exem- of the state of the art.” featuring interviews with different The evening piece to the AICP plifies the best work the industry has As alluded to by Fernandez, the Next Up judges. That film will be screened Show on June 3 continues the tradi- to offer,” related ‘08 Show chairman AICP Show honorees become part of As the industry waits to find out during the morning session along tion of screening and honoring the Robert Fernandez, CEO/partner of the permanent archives of MoMA’s what spots will be honored, the best with components of all the honored best work across 23 categories span- Moxie Pictures. “This year’s Show is Department of Film, underscoring work as deemed by judges in one of the 23 Show categories has already been publicly disclosed—namely the recipients of this year’s Next honors. The Next category honors out- standing, multi-dimensional market- ing messages that appear in all mov- ing image media—both traditional and emerging. The Next category is decided solely by the Next judging panel, and is not subject to review by the Curatorial Committee. The 2008 AICP Show Next category honorees are: • HBO’s “Voyeur” from BBDO New York and produced by RSA Films/Big Spaceship • adidas’ “Impossible is Nothing— Where Sport Meets Art” from 180 Amsterdam (180\TBWA) and pro- duced by Passion Pictures, London • And Burger King’s “Whopper Freakout” from agency Crispin Por- ter + Bogusky, Miami and produced by Smuggler Morning insights On June 3, the morning of the ‘08 Show’s debut, a panel discussion led by David Lubars, chair of the Next judging panel and chairman/chief creative officer of BBDO North America, will offer insights into the honored work in the Next category. Also on hand will be artisans who created and developed each project. They will make presentations that will delve into the creative genesis of and strategies behind the work. “This is the only awards event fo- cused on the creative product that gives the audience a chance to hear about strategy from all who collabo- rated to bring the ideas to life,” said Miller. “The morning is not just about showcasing the work but about help- ing people understand what’s hap- pening in the industry and what the new evolving benchmarks are.” In that regard, slated to partici- pate on the Lubars-moderated panel are several of the Next judges: Lars Bastholm, executive creative director of AKQA, New York; Bob Greenberg, chairman/CEO/global chief creative officer, R/GA; Don McNeill, presi- dent/CEO, Digital Kitchen; George Neill, VP/chief marketing officer, Brunswick; and Benjamin Palmer, co- founder/CEO, The Barbarian Group. “We’ll hear from the judges to get their ideas as to what works and what doesn’t and why. Judges will present
May 23, 2008 SHOOT 5 News
John Cline Becomes Curious Addition Short Takes NEW YORK—John Cline has joined fice to 70 employees in less than two DDB CANADA ADOPTS SEXY SUMO STRATEGY Curious Pictures, New York, as its years. While at Nitro Cline produced Picture hot girls in wet t-shirts washing an SUV—except instead of head of production. He brings experi- or executive produced successful females, the participants are huge male Sumo wrestlers. This bizarre ence on both the ad agency and pro- campaigns for Dove Chocolates, hand car wash, though, seems to be working, cleaning the grime duction house sides of the business Twix, Healthy Choice and Kraft, with off of a muddy Subaru SUV to the Manhattan-based production the latter including several spots pro- Forester. Adding to the am- house, having most recently served duced at Curious. bience, the men get playful, as head of production at New York ad Curious executive producer Mary hosing each other down and shop Nitro USA. Knox cited Cline’s production depth throwing soapy sponges Cline said he is joining Curious at an and business acumen as major assets. at one another. The humor opportune time. “I think the studio is “He really knows what our client in this offbeat scenario is flourishing right now because it’s got a base wants,” she said, “and he has the heightened when we see an business model that everyone is talk- hands-on production experience to elderly couple looking on in ing about but few are executing,” he John Cline support or directors and producers.” utter disbelief. #,)#+ (%2% 4/ 6)%7 30/4 related. “They’re involved in so much and visual effects on commercials and A graduate of Bard College, Cline A voiceover chimes in, more than just advertising, from fea- broadcast promos for clients such as augments his work in advertising with “Japanese SUVs just got a little sexier—introducing the all new 2009 ture films to TV programming to Nike, Microsoft, HP, Reebok, ESPN, personal work in film and publishing. Subaru Forester. games and books and toys, and all of VH1, and MTV. His short film, A Letter to Jonathan, Titled “Car Wash,” this spot was directed by Jorn Haagen of The these genres and media feed off each After leaving Optic Nerve he was aired nationally on American Corner Store, Toronto, for DDB Canada, Toronto. other. On top of that, Curious has all moved to the advertising agency side, Playhouse in 1989 and was nominated The DDB creative team consisted of creative director Andrew Si- the means of production available un- joining JWT New York as an execu- for an Emmy. His first mystery thrill- mon, copywriter Matt Antonello, art director Paul Riss and producer der one roof, from live action and table tive producer on Merrill Lynch and er, “Forever Beat,” was published by Andrew Schulze. top to CGI, mo-cap, design and anima- Kellogg’s. From there he went to E.P. Dutton in ‘90. Jennie Montford executive produced for The Corner Store. The DP tion, which supports working across Fallon’s New York office, where he Curious maintains a roster of live- was Doug Koch with Steadicam work by Bela Trutz. all these different platforms.” produced high profile work for Virgin action and animation directors which Editor was Mark Morton of School Editing, Toronto. Cline started as a P.A., freelancing Mobile and Starbucks. includes such talent as Rohitash Rao, And the car wash antics unfolded to the beat of the Electric Six for major New York-based live action When Fallon shuttered its New Stefan Nadelman, Steve Oakes, Saul tune “Danger! High Voltage.” production houses, and has worked York office, Cline became head of Blinkoff, Greg Ramsey and Michael his way up the ranks since then. He production at Nitro USA, joining Wright. Founded in ‘93, the company ANNERINO, TATE LAUNCH HOOTENANNY eventually was named executive that global boutique as its eighth hire is managed by partners Oakes, Susan Post boutique Hootenanny has opened in Chicago. Founders of producer at Optic Nerve, New York, in the U.S. and a key member of the Holden, Lewis Kofsky, Jonathan Pal- the new venture are Jim Annerino and Liz Tate, formerly artists with where he worked in both live action management team that grew the of- ey and Richard Winkler. Avenue, Chicago. Tate becomes the first creative editor on staff at Hootenanny while Annerino serves as Smoke artist. Both will also ARTISANS divide duties for the company’s day-to-day business affairs. Hoo- tenanny offers SD and HD services in creative editorial, finishing, Rhinofx Lands VFX Artisan Jim Rider graphic design and visual effects—and shares facility space with fx- phd, a high-end online training company founded by EFX artist John NEW YORK—Visual effects house Camille Geier, who serves as COO offered by the Connecticut package Montgomery and Sydney-based Mike Seymour. With members from rhinofx, with studios in New York of rhinofx, said that the addition of of economic perks. Ghost Town is a more than 65 countries, fxphd as become a top online training cen- and Stamford, CT, has brought VFX Rider “really supports the current di- major project written and directed ter for VFX artists. While they are separate companies, Hootenanny supervisor/artist Jim Rider aboard rection of our feature film capabilities. by David Koepp (who’s written such and fxphd plan to collaborate on projects to parlay the strengths of to reinforce the company’s growing Jim is a tremendous talent and we will action blockbusters as Spider-Man, each business. Montgomery will be adding VFX and design acumen feature film division. Rhinofx’s re- benefit from his history with big time Lost World: Jurassic Park and Mission: to the Hootenanny arsenal. On the flip side, Tate and Annerino are cent theatrical movie credits include features and his deep relationships Impossible). Creative director/director available to help with fxphd work as needed.... Perfect Stranger, The Nanny Diaries across the film community.” Arman Matin heads the rhinofx team and the current production of Dream- on Ghost Town, a romantic comedy PEOPLE IN THE NEWS Works/Paramount’s Ghost Town. slated for an August 2008 release. Design/animation/visual effects studio Smoke & Mirrors, New Rider, whose experience spans ef- Since the launch of rhinofx’s Con- York, has brought VFX supervisor/senior Flame artist Kirk Balden on fects, motion control, Flame, compos- necticut studio, New York State has board. He most recently served as a VFX supervisor/Flame/Smoke iting and animation, brings additional in turn upped the incentives ante artist at A52, Santa Monica, where he worked on projects for Mi- firepower to rhinofx’s Stamford stu- this year with an expanded economic crosoft, Nike, Lexus and Jeep, as well as the main title sequence for dio, which is dedicated to the produc- stimulus program covering features HBO’s Emmy-nominated series Rome. Earlier he permalanced as tion of VFX for features. His body of and TV programs. In fact, the new in- a Fire/Inferno artist at Sea Level, Venice, Calif., working on jobs for work includes assorted feature films. centives package in the Big Apple has Visa, Gillette and Toyota, among others. Balden has also held posts at For example, he’s contributed to such reportedly lured ABC-TV primetime Hydraulx, Santa Monica, Ring of Fire, now in Santa Monica, and Sony movies as Across The Universe, Evan series Ugly Betty from Los Angeles. Picture Imageworks, Culver City, Calif. The move to Smoke & Mirrors Almighty, Chicago and Titanic. With footholds in New York and reunites Balden with executive producer Celest Gilbert; the two had Prior to rhinofx, Rider’s affiliations Connecticut, rhinofx is well posi- collaborated earlier at Sea Level. included Image G in Los Angeles, tioned to leverage both states’ incen- Smoke & Mirrors also maintains Film East, New York, and Big Film Jim Rider tives for prospective projects. The a London operation. Production Design, also in Manhattan. As a free- Rhinofx opened a Connecticut of- rhinofx Connecticut facility is outfit- in the New York office is led by lancer, he lent his talents to such films fice last year to tap into that state’s ted with technological resources that Gilbert and managing director as The Good Shepherd, Requiem For incentives program which includes are integrated with the New York of- Jo Morgan.....Peligro Music & A Dream, The Green Mile, Frida, The 30 percent tax credits for clients. As fice for work not only in features and Sound Design, the Los Angeles Royal Tennenbaums, Stuart Little, earlier reported in SHOOT, while the games but also commercials. shop headed by creative director The Nutty Professor and the afore- feature Ghost Town was being shot in Rhinofx opened in New York in Greg Kuehn, has added execu- mentioned The Nanny Diaries. Rider New York, with most of the post done ‘00 and has been active in visual ef- Kirk Balden tive producer Robin Frisbey and has also worked as a VFX supervi- in the Big Apple as well, the visual ef- fects, design and animation for com- sound designer/composer Brendan Hawkins. The latter’s experience sor for major TV shows, such as The fects business came to Connecticut, mercials, VFX for feature films, epi- includes working with a wide range of artists including Perry Farrell, Sopranos. He also contributed to hit said Geier, due to the combination sodic TV, webisodic miniseries and Bono and Tom Morello (who’s from Rage Against The Machine).... series The Simpsons. of rhinofx talent and the economies videogame cinematics. SHOOT May 23, 2008 Luis Carone Gains Stateside Representation Via Backyard
Continued from page 4 The humorous ad shows a kid in a real automobile is being jerked back Brazil, now rounds out a Backyard Immesoete and Aaron Stoller. The filming in three different Brazilian the foreground struggling with a toy and forth seemingly against its will directorial roster for commercials company’s national sales force con- states in an attempt to capture inter- remote control car, which isn’t at all as the remote is controlling its every that includes Rob Pritts, Kevin Smith, sists of indie firms The Family which esting moments inspired by these lo- responsive to the remote commands movement, including getting it into a Don Rase, Chace Strickland, Nick handles the East Coast, Them Reps in cations and the wide range of people he’s giving it. Meanwhile unbe- minor accident. Piper, Jeffrey Karoff, Jesper Erics- the Midwest and Boss Talent on the who live there. Most of the people knownst to the boy, in the background Carone, who currently resides in tam, Ericson Core, Rob Sanders, John West Coast. seen in the film had never been in a commercial. They were locals from these specific towns. Carone said of the project,“Since the concept was straightforward, I could improvise situations drawing from the locations.” Real Relationships Carone was selected for the SHOOT New Directors Showcase on the “Have you noticed SHOOT has been pushing us more and more lately? What used to be a comfortable and reassuring strength of several entries, perhaps publication now forces us to confront content and the expanded production challenges in a smart and compelling way. most notably an AMC Car Insurance SHOOT raises the questions and often leaves finding the answers to us. And that’s what I like: the thinking it causes. spot, “Remote Control,” which was SHOOT reports the fractured nature of our business now. You get information, ideas and sometimes even inspiration about how to lead and grow your own business. produced by 02 Filmes for Brazilian It’s about the new and now for sure. SHOOT searches for what’s happening and that helps make it a leader. But what’s agency DM9 DDB. unique is SHOOT doesn’t ignore what’s come before. Knowing how people and companies have grown and changed their own careers and businesses is very interesting to me. SHOOT tells me. Curiosity satisfied. Ideas gained. Whether on your desk or now online, SHOOT has been there for all the years telling us what we need to know. Now it tells us why we need to know it. More relevant than ever, SHOOT is a staple for all of us in every kind of production. Devor Grant Hill Exec.VP/Global Production Director Wraps DDB Worldwide “What I like about SHOOT is that as a head of production I don’t always get to read as I Chicago, IL should. These days I’m running around all the time putting out fires. So I rely on SHOOT for a weekly dose of news, and information that I can really use. It’s not like those other Bonefish publications that only skim the surface. SHOOT goes in depth and understands what I want and exactly what I’m looking for. We find that SHOOT is really an invaluable tool at Doner. With all the changes at compa- Continued from page 4 nies and the constant evolution of technology, it allows us stay current. Plus it’s full of to a remote part of Iceland, great content that’s both relevant and interesting. Understanding the challenges and successes others have in our business is helpful for everyone here at every level.” one of the windows on the six passenger plane they were Sheldon Cohn aboard blew out at 10,000 Exec.VP/director of broadcast feet, concerning the crew that Doner Advertising they were going to freeze or Southfield, Mi “When I got my fi rst job in advertising I subscribed to three magazines: Playboy, Hot Rod and Backstage. The fi rst two the fl ight would go down. had better photography but Backstage had useful informa- The pilot fi nally landed with tion. And my wife wasn’t as annoyed when it showed up a polite “Sorry about the in- in the mailbox. But Backstage became SHOOT, and SHOOT became a website and digital editions. convenience” and the story It has evolved smoothly from a trade paper about TV into showed up in the local paper a journal about ideas and digital media. It is more valuable the next day. In Malta, the to me now than ever before. I check it out every day.” crew’s arrival was greeted by one of the worst storms the David B. Perry Exec.VP/Head of TV Production country had seen in 50 years. Saatchi & Saatchi Throughout it all, Devor and New York, NY “How many of us have read our copy of SHOOT crew kept shooting, resulting while on a shoot? Whether in such spots as “Spices/Gre- you’re sitting on a cold nada” and “Recipes/Malta,” black leather couch on a Introducing, building and reinventing stage watching paint dry or with more commercials from sitting on a director’s chair more cities on the way. brands, as well as keeping them fresh, under a pop-up tent eat- Besides his documentary ing a fist full of red licorice is all about relationships. And the or sitting in a hot steamy exploits, Devor also has expe- “room” with no vent in the rience in narrative features, industry’s leading brand builders, who Damian Stevens back of a King Kong after Director of integrated production/ prime examples being Police eating a breakfast burrito... are our readers, have a strong, powerful, multimedia Bottom line, wherever you Beat and The Woman Chaser, Saatchi & Saatchi LA read it, SHOOT is a great which had both been previ- real relationship with the SHOOT brand. Los Angeles, CA read that you can count on for news, insights and valu- ously screened at Sundance. able info.” Nonfi ction Unlimited spe- Advertise your brand in cializes in handling noted SHOOT to connect with “SHOOT’s coverage of ad music is unprecedented. If your documentary fi lmmakers for track doesn’t make it to their Top 10 Spot Tracks Chart, commercials and new media your clients in the medium then it just ain’t that happening. Their coverage of music has had a significant influence on my career and clearly advertising. The shop’s spot correlates with the upward shift of music in the advertis- directorial roster consists that connects with them. ing/branding consciousness.”
of Devor, Rob Bindler, Paul Josh Rabinowitz Crowder, Steve James, Robby SVP, Director of Music Grey Worldwide Kenner, Barbara Kopple, Stacy New York, NY Peralta, Jessica Sanders, Ondi > WWW.SHOOTONLINE.COM Timoner, Peyton Wilson and Jessica Yu. Tell us about your relationship with SHOOT, email rgriefer@shootonline.
May 23, 2008 SHOOT 7 News
AICE Awards Honor Editing’s Best HD Essentials
Continued from page Final Cut’s other AICE Award win editor Dan Maloney of The White- Tiffany Burchard of FilmCore Edi- was in the National Campaign cat- house, New York, for Tide’s “Inter- torial, New York, scored in the Dia- egory in which editor Jono Griffith of view” directed by Calle Astrand of DTV Test Pilot Set For Takeoff logue category for Cingular’s “Talk- Final Cut USA, New York, scored for Dab Hand Media, London, for Saatchi The Federal Communications Commission (FCC) announced the creation ing Text” directed by Alison Maclean eBay’s “Fox Hunt,” “Dog Race” and & Saatchi, New York. Taking the Spec of an experimental test market--the Wilmington, N.C. designated market of Park Pictures, New York, for “State Fair” directed by Traktor via Spot category was editor Tad Fatum area (DMA)--for the full-power television station transition to all-digital BBDO New York and Atlanta. And bicoastal/international Partizan for of Cut+Run L.A. for adidas’ “Bulls” broadcasting. In the FCC experiment, full-power stations in the Wilming- Doug Walker of FilmCore Editorial, BBDO New York. directed by Brian Spitz. ton market will shut off their analog signals on September 8, 2008, a full San Francisco, topped the Best of San The two other winners who tied five months before the national transition to digital television (DTV) oc- Francisco category for Electronic Arts’ with Griffith for National Campaign Chapter kudos curs on February 17, 2009. “Moment” helmed by Jason Smith of honors were editor Jordan Green of Rounding out the field of AICE In response to the test pilot initiative, Jonathan Collegio, the National Bob Industries, Santa Monica, for San 89 Editorial, New York, for GEICO’s winners are those in the remaining Association of Broadcasters (NAB) VP of the digital TV transition, noted Francisco agency Heat. “Cabbage Patch,” “Beverly Hillbil- Best Of Chapter categories. Editor that the FCC program in Wilmington “can shed light on a number of is- The pair of wins for Outside, New lies” and “Flintstones” out of The Toar Winter of Finish Editorial, Bos- sues surrounding the national DTV transition in February 2009. The re- York, came for editor Neil Gust’s Martin Agency, Richmond, Va.; and ton, topped the Best of Boston cat- sults must be objectively reviewed to determine how or whether the work on Ford Motors’ “CX-F” and editor Victor Masnyj of Ultrabland, egory for McDonald’s “Mr. Breakfast” findings can be applied nationwide. NAB will be fully supportive of our cutter Jeff Ferruzzo’s contributions New York, for Cinemax’s trio of directed by Chris Hooper of Bob In- local television broadcasters in this effort.” to Heineken USA’s “Most Interest- “Sounds Good” spots for the client’s dustries for Arnold, Boston. He expressed the hope that the experiment will answer important ing Man.” The former spot—directed in-house agency. Marc Hoffmeister of Fast Cuts questions that will help all parties ensure the success of the transition by Steve Mottershead and Chris Sar- Meanwhile Optimus’ was part of Edits, Dallas, edited the Best of Dal- to DTV, including: gent via Tangerine Films, New York, the three-way tie in Public Service, las winner, D-Spot’s “Davis Build- • What is the coordination plan between the federal, state and local for Euro RSCG, New York—won the with Jim Staskauskas, cutting via ing” helmed by Darren Cameron of governments to distribute information about the September 8 experi- Montage category, while the Heinek- the company’s L.A. shop, winning Big Fish Films, Dallas, for The Point mental analog shut-off? en commercial topped the Best of for PETA’s “The Talk” directed by Group, Dallas. • How will the government ensure retailer coordination so that enough New York category. Steve Miller of Steven Tsuchida of Oil Factory, Los Editor Rich Smith of Mad River coupon-certified converter boxes will be available given the increased bicoastal/international @radical.me- Angeles, for agency Matter. Post, Detroit, won the Best of Detroit demand of the early shut-off date? dia directed “Most Interesting Man,” The two other winners in Public honor for Dodge Nitro’s “Ticket” • In particular, what specific actions will the government take to ensure also for Euro RSCG, New York. Service were: editor Greg Letson directed by Peter Darley Miller of bi- that retailers have “analog pass-through” converter boxes available given of Fluid, New York, for Library of coastal/international @radical.media the low-power television stations in the Wilmington market, including Tie game Congress’ “Train” directed by Sanji for BBDO Detroit. one major network affiliate? Optimus, Chicago and Santa Mon- via Lucky Elliot for agency Geppetto Angus Wall of Rock Paper Scissors, • How will the government prioritize converter box coupon applica- ica, and bicoastal Final Cut also each Group, New York; and editor Doo- Santa Monica, edited Saturn’s “Num- tion requests originating from the Wilmington DMA, given the current had two wins apiece. But they had an- bie White of Therapy, Santa Monica, bers,” the Best of Los Angeles winner, national backlog of coupon requests? other more uncommon bond as one for the Alabama District Attorneys which was directed by Mike Mills of • What action will the government take to ensure that national mes- of the wins for each house was part Association’s “Addict” which was The Directors Bureau, Hollywood, saging or messaging from bordering markets about the February 17, ‘09 of a category—National Campaign for helmed by Brian Webber of A Com- for Goodby, Silverstein & Partners, transition date does not result in confusion in the Wilmington DMA? Final Cut, Public Service for Opti- mon Thread, Los Angeles, for agency San Francisco. • How will the government ensure that satellite operators accelerate mus—in which there was a three-way D Groupe in Tuscaloosa. And topping the Best of Toronto their coordination schedule? tie for the top honor. And the third tie—albeit between category was editor Mark Paiva of • And how will the government ensure that cable operators serving First in terms of their stand-alone just two recipients—in this year’s com- School, Toronto, for Toyota’s “Tooth- the Wilmington market are prepared to coordinate an early analog shut- category wins, Optimus editor Craig petition came in the Local Spot cat- brushing” directed by Alan Poon of off. Furthermore, have they made sufficient plans to ensure viewability Lewandowski took the Best of Chi- egory: editor JJ Lask of P.S. 260, New Circle Productions, Toronto, for Saa- to analog television subscribers? cago kudo for Kellogg’s “Montage- York, for Bright House Network’s tchi & Saatchi, Toronto. Collegio said NAB looks forward to working closely with the Wilmington Poptage” directed by Gentlemen (a “Asterisk Anthem” directed by Brent (For a full rundown of AICE Award stations, the FCC, the National Telecommunications & Information Adminis- duo included in this year’s SHOOT Harris via bicoastal Believe Media for winners and project credits, see this tration and other parties as they move forward with this initiative. New Directors Showcase; see sepa- Florida agency Fry Hammond Barr; week’s electronic edition or log onto Meanwhile the NAB has its own program to help ensure a successful DTV rate story and mini-profiles) of Uber and editor Seagan Ngai of TEAK Mo- www.shootonline.com.) transition. Broadcasters nationwide have committed more than $1 billion to- Content for Leo Burnett, Chicago. tion Visuals, San Francisco, for North- wards a multiplatform campaign to educate Americans.” A key component of And Rick Russell of Final Cut L.A. star Resort’s “Summer Sky Team” di- Hall of Fame that efforts is DTVAnswers.com, the official NAB website about the DTV tran- won in the Music/Sound category for rected by Dave Laden through Teak Another major evening highlight sition. Launched in January ‘07, the DTV campaign’s mission is to ensure that Hummer H3’s “Don’t Blink” directed for San Francisco agency Eleven. was the induction of legendary editor no consumer is left unprepared due to lack of information for the February by Rupert Sanders of bicoastal/inter- As for other category wins, garner- Billy Williams into the AICE Hall of 17, ‘09 federally mandated transition from analog to digital broadcasting. national MJZ for Modernista!, Boston. ing the Comedy category kudo was Fame, which recognizes artists who NAB is the voice for more than 8,300 radio and TV stations, NAB advances helped to shape the industry, influ- their interests in legislative, regulatory and public affairs. Through advocacy, encing and mentoring many others education and innovation, NAB enables broadcasters to best serve their com- along the way. munities and seize new opportunities in the digital age. Williams joined such luminary in- ductees over the years as Jerry Bend- DTV 411 Debuts In North Carolina er, Edna Paul, Howie Weisbrot, John North Carolina is indeed a DTV hotbed. In a precedent-setting move, Quinn, Dennis Hayes, Bea Conetta, the 30-minute educational program DTV 411, aired April 19, 7:30-8 p.m., David Dee, Jeff Dell, Jacques Dury, simultaneously on 27 North Carolina TV stations. Produced by the North Bob Blanford, Tony Izzo, Jimmy Carolina Association of Broadcasters, the show explains how those view- Smyth, Arthur Williams, Roger Roth, ers who rely exclusively on over-the-air broadcasting need to purchase a Lee Lipner and Bob Sinise. DTV converter box or upgrade to a digital TV set in order to continue to Williams, who has assorted ground- receive TV signals once the industry switches to all digital transmission breaking spots to his credit, started the on Feb. 17, ‘09. It’s estimated that about 15 percent of TV viewers in North venerable Billy Williams Enterprises Carolina will need to buy a converter or a digital set. in New York (which is now Moondog **** #,)#+ (%2% 4/ 6)%7 30/4 Edit). His career spanned 40 years, Contact SHOOT editor Robert Goldrich with HD-related news and developments ending when he retired from the edit- at [email protected] or (323) 960-8035. Pepsi’s “Pinball,” cut by Paul Martinez ing biz in 2004. SHOOT May 23, 2008 NEW YORK PRODUCTION
An Expanded New York State Of Mind For Lensing Incentives Legislation Triples Empire State Film Production Tax Credit, Yields First Dividend: Primetime Hit Ugly Betty
A SHOOT Staff Report state. Spotmakers—including those who is repped for spots by Little NEW YORK—The seventh annual involved in new media content for ad- Minx, part of the bicoastal/interna- Tribeca Film Festival wrapped ear- vertisers—will be able to tap into that tional RSA family of companies. Her lier this month. And while there were infrastructure in terms of deeper tal- 11-minute piece New Boy won Best many notable films ranging from ent and resources. Narrative Short Award at Tribeca. short form to feature length, arguably John Johnston, executive director The short tells the story of arriving the most memorable development of the New York Production Alliance at a new school through the eyes of a at the fest didn’t transpire on the big (NYPA), noted that his group “has nine-year-old African lad. The Tribe- screen but rather during an opening worked closely with the Governor’s ca kudo is the latest recognition for day ceremony in which New York Film Office, and with specific legisla- the film which has also garnered best Gov. David A. Paterson signed leg- tors to reinforce the importance of short film honors at a 2008 Berlin fest, islation that dramatically expanded the film production business to New the Audience Award at the ‘07 Cork the Empire State film production tax Pat Swinney KaufmanYork. We are pleased and grateful for John Johnston fest and best short film at the ‘08 Irish credit program for theatrical motion geles to New York, translating into this significant increase in support of stated, “It is vital to our state’s econo- Film and Television Awards. pictures and television programs. significant gains in jobs and revenue an industry so vital to our economy. my that New York remains a premier Little Minx also saw a short, Rope (Commercials continue to have their for the Big Apple. Specifically the se- This program renews New York’s destination for film and television pro- A Dope, from its Exquisite Corpse own separate incentives package in ries is headed for Silvercup Studios in competitiveness. Combined with ductions. The entertainment industry web-centered initiative screened at the Big Apple). Queens, where its pilot was filmed in our world-class creative base, expert plays an important role in fostering Tribeca. However Laurent Briet, the New York felt the need to up the ‘06. Ugly Betty’s return to Silvercup crews and iconic locations, New York economic growth by promoting our director of Rope A Dope, has since incentives ante in order to remain “will bring a much needed economic is a more attractive production option state on movie and television screens joined Mr. Boomboom, a sister shop to competitive with so many other states boost to Queens and to New York than ever before.” around the world, and creating thou- bicoastal/international Believe Media. that have done so in recent years, in- City,” said Silvercup CEO Alan Suna. Dan Glickman, chairman/CEO sands of jobs for New Yorkers. Nonetheless Little Minx successfully cluding neighboring Massachusetts The Ugly Betty coup underscores of the Motion Picture Association of gained exposure for its up-and-com- and Connecticut. Estimates are that an observation made just a week or America, added, “I applaud Governor Marquee attractions ing directors via Exquisite Corpse, New York has lost a significant piece so earlier by Pat Swinney Kaufman, Paterson and the New York State leg- Getting back to the Tribeca Film named after the parlor game in which of film and TV business to neighbor- executive director of the N.Y. Gover- islature for their vision to grow mo- Festival, which ended on May 4, players develop a story piecemeal, ing states over the last few years—a nor’s Office for Motion Picture & Tele- tion picture and television production there were appropriately enough sev- each participant adding line by line to loss that has cost the New York State vision Development. After Gov. Pat- in New York State, which is proving eral films screened that participated create a bigger, sometimes outlandish economy an estimated $750 million. erson signed the legislation, Kaufman to be a positive economic stimulus in the Empire State film production tale. Little Minx applied it to a series The recently enacted New York noted that she had just come back that continues to create thousands of tax credit program. Plus there were of shorts by individual directors that legislation greatly enhances the state’s from Los Angeles where she made new employment opportunities for a number of spotmakers whose work debuted on the web. Per the initiative, incentives program for feature films studio visits and met with producers. New Yorkers.” gained valuable exposure at the fest. the final line of the script for one short and TV programs, increasing the 10 She described them as being “ecstatic On the jobs front, Nancy Fox, na- On the former score, the opening became the starting point for the next percent below-the-line tax credit for about the [incentives] increase. We tional director of policy and strategic night film Baby Mama from Univer- director’s short. such projects to 30 percent. The caps expect to get a bumper crop of new planning for the Screen Actors Guild, sal—directed by Michael McCullers On the longer form front, Believe are being raised from $60 million an- productions, which is good news for related that although the original New and starring Tina Fey, Amy Poehler Media also scored as director Kief nually to $65 million next year, $75 New York’s film community and our York incentives package for features and Sigourney Weaver—benefitted Davidson saw his Kassim The Dream million in 2010, $90 million in 2011 economy.” and TV was successful, employment from the original film production debut in Tribeca’s docu competition. and in 2012, and $110 million in 2013. for New York SAG members fell dra- credit program. So too did the neo- There’s even a link, as it turns This also represents a two-year exten- Infrastructure matically after Connecticut and sever- noir thriller The Caller directed by out, between Tribeca and SHOOT’s sion to the program, which in its origi- Though the new program doesn’t al other states introduced similar but Richard Ledes; the drama Life in 6th annual New Directors Showcase. nal form was set to expire in 2011. directly apply to commercials, there more generous tax credit programs. Flight directed and written by Tracey Among this year’s Showcase directors Already the initiative is paying divi- is a ripple effect that will likely ben- Fox affirmed that SAG “greatly ap- Hecht; and The Wackness, a narrative is Benita Raphan (see separate Show- dends. ABC Television Studios plans efit spots in New York—improved preciates” New York State’s expan- piece directed by Jonathan Levine. case story and profiles in this week’s to move production of the primetime production infrastructure as a result sion of its filming stimulus program. As for work from commercialmak- issue). Raphan earned inclusion in series hit Ugly Betty from Los An- of more business coming into the In signing the bill, Gov. Paterson ers, consider director Steph Green Continued on page 23
.05*0/7*46"-4
May 23, 2008 SHOOT 9 Top Spot of the Week John O’Hagan Sets A Battering Ram Loose For Stride and JWT, New York By Christine Champagne ram behind. O’Hagan, who has proven adept at of the message. We had to show why You’ve got to love a great sight gag. “Office Park” and two other new both comedy and action, won the job the ram is attacking the guy. That had A new :30 for Stride chewing gum commercials in the package mark based on those strengths. to be emphasized and punctuated.” created by JWT, New York, and di- an evolution in JWT’s campaign for By the way, it should be noted rected by John O’Hagan of RSA, Los Stride, noted JWT executive creative In-camera approach that there are more elements in this Angeles, has a particularly well-ex- director Jeff Bitsack. While the pre- For this part, the director was de- campaign to come. In addition to the ecuted sight gag at its core. vious incarnation of the campaign termined to capture the stunt at the three spots O’Hagan directed, we’ll As the spot, which is titled “Office found Stride having to temporarily center of “Office Park” in-camera. also soon see a series of :15s that will Park,” opens, we see a guy absent- shut down its factory because people “These days as special effects advance have lawyers going after Stride for mindedly yakking away on his cell didn’t need to buy as much gum given there is a tendency to take difficult causing harm to innocent citizens phone and chewing its ridiculously long- shots and put them off onto post, but (these are fictional lawyers, of course) gum while crossing the lasting flavor, the new I’ve always really believed in trying to and instructing victims like the guy street. He is distracted campaign finds “these capture as much as I can in-camera,” who was nailed by the ram to visit and almost steps out in brilliant minds at O’Hagan said. a yet-to-be launched website where front of a car. Stride taking matters With that being his goal, O’Hagan they can either settle or sue. Turns out he faces into their own hands hired a trainer, wrangled some rams another, more unex- and forcing people to and cast stunt man/actor T. Ryan pected danger—from spit out the gum,” Bit- Mooney to take the big hit. The train- top out of nowhere a ram sack explained. er, the rams and Mooney spent two crashes into the guy, The campaign con- weeks perfecting the stunt before the taking him down and tinues to be “deliber- commercial was shot on location in Spot knocking the gum ately goofy” in tone Los Angeles. of the week right out of his mouth. John O’Hagan because the 16 to 25- That said, O’Hagan was prepared We’re then treated year old demographic to instead go the visual effects route CLIENT to an instant replay of the cringe-in- Stride is after responds to that kind of if need be, with a blue screen and rigs Cadbury Adams USA/Stride ducing impact (the guy gets it directly humor, added JWT creative director on standby just in case the rams didn’t AGENCY in the groin). The action freezes, and Jackie Hathiramani. perform as rehearsed. JWT, New York. Ty Montague, chief creative offi- text on the screen and a voiceover But JWT couldn’t just hire a com- But the rams delivered five great cer; Jeff Bitsack, executive creative tell us, “Spit out your Stride gum and edy specialist to direct “Office Park” takes in just a few hours. director; Jackie Hathiramani, cre- chew another piece already! Or we’ll as well as the two other spots in the How did the trainer get the rams ative director; Danny Gonzalez, copywriter; David Suarez, art direc- find out.” campaign. There was also a need for to go after a person? “In the case of tor; Owen Katz, producer. The action picks up with a Stride a director who could handle action as rams, they are so territorial that this PRODUCTION COMPANY van screaming onto the scene, and well. “We didn’t want to risk the ac- stunt guy, who was great working RSA, bicoastal/international two Stride employees confiscating the tion in this to somebody who didn’t with them, would go forward into the John O’Hagan, director; Eric chewed gum then fleeing. know how to handle it,” Bitsack said. ram’s territory, and then back up,” Schmidt, DP; Marjie Abrahams, ex- ecutive producer; Josh Porter, line The Stride guys are in such a hurry “It needed to look like an action director O’Hagan explained. “Finally, producer. Shot on location in Los that they choose to leave their attack movie,” Hathiramani stressed. the ram would have enough and just Angeles. nail him.” EDITORIAL As shocking as it is to see on film, it Mackenzie Cutler, New York. was even more startling to witness the Dave Anderson, editor; Adam Ba- zadona, assistant editor; Jimmy severity of the hit in person. “There Hayhow, Smoke operator; Sarah was a collective gasp every time the Edwards, Smoke assistant; Melissa ram hit the guy,” Hathiramani said, Miller, executive producer. noting that the impact was so forceful POST it cracked the protective cup the stunt The Mill, New York. man was wearing. Damien Van Der Cruyssen, colorist. VISUAL EFFECTS Ouch! Mass Market, New York. While getting the actual hit was Justin Lane, executive producer; crucial, O’Hagan also paid close atten- Wendy Garfinkle, Rich Rama, pro- tion to detail in shooting the events ducers; Mark French, Aska Otake, Chris Staves, Flame artists; David leading up to the ram attack, giving Mate, rotoscope. us a little scare when the man almost MUSIC gets hit by a car. “It makes the ram JWTwo, New York. seem even more out of left field,” Theresa Notartomaso, Priscilla Co- O’Hagan said. lon, Mike Gaydos, producers. SOUND DESIGN Gum shot Mackenzie Cutler. Dave Anderson of New York’s Marc Healy, sound designer. AUDIO Mackenzie Cutler edited “Office Sound Lounge, New York. Park.” In addition to squeezing a lot Peter Holcomb, mixer. of story into a mere :30, the editor also audioEngine, New York. had to find a way to make sure view- Gloria Pitagorsky, mixer. ers understood that the guy was hit so JWTwo, New York. #,)#+ (%2% 4/ 6)%7 30/4 hard his gum flew out of his mouth. Andy Green, mixer. “We decided in the edit that it had to PERFORMER Stride Gum’s long-lasting flavor is an obstacle to selling more gum. No problem--the company has employed an aggressive ram to hit gum chewers in be a freeze shot,” Hathiramani said, T. Ryan Mooney the solar plexis, forcing them to spit out their Stride. JWT New York.came up with this offbeat premise, selecting John O’Hagan to direct. noting, “That was an important part 10 SHOOT May 23, 2008 The Best Work You May Never See Rich Lee Pops Up As A Director To Watch By Robert Goldrich said Lee of the commercial. “We had about two-and-a-half weeks to finish ev- Rich Lee of Hollywood-based DNA is among the select group of helmers rec- erything—this elaborate combination of primarily CG with the people being ognized in SHOOT’s sixth annual New Directors Showcase (see separate story live-action. So from the moment I was awarded the job, I had to immediately and related coverage in this week’s issue). He earned inclusion in part due to put an effects team together.” this “Best Work” entry, “The City,” a :40 for Italian energy company Eni sPa While the budget was decent, it too was “challenged,” said Lee, given the am- out of TBWA, Milan. bitious nature of the project. Lee worked on the job with production companies The live-action/effects spot opens on a book resting on a table and bearing DNA and Filmmaster, Milan. the title “Eni.” We are about to take a page-by-page journey through the book’s imaginative contents. Italian connection “Eni” opens to reveal it’s a pop-up book, the first two-page foldout scene This marked a return engagement for Lee with Filmmaster. About a year being a man in a small sailboat battling the ocean’s waves. A voiceover relates, ago, the DNA director wrapped his first commercial, a live-action job done in “There was a man who raced across the sea to finally go where only the wind tandem with Filmmaster—”Pink Snow” for Italian sports newspaper La Gazzet- could take him.” ta dello Sport out of McCann Erickson, Milan. The page then turns to the next spread showing a car driving down a steep, Lee made the Italian connection via Filmmaster executive producer Karim winding mountain road as the voiceover tells us of another man who was “al- Bartolletti who saw the director’s DNA-produced music video “She’s Got You ways on the move.” High” for the band Mumm-Ra. Impressed with that clip, Bartoletti gravitated We then see the same man get out of that car on the next pop-up pair of towards Lee for the La Gazzetta dello Sport spot. Their successful collaboration pages, arriving home where he’s greeted by his dog—the irony being, as the on that commercial in turn helped Lee land the Eni assignment. voiceover points out, that this man forever on the go “couldn’t wait to settle Also playing a part in securing the project for Lee was the fact that he co- down” in his comfy abode. directed (with noted DNA clips director Marc Webb) the Fergie music video The next two pages reveal a group of people seated at a long kitchen table “Clumsy” which featured a pop-up book centerpiece. Lee related that the cli- enjoying a gourmet meal. We then zero in on the chef, a woman who turns off ent’s visual reference for the Eni spot was that Fergie video. the countertop stove burner. Not partaking in the feast, she chomps down on an uncooked snack. She’s described by the voiceover as the lass “who cooked for everyone” yet “preferred raw food.” Client Eni sPA Agency TBWA, MilanFabrizio Russo, executive The next couple of pages take us to an office building, eventually focusing on creative director; Sara Ermoli, copywriter; Christina Baccelli, a man looking out the window of the high-rise. This man, relates the voiceover, art director; Eloisa Maria christina Bracco, producer. Produc- is “the one who gave light to the town” yet “loved the dark.” At that moment, tion Filmmaster, Milan and Rome Karim Bartoletti, executive he flicks off his office light. producer; Alexia Buonvino, Valentina Bellanza, producers. DNA, We then see two pop-up pages of the expansive city, followed by a couple Inc. Rich Lee, director; Patricia Judice, executive producer; Mi- more pages that feature a large light bulb, accompanied by the Eni logo and the chael Angelos, producer; Chris Probst, DP; Laura Fox, production voiceover message, “We want to give you all the energy that you need so that designer. Visual Effects Proof, Los Angeles Rich Lee, VFX su- you can decide whether to use it or not.” pervisor/editor; Georgia Scheele, VFX producer. Sound Design Machine Head, Venice, Calif. Stephen Dewey, sound designer Dual role credits Music Ellis Regina, Antonio Carlos Jobim’s “Aguas de Marco.” Lee not only directed “The City” but also served as its visual effects supervi- TBWA, Milan, devises an energy-smart concept. sor and editor, working with a coterie of talent at Los Angeles-based effects studio Proof, including effects producer Georgia Scheele. With roots in visual effects, Lee, who started out doing pre-vis for feature films (including 3D-ani- mated storyboards for the Pirates of the Caribbean movies, I Am Legend, Minority Report), had worked earlier in his career at Proof. With his knowledge of the talent there, he was able to put together a nimble ensemble of artisans for “The City.” #,)#+ (%2% 4/ 6)%7 30/4 “The biggest challenge was the time crunch,”
May 23, 2008 SHOOT 11 6th ANNUAL NEW DIRECTORS SHOWCASE
On May 28 at the DGA Theater in New Helping to fashion the 2008 New Directors York, SHOOT will debut its sixth annual New Showcase lineup were entries from SHOOT’s 2008 Directors Showcase reel, which will become New Directors Search, choice work from SHOOT’s available on May 29 at www.shootonline. ongoing “The Best Work You May Never See” com/go/newdirectorswebreel. The reel reflects gallery and feedback from advertising agency the work and inventive talent of 30 helmers—23 creatives and producers. individual directors, a three-person team and six directorial duos. Here’s a look at this year’s field of talent...
How did you get into directing? How did you get into directing? We are a duo, two people who really I made a short film, The Raftman’s Ra- want to do great things and have a zor, with a small bunch of friends and good time along the way. non-actors that bizarrely became a hit Cecilia Alvarez has always been around the world and wound up in the committed to a career in film. She Museum of Modern Art’s permanent has worked alongside well known collection. Someone asked me to make Baby directors. Keith Bearden a commercial, to which I replied, “Why Rebolucion, Buenos Aires Pablo Bordenabe worked as a pro- Mr. Hyde, Paris (U.S. affilia- not?” Avoiding a day job has always Huggies’ “Uterus” duction designer and illustrator before turning to directing commercials. tion: Good Films, New York) been an important life goal. Ogilvy & Mather, In October ’06, we decided to concentrate on commercials. Brandt Washing Machines’ Buenos Aires “Apartment Sharing” What is your most recent spot project? What is your most recent spot project? DDB Paris I did a commercial called “Tongue” for Doritos in the U.K. in March. Great creatives, who had It was for Ariel titled “Runway.”. A very creative spot, stylish and funny to shoot. a few script guidelines but let me add a lot of little story and character details. And yes, that actor is really spitting a mechanical tongue into a glass of water five feet away. We got it on the first take. CGI is for sissies. What is the best part about being a director? Together, we create a fascinating mix of fantasy and reality. What is the best part about being a director? Our goal is to work on aesthetically interesting projects while growing and living life to the fullest. Making films is like having kids—little semi-replicas of yourself out there in the world, that are hopefully smart, artistic, good-hearted, lovable, or at least entertaining. And without all the pooping, crying and years of constant attention. photo credit: 79WAKY
www.hungryman.com 12 SHOOT May 23, 2008 6th ANNUAL NEW DIRECTORS SHOWCASE
How did you get into directing? What is your most recent spot project? If you haven’t done a recent I have always made little collage-like videos and animations, this accumulated commercial, what is your most recent project? into a bit of a showreel after a graphic design course in university. I came to Lon- I don’t know if am allowed to speak about this as its not on TV yet, but it was don when it was sweltering in a lava like summer. Somehow whilst staggering a 15 second spot for MasterCard. Am also working on a very short short film, around in a haze of smog and feeling dehydrated, I ended up getting represented but this is also mucho top secret. as a music vid director. Chance had a part in that but I guess my collection of bits ‘n bobs on the reel helped. Few years later the music videos led into commercials What is the best part about being a director? Christian which are great fun to work on and I’ve won some awards too. which is nice. Trying to make your next piece of work better than the strongest one and Bevilacqua succeeding. Therapy Films, London McCain’s “Rustics” Beattie McGuinness Bungay, London
Brian Billow Hungry Man, bicoastal/international Wrigley’s “Big Red Montoya” DDB Chicago
How did you get into directing? I studied graphic design for years and was always mesmerized by title sequences and frame composition in films. I remem- ber hearing that one of my design heroes, Saul Bass, designed the titles for and the shots in the famous shower sequence for Hitchcock’s Psycho. That’s when it was first clear to me that great graphic design en- compassed much more than the printed page. Soon after I got a job at an advertis- ing agency and through commercial pro- duction I realized what fun it was working with actors and moving images.
What is your most recent spot proj- ect? If you haven’t done a recent commercial, what is your most recent project? My latest directing project is a short film for Nokia shot entirely with cell phone cameras. It’s a sad story about a middle- aged lonely man surrounded by eclectic hipsters who pay him no mind. We hear his thoughts as he drones through this lonely existence. Sounds hilarious right?
What is the best part about being a director? I love all aspects of directing but my fa- vorite by far is the casting process. Find- ing people who do not come off as actors always improves the script. Finding the ones who just get it and are unexpected or memorable in some intangible way makes all the work worth it.
May 23, 2008 SHOOT 13 6th ANNUAL NEW DIRECTORS SHOWCASE
How did you get into directing? How did you get into How did you get into directing? (Responses are from Pete Circuitt) directing? I started working with 3D and postproduction doing com- I went to the Stuttgart Trick Film I worked as a stills photographer mercials. After five years of work I was engaged in a big job Festival in ‘96 during a really dirty for many years and while shoot- that took me three months in part of a post process that and impoverished first trip to Europe ing on tour with Oasis and Ocean made me really tired of staying just behind the machines. with my good bud Dan Crooks. He Colour Scene, I was asked to direct I did a video clip, very rough, for a band of friends of mine. Bitstate had a film playing there and it did Tony Briggs the “Hundred Mile High City” pro- Luis Carone Other bands were then interested in me. When I realized, a (Pete Circuitt, really well. During the directors Dab Hand Media, London mo for OCS and went on to direct 02 Filmes, Sao Paulo, Brazil year had gone by which I spent just directing music videos. Bill Sneed) Q&A, I heard Barry Purves grum- Thecreamery.co.uk’s their following five projects. Then (U.S. affiliation, Backyard, Other bigger bands got interested in my work, like Sepul- The Ebeling Group, New York bling that 30 frames per second was Creative Dictator (short film) I forgot all about it until I was ap- Venice, Calif.) tura, and I ended up winning several awards in the Brazilian Havaianas’ “Bus Stop” not enough. He wanted the whole proached by Dominic Delaney. He AMC Car Insurance’s “Remote VMA. It was when several other invitations to direct com- BBDO New York world to standardize to 60 fps to had recently left his post as manag- Control” mercials popped up. I joined Fernando Meirelles’ production really animate properly. Imagine ing director of @radical.media, London, and was setting up his new DM9 DDB, Sao Paulo company, 02 Filmes, for commercials. wanting to do twice the work per second! Stopframe too. That’s when I venture—Dab Hand. He was keen for me to be part of the set up with decided to get into directing I reckon. a view to moving me in to the commercials arena. I went for it...... What is your most recent spot project? If you haven’t done a recent commercial, what is your most recent project? What is your most recent spot project? What is your most recent spot project? The last film I directed was for Claro, Fnazca-Saatchi & Saatchi. The film is based on a very sim- A spot for Knorr. Aside from my incredibly funny viral for Cream, I’ve just completed ple concept, actually. You can listen to music from your cell phone wherever you are, traveling or “Chicken Birth,” an ad for Pollens Organic Mayonnaise through Ogilvy, jogging. From this idea we scouted interesting places and moments. We ended up shooting in What is the best part about being a director? London. three different Brazilian states, trying to create a puzzle of interesting people and places. I’m pretty hands on during all stages of a project. I like figuring out ap- proaches to scripts and What is the best What is the best part about being a the quick design rush you part about being director? get when you turn over a director? Besides being able to show the world as I see something quickly. Being Directing. Stills pho- it, I find it incredible to have the chance to a director means you guide tography is a pain in enter different realms. Even if it is a day-to- that rush, from the begin- the arse. day moment, take people from their home ning, into what that script and throw them in different places, the way I was always meant to be. want, is always fascinating.
14 SHOOT May 23, 2008 6th ANNUAL NEW DIRECTORS SHOWCASE
How did you get into directing? What is your most recent spot project? I started watching every video that ever came into my dad’s video shop!! Then I finished college as a It’s a promo for Sonny J Handsfree. It’s Tarantino meets Thriller in a trailer park. It was an amazing shoot. I postproduction runner in Soho, running tapes around, and then managed to get a job working as a set wanted to create a different world in the video, something that isn’t really happening in video anymore.... PA on Layer Cake directed by Matthew Vaughn and started to get more work as an AD. I then was blocking it was amazing when I was just standing in this world that I’d created..... the production design, styling assistant on a Woody Allen movie which was great. I then shot my first music video for a friend who was and choreography team were just fantastic. a rapper, and then convinced Ashley Walters to let me direct his first music video off his new album when I was third assistant on a movie he was on... and have tried What is the best part about being a director? to make better work on every job since. Coming up with mad ideas about the running man being invented in a Welsh working mans’ club, and then actually getting a load of people together and making it come true!
Eran Creevy Sleeper Films, Santa Monica Nike Plus’ “I Am Not A Runner” Wieden+Kennedy, Amsterdam
Rob Devor Nonfiction Unlimited, bicoastal Coleman’s “Clams” (spec spot)
How did you get into directing? I used to go to an avant-garde film night on Mondays in L.A. and I saw some incred- ible work by Michael Guccioni. I’d sit there in this dingy little space on a metal chair, jaw dropped, and watch his impossibly cinematic clash of sight and sound. One film starred his father, who was dying from MS. He turned him into this quixotic figure of electric light and paralyzing industrial sound. Presumptuously, I asked him if we might collaborate on something. He said, “Sure, if you can raise the money.”
What is your most recent project? A spot campaign for Bonefish Grill out of Cliff Freeman. We went to the major oceans of the world to explore the coastal cultures that were supplying them with their fish. We shot in Iceland, Grenada Ar- gentina and Malta. It was a documentary- style shoot capturing lush visuals and real people and felt like ecstatic freedom.
What’s best about directing? You are connected to both the sky and the ground. You engage with many voices in your head, make deep connections faster than the ordinary person, can show the world something it typically misses and harness the social and the supernatural. You can make a statement without saying one word.
May 23, 2008 SHOOT 15 6th ANNUAL NEW DIRECTORS SHOWCASE
How did you get into directing? Matt: We like to think directing got into us. Jason: It was a late night. There was a Ouija board...
What is your most recent spot project? Kellogg’s Gripz for Leo Burnett, Chicago. The team from Burnett was fantastic. Per Jacobson, Nik Traxler, Dave Derrick, and Steph- The Docter Twins anie Simpson enthusiastically embraced our vision. The spot (Matt & Jason) features two kids, a bird, a plane, and a seven-foot-tall basketball DUCK Studios, Los Angeles player...could you really ask for more? Wienerschnitzel’s “Gotcha” DGWB Advertising, Santa What is the best part about being a director? Ana, Calif. Collaboration.
How did you get into directing? I got into directing by being on the agency side for 13 years. I was a creative/partner at Butler, Shine, Stern and Partners for most of my career. Then went freelance and ended up shooting some test spots for a project at Y&R Chicago. The client loved the spots and hired me to do five more shoots.
Ryan Ebner What’s your most recent spot project? H.S.I. Productions, bicoastal/ I just finished a great project for Mother/NY. They came up with an international awesome idea to advertise Star Wars on Spike TV. It was a great shoot. We had a very tight budget, so I actually ended “MaternaCord” up sharing a room with one of the creatives, who is a buddy. It was very collaborative, refreshing and funny. Mother, New York What is the best part about being a director? You get to make stuff. As a creative in an ad agency, you spend all your time thinking up stuff to make and trying to sell it. But you rarely make it. As a director, all you do is make what’s already been approved and sold through.
How did you get into directing? I started out as a writer in advertising and was very fortunate to have been given the opportunity to write award-winning advertis- ing for FedEx, Apple, Little Caesars Pizza, Guinness, Red Stripe, HP, Doritos, The Wall Street Journal, Prodigy, L.A. Cellular and Sprint. Directing seemed like the natural next step.
Harold Einstein What is your most recent spot project? Station, I just finished shooting a Crest campaign for Saatchi, N.Y. bicoastal/international Avis’ “Accents” What is the best part about being a director? McCann Erickson, New York Some people enter into directing with a love for the camera. For me, it’s the actors.
Gentlemen (Brett How did you get into direct- Snider, Billy ing? Federighi) We met at film school. Six Uber Content, Hollywood months after graduation I started my career off respon- sibly, getting a job as an office PA at a production company, while Brett worked the counter at Kinko’s. Frustrated, I called Brett and said, “This director can’t even work his cell phone…we should be commercial directors.” Brett agreed and the two of us formed an unholy alliance. We entered and won contests for both Converse and Doritos. Leo Burnett took a liking to us and were awesome enough to give us our first chance. We took the opportunity and ran with it and here we are today.
What is your most recent spot project? Directors We just finished multimedia campaigns for both Hormel and Kellogg’s. They should be hitting TV and Jeff Kennedy the web soon. The Corn Pops spots will be linked to a huge choose-your-own-adventure game online that will encompass all of the work we’ve done with Kellogg’s so far. Should be really fun and weird. David Weinstock Currently we are preparing both physically and mentally for Armageddon. We’ll need sharp minds and shredded abs when the aliens arrive.
What is the best part about being a director? Getting paid to do what we enjoy. Contact Elizabeth Kinder 212-279-3949 www.waifandstray.com
16 SHOOT May 23, 2008 6th ANNUAL NEW DIRECTORS SHOWCASE
How did you get into directing? How did you get into directing? How did you get into directing? I started out as an illustrator and have At school when me and my mates were about I began producing reality television for Mark published several illustrations and 13 or 14. We’d make short films of the books Burnett and slowly came to the realization that comic books with some independent we were studying, rather than writing essays producing reality is similar to directing fiction. book houses. Directing is a good way all the time. Teachers were cool with it, so The emphasis was on storytelling. I was given an to give life to my characters, and my we made things like 10-minute versions of opportunity to produce and direct online content films are animated transpositions of Coppola’s The Outsiders. Fun for us to make and for CBS, and that kind of paved the way. I knew I Philippe the characters I draw. Sam Holst watch but filmmaking-wise, real train wrecks. David needed something that was completely my own, Grammaticopoulos The Sweet Shop, Think little Aussie kids with bad American ac- Katzenberg and that led to The Tale of RJ. Curious Pictures, New York What is your most recent spot Auckland, N.Z. cents and greasy hair. Anyway after finishing Prettybird, Santa Monica Amnesty International’s project? If you haven’t done a Seek.com.au’s “Slacker” school I saw an ad for a film school and ap- The Tale of RJ (short film) What is your most recent spot project? If “Signatures” recent commercial, what is your (spec spot) plied. Got in, made a few shorts and things you haven’t done a recent commercial, TBWA, Paris most recent project? have developed since. what is your most recent project? Amnesty International is the only com- RJ is actually the most recent project. Before that I worked on Clark and Michael and mercial I have directed. I started directing with two short feature films. I am What is your most recent spot project? If you haven’t done a recent com- How to Survive a Horror Movie for CBS Digital Media. I’m currently busy developing working on my third feature film, called Les Ventres (Stomachs), and I shall mercial, what is your most recent project? and bidding on several spots to shoot in the near future. finish by this summer. The general theme of it is the Genetically Modified A spot for a snack food company which I’m in post on at the moment. I have a few Organism and the drift of food processing. personal film projects in development which I’ve been putting a lot of energy into What is the best part about being a director? as well. The best part of being a director is seeing a script come to life. After the endless hours What is the best of planning and hard work, noth- part about being a What is the best part about ing’s more satisfying than watching director? being a something you’ve thought about Directing is a great director? for so long play out in front of your exercise for me. It gives Bringing stories or ideas to life eyes. me the opportunity to on screen and working with re- develop my universe ally talented people to make it and give life to my happen. I wouldn’t want to do characters. anything else.
May 23, 2008 SHOOT 17 6th ANNUAL NEW DIRECTORS SHOWCASE
How did you get into directing? How did you get into directing? Directing has been something of a natural progression for me. I started my profes- After graduating from Emerson College’s film program, I moved to Berlin where I sional career very young. At 16 I was in N.Y. sculpting and fabricating sets and props worked as a graphic designer. After these formative years in Europe, I moved to Michi- for Broadway shows, theme parks and trade shows. A few years later I found myself gan and got my start in the industry as an assistant editor at Griot Editorial. During my in L.A. creating 3D animated pre-visualizations for feature films and commercials. In- stint there, I won an honorable mention for “Best Film Trailer by a Junior Editor” for the spired by the directors I worked with, I started experimenting with photography and feature film Chicago. During this period, I gained a true appreciation for commercials short films. While working on the film Constantine, director Francis Lawrence guided when I saw Paul Hunter’s Nike “Freestyle.” However, it was the Ivan Zacharias-directed Rich Lee me to his production company DNA, and soon thereafter I was directing music videos Tony McNeal “Stealing the Stolen” for Levi’s that really inspired me to direct. DNA, Hollywood and commercials. Hydraulx Filmz, Santa Monica Eni’s “The City” Levi’s “Emergency Worthy” What is your most recent spot project? If you haven’t done a recent commer- TBWA, Milan What is your most recent spot (spec spot) cial, what is your most recent project? project? We are wrapping up post on a Sony Currently, we’re in preproduction for a short film I’m directing entitled Ericsson spot. Born That Way. It’s a shoot-’em-up piece on the Steve McQueen vibe about a modern day Robin Hood and his daughter. Expectations are What is the best part about being a director? high and it’s filled with challenges. Needless to say, I’m excited about The whole process is interesting; from being in a small room jotting the opportunities. Hydraulx Filmz rocks! Everything will be entirely pro- down ideas, to suddenly being on set with a bustling crew, to a dark duced in-house at Hydraulx Filmz. The only boundary is imagination… editing room watching people as they watch the final product for the if that’s a boundary at all. first time. The energy and collaboration of it all are thrilling. What is the best part about being a director? Crafting a story in moving images and a multitude of art forms—drama, music, storytelling, and cinematography—in one moving and inspirational package. To me, directing is like conducting a symphony that touches all the senses. How did you get into directing? It felt like a natural development for me personally. I started working in this business as a PA on shoots when I was very young and that got me introduced to the DP-side of film-making. I soon realized that I had a great interest in moving pictures and also How did you get into directing? that I had a talent and understanding for how to best compose them to get a satisfying I took an excellent screenwriting class in college which sparked a greater interest in result. As a DP you´re an artist and you absolutely need to have an energy within you to filmmaking as a whole. That is when I first started to feel the itch. I made my first explore and challenge both yourself and the director...I have this extremely driving force short—which wasn’t that good—and 15 years later I still find that the itch is there Mattias Montero to challenge myself and to throw myself into unexplored territories which has slowly even stronger than ever. Social Club, Stockholm grown my urge to start to direct. ATG’s “Statues” What is your most recent spot project? If you haven’t done a recent commer- Akestam Holst, Stockholm What is your most recent spot project? Lanre Olabisi cial, what is your most recent project? It´s a Volvo spot that I did together with Forsman & Bodenfors in Sweden. It´s for the Yahoo! Personal’s “A Better My narrative feature, August the First, just had its limited theatrical release. Before that, it model C-30, an eco-car that you´re able to choose in a pattern of your own liking, Way” (spec spot) had screened at 25 film festivals including the South by Southwest Film Festival (SXSW) Striped, checked, with dots..you name it. and The Karlovy Vary International Film Festival. August the First earned an IFP Gotham Award nomination, as well as prizes at six international film festivals including top prizes What is the best part about being a director? at The Milwaukee International Film Festival and The San Francisco Black Film Festival. That’s a tricky question. What is the best part of being a human being? There are so many layers so it’s so hard to find something absolute con- What is the best part about being a director? crete. I love it when something that starts off as a mere fantasy in my head The thing is that when a person says ‘He´s a director,’ the word is often becomes a reality. For me, that is the most fulfilling part of directing. translated as a single person but to me a director is like a conductor. A conductor is nothing without an orchestra and it’s the same for a direc- tor. You can’t direct without having your “orchestra” with you. I just love the dynamic and the beauty of a group of people that together create something. That gives you an adrenaline kick out of this world!
18 SHOOT May 23, 2008 6th ANNUAL NEW DIRECTORS SHOWCASE
Showcase Features Foreign Fare, Teamwork, Agency Pedigrees
Continued from page 1 which shows how spatial relationships a creative/partner at Butler, Shine, and the trio known as Syndrome from rectors Showcase lineup are: • Christian Bevilacqua of Therapy change after a lotto win as captured by Stern & Partners in the Bay Area for Robot Films, Los Angeles (for the • Adria Petty of harvest, Santa Films, London, who artistically depict- director Guillermo Rocamora of Big most of his career. Ebner’s Showcase Estelle music video featuring Kanye Monica, for Target’s “Portal” via ed the many facets of a potato skin in Mama Productions, New York (agen- recognition came in part for his “Ma- West and titled “American Boy”). Wieden+Kennedy, Portland, Ore. McCain’s “Rustics” for London agency cy was Publicis Impetu, Montevideo); ternaCord” product spoof spot for Meanwhile there was a fair smatter- • Rich Lee of DNA Hollywood Beattie McGuinness Bungay. Diesel’s “Space Diner” directed by Mother, New York. ing of spec fare in the Showcase such whose pop-up book spot for Eni out of • Sam Holst of The Sweet Shop, Rozan & Schmeltz of bicoastal/inter- And Harold Einstein started out as as director Tony McNeal’s “Emergen- TBWA, Milan, is this week’s entry in Auckland, N.Z.., for a humorous yet national Partizan (agency was Sur- a copywriter before making the career cy Worthy” for Levi’s (McNeal signed SHOOT’s “The Best Work You May unsettling spec spot titled “Slacker” face To Air, Paris); and Nike Plus’ “I shift to director. He is now on board with the recently launched Hydraulx Never See” gallery. for seek.com.au. Am Not A Runner” helmed by Eran the roster of bicoastal/international Filmz, Santa Monica); helmer Lanre • David Katzenberg of Prettybird, • Luis Carone of 02 Filmes, Sao Creevy of Sleeper Films, Santa Monica Station and gained Showcase inclu- Olabisi’s “A Better Way” for Yahoo! Santa Monica for his short film The Paulo, Brazil for AMC Car Insurance’s (Wieden+Kennedy, Amsterdam). sion for such humorous fare as Avis’ Personals; Guido Verweyen’s “Ser- Tale of RJ. “Remote Control” out of DM9 DDB, “Accents” for McCann Erickson, N.Y. enade” spot for Joe Boxer (Verweyen • Keith Schofield of CaviarLA for Sao Paulo. Carone just signed for state- Creative pedigree is handled in Texas for spots by Big Jennie-O’s “Wrestling” out of BBDO’s side representation with Venice, Calif.- As alluded to earlier, ad agency Team work Fish Films, Dallas); and Rob Devor’s Minneapolis shop. based Backyard (see separate story in creatives who have transitioned to di- Besides the aforementioned Baby, “Clams” for Coleman (Devor is with • Clay Weiner of Biscuit Filmworks, this issue). recting careers continue to make their Sumo Science, and Rozan & Schmeltz, bicoastal Nonfiction Unlimited). Los Angeles, for Bud Light’s “Dude” • And Tony Briggs whose short mark in the Showcase, a prime exam- the other teams in the Showcase are: Devor, a documentary filmmaker, from DDB Chicago. film Creative Dictator for thecreamery. ple being Brian Billow who recently The Docter Twins from DUCK Stu- recently landed an ambitious global • And David Weinstock of Waif & co.uk pokes fun—and for that matter, exited his creative director’s post at dios, Los Angeles (for Wienerschnit- campaign for Bonefish Grill out of Cliff Stray, N.Y., for Toyota’s “Icy Drive” dry wit—at the agency business. DDB Chicago (SHOOT, 4/11) to settle zel’s “Gotcha” out of DGWB Adver- Freeman and Partners, New York (see out of The Ballpark, Santa Monica. Furthermore, foreign work regis- into the director’s chair at bicoastal/ tising, Santa Ana, Calif.); Bitstate of feature story in this week’s issue). Lead sponsors for the Showcase tered with SHOOT judges this year, international Hungry Man. He regis- The Ebeling Group, New York (for Speaking of documentaries, Great event are the DGA, harvest and Sony. including: Amnesty International’s tered in the Showcase with Wrigley’s Havaianas’ “Bus Stop” via BBDO New Genius And Profound Stupidity helped Silver sponsors are Kodak and De- moving “Signatures” directed by “Big Red Montoya” for DDB Chicago. York); Gentlemen from Uber Content, secure a Showcase slot for director luxe New York. For a full rundown Philippe Grammaticopoulos of Curi- Ryan Ebner of bicoastal/interna- Hollywood (Doritos’ “Mouse Trap” via Benita Raphan. The doc. is slated for of this year’s New Directors Showcase ous Pictures, New York (agency was tional HSI Productions was on the a competition overseen by Goodby, air on the Sundance Channel. honorees, see our series of individual TBWA Paris); a Uruguay Lottery spot agency side for 13 years, serving as Silverstein & Partners, San Francisco); Rounding out the SHOOT New Di- mini-profiles in this issue. JOIN HOLLYWOOD’S PROFESSIONALS IN ’08
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May 23, 2008 SHOOT 19 6th ANNUAL NEW DIRECTORS SHOWCASE
How did you get into directing? a collaboration with the agency DDB based on the I was always a really visual person. I had a very art directed bed- idea that “a child’s world is full of color”. It evolved room and wardrobe as a kid and an even more extensive fantasy from an open brief and was tailored to the agen- life. I grew up in the San Fernando Valley near an art house movie cy’s brand concerns. It takes place inside a child’s theater and by default got full on classic cinema immersion. I think imagination world and since it was shot in Mexico my dad knew I was a director way before I did and he just kept giv- City, it has a great magical realism flavor to it. I am ing me cameras here and there, which at the time was a little con- really proud of it. Adria Petty fusing. It happened very naturally though, like picking up a guitar Rozan & Schmeltz harvest, Santa Monica and just playing something. I can’t imagine what else I would do. What is the best part about being (Jeremie Rozan, Martial Target’s “Portal” a director? Schmeltz) Wieden+Kennedy, What is your most recent spot project? Being an anthropologist. Meeting people. Making impossible things happen. Collaborating with Partizan, Portland, Ore. My last commercial project was for Clorox 2 color bleach. It was other people as good or better than you at their jobs. It is heaven. bicoastal/international Diesel’s “Space Diner” Surface To Air, Paris How did you get into directing? How did you get into directing? How did you get into directing? At first, a long lasting love for films mixed with the decision to make one, some- My background was originally as an art I worked several years as a first AD in com- day. Now it is impossible to do anything else. director in fashion advertising and design. mercials and features. This is how I learned While on the agency side, I worked and how to direct and I came to understand What is your most recent spot project? If you haven’t done a recent lived in London, Paris and New York City. that directing is the most interesting part commercial, what is your most recent project? With a strong design background meshed of the film business. I always felt that I’ve Spots: Louis Vuitton / Marc Jacobs “Emprise Watches” with the digital age, I chose to make a foray had stories to tell ever since I was a child. Louis Vuitton / Pharrell Williams “Blason” Benita Raphan into moving images. I won the Young Guns Guillermo And I’ve found in the commercials and in Music Videos: Sepultura/Cavalera Conspiracy “Sanctuary” Great Genius And Profound Award at the Art Directors’ Club for a short Rocamora my short films the perfect way to do it. I Black Kids “Hurricane Jane” Stupidity (documentary for film that I made in Paris—and I was very Big Mama Productions, feel so comfortable directing. Sundance Channel) encouraged. Most recently I have worked New York What is the best part as a producer and director, creating original Uruguay Lottery’s What is your most recent spot proj- about being a director? content episodes for broadcast. “Gordo de Fin de Ano” ect? If you haven’t done a recent Working together as cousins, Publicis Impetu, Montevideo commercial, what is your most re- the amazement of creating What is your most recent spot project? If you haven’t done a recent cent project? our ideas, the feeling too of commercial, what is your most recent project? My most recent commercial was a campaign for Quaker Oats, which included an endless learning process I have just wrapped Great Genius and Profound Stupidity, a 30-minute episode, Mexico, Ecuador and Colombia. My most recent project is my short film Buen and the hope of seducing for The Sundance Channel. This experimental doc. is part of an series that I have Viaje (Good Trip) which was an official selection for Cannes Festival 2008. young actresses. developed about “where new ideas originate.” This film premiered at The Tribeca Film Festival in May. On June 24, the series will be screened at the AIGA (Ameri- What is the best part about being a director? can Association of Graphic Artists) here in NYC (www.aigany.org). The possibility to work with a great team because shooting is a team sport, so you need to have a great one to get things done. If you have a great team, you How did you get into directing? What is the best part about being a director? will have the best film. Also I really enjoy thinking how to best tell the story. I began doing spec music videos after col- The best part of being a di- lege. Eventually I was able to land a $2,000 rector is the opportunity for music video, and the budgets went up after collaboration. Directing is a that. Then they went down. Then up again. wonderful way to invite a Before I could land a $30K music video, I got group of very talented and signed by Caviar to do commercials and was interesting people to come Keith Schofield able to book my first spot with only a wacky together and produce their CaviarLA music video reel. I was past the hurdle of best work while enjoying Jennie-O’s “Wrestling” being a music video guy. Though oddly themselves immensely in the BBDO Minneapolis enough, after two years of doing commer- process. cials, my music video career has gained trac- tion and I’ve been working with some of my favorite artists.
What is your most recent spot project? If you haven’t done a recent How did you get into directing? commercial, what is your most recent project? We met at university and began working together early on. We set out to create something different using a fresh mix of I’m currently shooting a few Belgacom spots in Brussels for VVL BBDO. They’re styles with elements of stop-motion and 2D animation. about the various human relationships the Internet creates. We were both lucky enough to find jobs at Aardman, working in different roles but still very much striving towards the goal Before this, I shot a video for Fatboy Slim. It’s a new project of his featuring David of directing together. Byrne and Dizzee Rascal. Naturally, the video features a dozen naked ladies. Our chance came in 2007 when we developed the stop-frame animation series Stuff vs. Stuff commissioned by Aardman And before that, I shot a commercial for the Georgia Lottery. It involved putting and Player X. Following its warm reception, we went on to form a directing duo under the name Sumo Science. a piggy bank in a microwave, which explodes into dollars. Sumo Science (Ed Patterson and What is your most recent spot project? If you haven’t done a recent commercial, what is your most recent What is the best part about being a director? Will Studd) project? Being creative. Not exactly the most original answer, but commercials have Aardman Animations, Our latest spot was for the cereal Weetos in the U.K. It was our first chance to prove we could make a 30-second commercial been a million times more creative than I ever imagined. I actually enjoy the Bristol, U.K. using live-action and stop-frame animation. It was a challenging experi- boundaries and constants of Stereo vs. Vacuum (pilot episode for ence and one we have learnt a great deal from doing. It’s certainly given commercials; I find it easier mobile phone series) us a drive to make more and to get better and better. We are still pinch- to focus on ideas. With mu- ing ourselves every time we see it on the TV. It’s a proud moment. sic videos, sometimes it’s more daunting to have no What is the best part about being a director? limitations. Ed: As a kid I would lie on the floor with toys all around me and direct little films in my head. I still get the same buzz… Will: You see it in your head, then you make it, then you get to see it for real. It’s about as rewarding as it gets!
20 SHOOT May 23, 2008 6th ANNUAL NEW DIRECTORS SHOWCASE
How did you get into directing? we did the post for Chris Robinson’s Boost Mobile “Anthem 2.0” commercial. The three of us started out as an L.A.-based art collective under the name Syndrome. We were We are currently working on our next body of experimental work, which will doing gallery shows around L.A. showcasing experimental work, and always had a strong respect be exhibited at our solo show in L.A. at Crewest Gallery opening Sept. 6. The and passion for directing. After a chance meeting with Will.I.Am of the Black Eyed Peas, he gave show is entitled “I Learned It From Watching You.” us the opportunity to direct a video for the Peas. That video opened doors to other amazing expe- riences and opportunities that helped us pursue our goal of directing, and we ultimately signed What is the best part about being a director? with director Chris Robinson’s company Robot Films. When we were starting out, we could really only take our concepts so far based on what the three of us could physically execute. With the collaboration Syndrome (James Larese, Micah What is your most recent spot project? If you haven’t done a and support of amazing crews, we can now bring concepts to fruition that Hancock, Mars Sandoval) recent commercial, what is your most recent project? were once only sketches on napkins. Robot Films, Los Angeles As well as having directed videos for artists such as Estelle featuring Estelle’s (featuring Kanye West) Kanye West, we recently did a spot for Cîroc Vodka with Diddy, and “American Boy” (music video)
How did you get into directing? I got fed up not directing. In a sense I feel like I have been directing for years, but doing it in the dark alleys of my psyche How did you get into directing? and forgetting to run the camera. I got an early start in my career writing comedy with some of the best people in the busi- I started out as a DP, shooting mostly docs. After one of my ness, Smigel, Carrell, Carvey and throughout that always got opportunities to direct work in one way or another. From the documentaries was Oscar nominated in 2001, I began focus- stage work of comedy sketches on Conan O’Brien, to animated series I made later for MTV, to films I’ve made for YouTube, ing on storytelling. Directing docs led to directing reality shows and the private films I’m shot in the boudoir with my girlfriend. I love stories and having to wait to tell them, or being told like America’s Next Top Model, Bachelor and NBC’s Starting I couldn’t tell them, that’s what ultimately compelled me to say fuck it and start telling them myself. Over (which earned me an Emmy in 2005). Now, it seems that commercials are becoming more real and less stylized, and Clay Weiner What is your most recent spot project? If you haven’t done a there seems to be a need for directors, like me, to implement Biscuit Filmworks, recent commercial, what is your most recent project? Guido Verweyen a non-fiction approach, combining great visuals with strong Los Angeles I’ve shot campaigns for Snickers, Sega, Comcast, Time Warner, Big Fish Films, Dallas storytelling and memorable performances. Bud Light’s “Dude” MTV, Bud Light, The Emmys, HBO Comedy, etc. Next up, I’m shoot- Joe Public’s “Serenade” (spec DDB Chicago ing a TV pilot for F/X, a show I wrote and created called Lake Hart- spot) What is your most recent spot project? well. It’s a relationship comedy set in the South about lake culture I just directed a series of spots for AIG, KFC and Clorox, with down there—bass fisherman, canned beer, Christianity. a reality spin, and also directed promos and intros for Miss USA in Vegas. What is the best part about being a director? There is no best part. There are best parts. I love being able to work both my eye and my heart, What is the best part about being directing is like a Stairmaster for the senses. The ability to shape and control the tone. For me, tone is everything, finding that sophistication be- a director? tween the writing, the performance and the As a director/DP, I really enjoy the collaborative cinematic world you’re creating. Also, the process from start to finish, where every detail headphones, it’s like getting to wear two pil- counts. Being able to work with the most qual- lows on your ears all day. ified people to create work that both entertains CLASSIFIEDS and captivates. To place classified ad simply email ad copy to: [email protected] Your reply will contain price estimate and PDF proof of ad for your review. Print classifieds run online for 30 days as FREE bonus with email distribution on SHOOT >e.dition and iSPOT. For further info/rates/deadlines go to www.shootonline.com/go/classified EMPLOYMENT How did you get into directing? I have been a graphic designer and art director for years. So, I’d worked in advertising and production, and directing Flame Artist/Creative Director VOLT Studios – a Minneapolis just felt like a natural next step for me. Plus, I’d been experimenting with video, stills, and graphics for a long time post and VFX boutique is in search of a star Flame Artist/Creative Director. --and taking film classes. Then, two years ago I was accepted into a directing collective called Group101Spots, which Staff position with possible long term equity position for the right person really gave me the push I needed to put my reel together in a cohesive way. A year later, I was signed. with the right talent. If necessary, we will consider a freelance courtship for the summer working on a great campaign. Fabulous design and creative graphics/FX talent required. Check us out at: www.voltstudios.tv What is your most recent spot project? If you haven’t done a recent commercial, what is your most Send resume and/or website to: [email protected] recent project? David Weinstock The last spot I shot was for a home entertainment product from Sony. Currently, I’m co-directing a documentary TECHNICAL SERVICES Waif & Stray, New York for PowerHouse Books and the New York Photo Festival. With it, Toyota’s “Icy Drive” I’ve had a chance to interview some of the most cutting-edge TECHNICAL OPERATIONS, INC The Ballpark, Santa Monica photographers and curators out there today, and really get inside •Maintenance Services for Broadcast and Industrial A/V Equipment their heads. It’s been incredibly inspiring. I’m also finishing a short • System Integration • Multimedia Services/Manpower • A/V Rentals branded content piece about a pro skateboarder on a quest for •Free Pickup, Delivery, and Loaners Available never-skated terrain. 454 West 41st Street • New York, NY 10036 http://www.tech-ops.com (212) 465-1318 • Fax: (212) 465-2318 email: [email protected] What is the best part about being a director? I like everything about directing, the entire process. It’s visual storytelling, brand messaging, and filmmaking, mixed with organic happenstance. From getting a script, then building a treatment that POSITIONS WANTED: brings it to life and finally the craft of making it happen...I couldn’t think of a better way to work. 30 New Directors Looking For Commercial Work Visit www.shootonline.com/go/showcase to get details on attending SHOOT’s 2008 New Directors Showcase Eff ective May 29, The 2008 New Directors Showcase Reel will be ? available to view at DOES YOUR SHOOT MAILING LABEL ON THIS ISSUE’S FRONT COVER SAY RENEW IF SO, THEN GO TO: www.SHOOTonline.com/go/renew www.shootonline.com/go/newdirectorswebreel Thank You! May 23, 2008 SHOOT 21 News
Steve MacDonald has exited the presidency of FilmL.A., Inc., the private, nonprofi t economic development corpo- ration that issues fi lming permits in much of Greater Los Angeles. He has taken on a new position with Strategic Development Solutions, a Los Angeles-based private eq- uity fi rm. A search committee has been charged with fi nd- ing MacDonald’s replacement at FilmL.A.. Current FilmL. A. CFO Michael J. Bennett is serving as interim president. MacDonald had been at the helm of FilmL.A. since 2004.... Directors Harvey Wang, formerly of bicoastal Celsius Films, and Kenan Moran, whose most recent spot roost was Curious Pictures, New York, have joined the roster of No Smoke, a banner launched in 2006 by Creative Film Management (CFM) International, New York....New York-based motion graphics and digital design studio Eyeball (previously known as EyeballNYC) has brought Jory Hull and Mike Sullo on board, respectively, as cre- ative director and head of production. Hull formerly served as cre- ative director at Digital Kitchen, while Sullo has been promoted from the senior producer capacity he served in for the past six months at Eyeball. Also joining Eyeball is director of business development and client management Townsend Belisle, formerly of Broadstreet. Eyeball has split the traditional exec producer role between Belisle and Sullo with the former handling sales, the latter production man- agement....Minneapolis post/VFX boutique Volt Studios has hired Liz Matassa as executive producer. Her most recent stint as an executive producer was at inthegroovemusic, Minneapolis. Prior to that she worked on the agency side at Minneapolis shops Martin Williams, Carmichael Lynch and Fallon....
New York-headquartered production house No Smoke has signed independent rep Lisa Schreiber to handle sales on the West Coast and in Texas.....Director Alex Ogus has shifted his Canadian representation from Code Film to Industry Films, Toronto. He continues to be repped stateside by Santa Monica-based TWC....Chuck Silver- man has launched independent fi rm Chuck Silverman Represents in Los Angeles, opening with a roster that includes BeachHouse Films, Santa Monica, for representation on the West Coast, in Detroit and select regional markets, and Los Angeles-based Echo Park Music & Sound for national representation....Amy Loveland has been named West Coast rep for Peligro Music & Sound Design, Los Angeles....Cin- ematographer Dariusz Wolski has joined The Skouras Agency, Santa Monica, for exclusive representation.....DPs Alice Gu and Jason Lehel, and production designer Chad Yaro have joined Innovative Artists, Santa Monica, for representation in commercials and music videos. Additionally production designer Pedro Romero has come aboard Innovative Artists for spots, music videos and features....
>May 28/New York, NY: Final Call to RSVP for The SHOOT 6th Annual New Directors Showcase Event at the DGA Theater. www.shootonline.com/go/rsvp. For information, visit: www.shootonline.com/go/showcase >June 3/New York, NY: AICP Show. www.aicp.com >June 15-21/Cannes, France: Cannes Lions Intl Advertising Festival. www.canneslions.com >June 20-21/Los Angeles, CA: Cine Gear Expo. www. cinegearexpo.com >August 11-15/Los Angeles, CA: Siggraph. www. siggraph.org >September 11-15/Amersterdam: IBC. www.ibc.org
22 SHOOT May 23, 2008 NEW YORK PRODUCTION
Tribeca Film Festival Refl ects Growth In The Big Apple
Continued from page 9 ten and directed by Bill Plympton was most apropos. Just as the pro- the Showcase in large part due to the who is repped for commercials by filming initiative figures to re-ener- strength of her 27-minute experimen- Acme Filmworks, Hollywood. Noted gize the state’s economy, so too did tal documentary Great Genius and feature documentary maker Errol the Tribeca Film Festival spring from Profound Stupidity, which made a Morris (handled for spots by bicoast- a desire for economic recovery. worldwide premiere in competition al/international Moxie Pictures) had Robert De Niro, Jane Rosenthal at Tribeca. The film is slated for U.S. his Standing Operating Procedure and Craig Hatkoff founded the Tribe- broadcast on the Sundance Channel screened, a film which turns the cam- ca Fest in ‘01 following the attacks on and it entailed contributions from nu- era on the American soldiers who the World Trade Center to spur the merous New York-based artisans in took the infamous Abu Ghraib photo- economic and cultural revitalization addition to Raphan, including editor graphs. Director Josh Seftel of Redtree of lower Manhattan through an an- Lin Polito of jumP, New York, sound Productions, Boston and New York, nual celebration of film, music and designer/audio supervisor Marshall saw the premiere of his War Inc. at culture. The Tribeca Film Festival’s Grupp of Sound Lounge Music and Tribeca. And Jay Duplass of the direc- mission focuses not only on helping Sound Design, mixer Paul Weiss of torial duo the Duplass Bros. (repped filmmakers to reach the broadest Sound Lounge, and a coterie of VFX by RSA) debuted Baghead. possible audience, enabling the inter- artists at effects studio Manic. national film community and general Meanwhile Sound Lounge artisan New Boy Economic bond public to experience the power of cin- Tony Volante did the cinema remix mentary directed by noted filmmaker Also screened at Tribeca was the Having the Empire State tax credit ema, but also on promoting New York for Lou Reed’s Berlin, a feature docu- Julian Schnabel. animated film Idiots and Angels, writ- program signed into law at Tribeca as a major filmmaking center. R+H Adds Wahlberg; Studio’s Feature Prowess Benefi ts Spots
Continued from page 4 ada helming a Ford project through elements we have to offer is that ongoing work on Hartford, creating Wahlberg’s directing credits over Toronto-based Partners’. of Rhythm + Hues as one cohesive and refining its photo-real CG stag. the years include commercials for Meanwhile Dippé and Pitof are off studio—for films and commercials,” For this Campbell Mithun has been such clients as AT&T, Budweiser, filming their new movies, but will be he related. “The team of animators able to take advantage of Rhythm Bud Light, Dish Network, Disney, available again for spots this summer. and effects artists who created Acad- + Hues’ software which has evolved EA Games, the Fox Network, Mazda, emy Award-winning work for The and been driven by the studio’s fea- MCI, Microsoft, McDonald’s, Miller Oscar recognition Golden Compass are the same team ture work. Lite, Nestle, Nintendo, Nissan, Sam- Speaking of movies, Rhythm + whose skills are also applied to com- Meanwhile Rhythm has been sonite and Travelocity. Hues has been active on that front mercials—we don’t have a ‘second experiencing growth in the video Wahlberg joins a Rhythm + Hues as a visual effects house, underscored string’ at Rhythm.” gaming sector with director John commercial division lineup of live-ac- by this year’s Academy Awards com- The studio’s involvement in com- Mark Austin, who heads studio di- tion and effects directors that includes petition. The studio’s work on The mercials indeed extends to providing vision The Box, turning out trailers Steve Beck, Clark Anderson, Clay Golden Compass earned a visual ef- effects and animation for projects, for cinema, web and TV promoting Staub, Mark Dippé and the mono- fects Oscar. Additionally the studio Paul Babb working in concert with live-action such properties as Ninja Garden II, monikered Pitof. copped a Scientific and Technical and the Chipmunks, The Kingdom directors at other production houses. Turok and Fable II. Rhythm has also Beck is currently on location in Ita- Academy Award for the development and Night at the Museum. Rhythm + For example, Rhythm worked with wrapped promo spots for the Benjo ly, filming a major project for Ferrari. of its dynamic fluid creation tools. Hues also produced The Chronicles directing duo Blue Source of bicoast- Kazooie and Bourne Conspiracy This comes on the heels of a package Rhythm + Hues’ feature effects of Narnia, which earned an Oscar al/international MJZ, creating the an- games. Rhythm’s games producer of GMC commercials for Leo Burnett, pedigree spans assorted films over nomination in ‘07. imals for the Jeep “Pouring In” spot Deborah Gates-Austin, also of The and a Chevy campaign from Florida the years. At press time, the studio Paul Babb, executive producer out of Cutwater, San Francisco. And Box, has been the point person deal- shop Accentmarketing. Anderson has was wrapping production on The of Rhythm + Hues Commercials, Rhythm just wrapped a Hartford job ing with either ad agencies or di- wrapped Nasonex out of BBDO New Incredible Hulk and Mummy 3. In noted that there is true talent cross- directed by Tarsem of bicoastal/inter- rectly with gaming companies such York and 3M Scotch-Brite from Grey addition to The Golden Compass, over between the studio’s feature national @radical.media for Camp- as Vivendi, Activision and Microsoft New York. Staub is currently in Can- last year the shop worked on Alvin and spot endeavors. “One of the key bell Mithun. Rhythm has been doing on these projects.
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