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SHOOT Digital PDF Version, December 12, 2014, Volume 55 © Merrick Morton Photo courtesy of 20th Century Fox Photo courtesy of Paramount Pictures Photo courtesy of The Weinstein Company The Road To Oscar Agency of the Year Year in Perspective Year’s Most Notable Work Top 10 Charts The Best of 2014 Chat Room www.SHOOTonline.com December 2014 12 YEARS IN THE MAKING “RICHARD LINKLATER TAKES US TO THE MOUNTAINTOP.” ANN HORNADAY “ THE YEAR’S BEST FILM AND ITS BIGGEST EMOTIONAL POWERHOUSE.Full ‘BOYHOOD’ Page Ad IS RICHARD LINKLATER’S LANDMARK, HIS PUREST PERSONAL EXPRESSION.” PETER TRAVERS For Your Consideration In All Categories Including BEST PICTURE BEST DIRECTOR WINNER Richard Linklater BEST DIRECTOR RICHARD LINKLATER BEST ORIGINAL BERLIN INTERNATIONAL FILM FESTIVAL SCREENPLAY SILVER BERLIN BEAR Richard Linklater WINNER BEST DIRECTOR RICHARD LINKLATER BEST PICTURE BEST SUPPORTING ACTRESS PATRICIA ARQUETTE NEW YORK FILM CRITICS CIRCLE Produced, Written and Directed by Richard Linklater For screening info, please visit .com/awards PUBLICATION: SHOOT LIVE: 7.875 " X 10.375" ISSUE: 12/12 INSIDE FRONT COVER TRIM: 8.375" X 10.875" DUE DATE: 12/05 BLEED: 8.625" X 11.125" FINAL Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production December 12, 2014 By Robert Goldrich Volume 55 • Number 8 spot.com.mentary www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Corroboration on Collaboration Roberta Griefer 203.227.1699 ext. 13 [email protected] Editor As the year draws to a ents evolve and mature before our eyes. commercial,” said Scott. Their working Robert Goldrich 323.445.6818 [email protected] close, we thought it ap- Linklater noted that Boyhood brought relationship now spans 30 years and 11 propriate to highlight a new dimension to an already strong cre- feature films. ADVERTISING Digital & Print Rates & Information a message of coopera- ative collaboration he enjoyed with editor And Wild director Jean-Marc Vallée [email protected] tion and collaboration—which both figure Sandra Adair. “It’s so rare that you get to said of cinematographer Yves Belanger. 203.227.1699 ext. 13 www.shootonline.com/go/advertise prominently among this season’s Oscar edit your movie and still be making your “I love his courage and humility...The Advertising Production contenders. Many such examples have movie. We’re writing, directing and shoot- images he gets aren’t forced or staged. Gerald Giannone [email protected] emerged in our The Road To Oscar series ing this movie while editing it,” noted Again, it’s an approach that captures ac- 203.227.1699 ext. 12 of feature stories. Linklater. “You work with an editor as you tor performances in the best way possible. OFFICES Consider Boy- Main Office 256 Post Road East #206 hood, the remark- Sandra [editor Adair] meant so much to this film [Boyhood]. Westport, CT 06880 USA able movie Richard 203.227.1699 Fax: 203.227.2787 I’ve been working with her 22 years. I know and trust her.” Linklater wrote and West 323.445.6818 directed which presents successive epi- never have before. We talk and consider if He’s never trying to create images for his Circulation sodes in the life of a boy named Mason, we need a little more of this or that—and demo reel. With his work, he’s never say- 203.227.1699 ext 12 [email protected] starting at age 6 and tracking his growth we can deliver this or that because we’re ing ‘look how clever and creative I am.’ Editorial Production Manager/Custom Reprints Michael Morgera and development until he enters college still making the movie. Sandra meant so His focus is on the storytelling.” 203.227.1699 ext. 11 [email protected] at 18. Ellar Coltrane portrays Mason in much to this film. I’ve been working with Vallée and Belanger go back some 22 SHOOT Publicity Wire 203.227.1699 ext12 [email protected] this fictional story which carries a heavy her for 22 years. I know and trust her.” years. “I met him on a commercial in dose of chronological reality in that Boy- Similarly for Exodus: Gods and Montreal and he later went on to shoot © 2014 DCA Business Media LLC. All rights reserved. hood was shot over a 12-year span, main- Kings, director Ridley Scott touched commercials for me for the past 15 years SHOOT and SHOOTonline are registered U.S. trademarks. taining the same cast throughout and upon his affinity for production design- here and there. We talked about doing a No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, reuniting them every year or so to shoot er Arthur Max. “I first met him [Max] feature together but that didn’t happen— electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. scenes. Thus we see Mason and his par- in London and gave him a go on a Pepsi until Dallas Buyers Club.” Print Issues Subscription Service & List Rental [email protected] POV By Justin Moore-Lewy SHOOT (ISSN# 1055-9825) printed edition is published bimonthly for $75.00 per year by DCA Business Media LLC, 256 Post Road East, #206, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 The :30 Isn’t Dead; It’s But One Dish On The Table USPS (06-234) SHOOT ePubs When setting out to rather than relying solely on the :30. much longer lead times and a seemingly The SHOOT >e.dition weekly ePub is published on launch a production While we may have started out with the endless stream of moving parts. They’re Friday. The SHOOT Dailies are published daily Mon.-Fri. Brand New[s] weekly ePub is published Wednes. company at the end idea that the :30 spot is dead and opportu- amorphous compared to the somewhat www.shootonline.com/subscribe of 2013, my business nity in experiential is massive, the project regimented standards of the traditional partner Brendan Kiernan and I were de- that put us immediately on the map was— commercial shoot. The concept of bring- SHOOTmobile Get the latest. Anytime. Anywhere. Any Location. termined to be alternative. The last thing ironically—a Super Bowl spot. The assign- ing HeLo’s production designers in to col- Get SHOOT & SPW News texts on your Smart- phone by texting follow SHOOTonline to 40404 the world needed was another me-too ment required our creating a series of live laborate with agency creatives early on—so in U.S. production company. experiences that wound up being filmed that the project hasn’t been thoroughly SHOOT is printed in the U.S.A. We opened the doors of HeLo in a two- and turned into a :30 comedic commer- thought through until the designers have story house in Venice, a short cruiser bike cial with numerous celebrity cameos. The input—has worked very well. ride from the beach. The place had lots of spot went on to win a Gold Lion, and our So while we set out to break the mold character and it instantly became the an- initial premise had come full circle. What when we launched, we’ve learned over SHOOT is a member of: tithesis of a buttoned up, corporate office. we took away from this early success is that the last year is that it’s not about breaking Right away, agency friends had a differ- the :30 is not dead but in need of rejuve- the mold—it’s about not having a mold in ent kind of experience there, at intimate nation, and greatly enhanced authenticity. the first place. Exciting projects are excit- dinner parties where we cooked for them Capturing a live event in various locations ing projects—:30 spot, major experiential ourselves. More important than the set- was one great way to shake up the formula event—it doesn’t matter. We’ve learned a ting, though, we offered a unique concept. and create a memorable view experience, healthy mix of spots and experiential is We gave a lot of thought to how we could even within a traditional commercial. where we want to be, along with talent Find SHOOT online at: www.SHOOTonline.com or at: hone in on a growth area in the business— We’ve learned that although experien- who can transcend the standard model to do work that would capture the inter- tial projects engage audiences in a power- in order to do something extraordinary. est of our somewhat jaded ad clients. Our ful new way, they also require dramatically Justin Moore-Lewy is executive produc- answer was to offer branded experiences, different production models including er/partner at HeLoō. December 12, 2014 SHOOT 3 ROAD TO OSCAR courtesy of 20th Century Fox Merrick by Photo Morton/courtesy of 20th Century Fox Company Weinstein The courtesy of courtesy of IFC Films Gammarro/DGA Byron by Photo Boyhood Exodus: Gods and Kings Gone Girl The Imitation Game Wild Auteur POVs: Linklater, Scott, Fincher, Tyldum, Vallée, Et Al This installment of our The Road To Os- trane portrays Mason in this fictional story Best Picture, Best Director and Best Sup- Insights into car Series garners insights from leading which carries a heavy dose of chronologi- porting Actress (Patricia Arquette) honors directors and cinematographers on their cal reality in that Boyhood was shot over from the New York Film Critics Circle Boyhood, Exodus: films ranging from a unique coming-of- a 12-year span, maintaining the same cast Awards, as well as the Audience Award at age story to a Biblical story for the ages, throughout and reuniting them every the Gotham Independent Film Awards.
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