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SHOOT Digital PDF Version, December 2015, Volume 56 Photo courtesy Focus Features courtesyPhoto Focus courtesyPhoto Open Road Films Photo by Jaap Buitendijk Photo by Jaap Buitendijk Courtesy of Disney/DreamWorks II Distribution Co. Courtesy Paramount Pictures The Road To Oscar Agency of the Year Best Work of the Year Year in Perspective Music & Sound VFX & Animation The Best of 2015 Chat Room www.SHOOTonline.com December 2015 Photos by Parrish Lewis Courtesy of Roadside Attractions and Amazon Studios SCREEN ACTORS GUILD NOMINATION OUTSTANDING PERF ORMANCE BY A CAST IN A MOTION PICTURE WINNER WINNER NATIONAL BOARD OF REVIEW HOLLYWOOD FILM AWARDS BEST ENSEMBLE CAST BREAKTHROUGH DIRECTOR © 2015 Paramount Pictures. All Rights Reserved. Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production December 2015 By Robert Goldrich Volume 56 • Number 6 spot.com.mentary www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Crossing Over Roberta Griefer 203.227.1699 ext. 13 [email protected] Editor Many moons ago a fea- In this week’s “Road To Oscar” we consumer audience to actually feel strong Robert Goldrich 323.445.6818 [email protected] ture director working interview Tom McCarthy who directed emotions in that amount of time is even in commercials was Spotlight. Via Park Pictures, McCarthy harder. Add onto that the fact that there ADVERTISING Digital & Print Rates & Information frowned upon in some recently directed his first commercial, are clients sitting there and it can be a [email protected] circles. That was due to the prevalent no- Duracell’s “Teddy Bear” for Anomaly NY. daunting task for some feature directors, 203.227.1699 ext. 13 www.shootonline.com/go/advertise tion that only a filmmaker with extensive Seth Jacobs, group CD at Anomaly, but Tom navigated it with ease and de- Advertising Production ad experience would have the proper cre- said, “Tom is a master storyteller, and livered a beautiful, emotionally resonant Gerald Giannone [email protected] ative and political sensibilities for spots. his ability to convey emotion in a short story that audiences have loved.” 203.227.1699 ext. 12 Happily that line of separation has since amount of time is uncanny. From Station And delving into spots can lead to new OFFICES disappeared--in both Main Office 256 Post Road East #206 directions, with fea- “Tom [McCarthy] is a master storyteller, and his ability to con- Westport, CT 06880 USA ture directors mak- 203.227.1699 Fax: 203.227.2787 vey emotion in a short amount of time is uncanny.” ing their mark in West 323.445.6818 ads, and a number of spotmakers diversi- Agent up through Win/Win and now with collaborators. Costume designer Paco Circulation fying successfully into features and TV. Spotlight he has cemented himself as one Delgado earned an Oscar nomination 203.227.1699 ext 12 [email protected] On the former front, we’re seeing of America’s great directors. We were hon- for Les Misérables, his first feature with Editorial Production Manager/Custom Reprints Michael Morgera more examples during the course of our ored to have his talents on ‘Teddy Bear.’ director Tom Hooper. Now a return en- 203.227.1699 ext. 11 [email protected] “The Road To Oscar” series and related Tom is an actor’s director, quickly able gagement with Hooper has yielded The SHOOT Publicity Wire 203.227.1699 ext12 [email protected] coverage. In our profile on Scott Cooper to get incredible performances that got Danish Girl. Delgado first worked with (SHOOT, 10/23) relative to Black Mass, to the essence of the story. Transitioning Hooper via Smuggler on a Captain Mor- © 2015 DCA Business Media LLC. All rights reserved. he talked of his trust in the movie’s pro- from features to commercials is not always gan commercial. This eventually led to SHOOT and SHOOTonline are registered U.S. trademarks. No part of this publication may be reproduced, stored in any ducer John Lesher, who’s a partner in easy. It is a very different medium. Telling Delgado getting the Les Misérables gig. retrieval system, or transmitted, in any form or by any means, Superprime Films. Cooper has joined Su- a story in 60 seconds is not something a Sometimes “The Road To Oscar” is electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. perprime for spots and branded content. feature filmmaker needs to do. Getting a paved by commercialmaking. Print Issues Subscription Service [email protected] POV By Rupert Maconick 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 Brands: Content Moguls of the Future USPS (06-234) SHOOT ePubs $600 billion was spent The 30-second commercial is dying. Young people have been dubbed an The SHOOT >e.dition weekly ePub is published on on traditional advertis- Consumers ignore or fast forward through idealistic generation who emphasize so- Friday. The SHOOT Dailies are published daily Mon.-Fri. Brand New[s] weekly ePub is published Wednesdays. ing during 2014, but ads on their smart phone or computer. To cial change. They want to support brands SHOOT Screenwork published Mondays. www.shootonline.com/subscribe there is a new approach reach customers, brands are now in the that do good. Herzog’s film became a mar- happening, which is a throwback to a by- content business. In 2013, Werner Herzog keting success because of, not in spite of, SHOOTmobile gone age: Brands are shifting away from directed a 35-minute PSA film for AT&T, the film’s authentic call for social change. Get the latest. Anytime. Anywhere. Any Location. Get SHOOT & SPW News texts on your Smart- TV commercials to funding and sponsor- which was a huge success: “From One Forward looking brands and agencies phone by texting follow SHOOTonline to 40404 ing documentaries, TV programs and spe- Second to the Next.” The film has been are partnering with production compa- in U.S. cials, and films. Brands will emerge as the screened in over 40,000 schools and col- nies and filmmakers who can bridge both SHOOT is printed in the U.S.A. film and TV moguls of the future. leges. That film worked because it was po- worlds. The Millennials are the main con- Sponsored programs are not new. In the sitioned as a documentary short and not sumers of the future. In order for the ad late ‘40s, Texaco and Admiral sponsored a commercial. The focus was on the sto- industry to survive the current changes to TV shows starring Milton Berle and Sid rytelling and the message, not the brand. the marketplace, the $600 billion, which SHOOT is a member of: Caesar. In the 1950’s and 60’s, the term Many forward looking brands and is spent annually on selling young people “soap opera” was coined because shows agencies are adapting to the same model. stuff they don’t want, will be funneled into were sponsored by brands like P&G. The younger generation of consumers stories and content that they actually do Our challenge now is that consumers want innovation and engagement. Red- care about. In the very near future cutting are no longer watching traditional TV. Bull has long been far ahead in creative edge brands will connect with consumers Find SHOOT online at: www.SHOOTonline.com Most consumers under the age of 40 do marketing and creating short films that by funding or sponsoring the next impact- or at: not have cable. The future of advertising is people want to watch. The Red Bull “Stra- ful and socially relevant documentary, in- transforming, shifting away from TV, bill- tos Space Jump” not only broke several re- die film or TV series. boards and magazine ads to platforms like cords, it was watched by millions of people Rupert Maconick is the owner/founder Netflix, HULU and Amazon. live on YouTube. of bicoastal Saville Productions. 4 SHOOT December 2015 ROAD TO OSCAR Director, DP Perspectives Insights into The Danish Girl, Spotlight, The Big Photo by By Jaap Buitendijk/courtesy of Paramount Pictures By by Jaap Buitendijk/courtesyPhoto of Paramount Short, Concussion, Photo courtesy of Focus Features courtesyPhoto of Focus Sicario and Bridge Photo courtesyPhoto of Open Road Films of Spies By Robert Goldrich |Road To Oscar Series, Part 6 Photo by Jaap Buitendijk/courtesy of Disney/DreamWorks II Distribution Jaap Co. Buitendijk/courtesy by of Disney/DreamWorks Photo SMPSP/courtesy of Lionsgate Jr., Richard Foreman by Photo courtesyPhoto Pictures of Sony Photo by Agatha A. Nitecka/courtesy Agatha by Features Photo of Focus Tom Hooper won an Academy Award and 1926. Einar Wegener is married to Gerda. have been true to the dark aspects of the DGA Award in 2011 for directing The Both are painters—Einar the more revered. the journey we know from Lili’s diaries.” King’s Speech which was nominated for They have a strong marriage, which is This delicate balance was easier to at- 12 Oscars, also winning for Best Picture, about to be tested in a profound way, ulti- tain thanks to the acting prowess of Red- Best Actor (Colin Firth) and Best Original mately deepening their love. mayne. “When Eddie holds the dress Screenplay (David Seidler). The accolades Asked by Gerda to fill in for a model against herself, puts the stockings on that continued for Hooper’s next movie, Les by putting on a dress, Einar has a trans- first time,” observed Hooper, “you can see Misérables. The 2012 film earned eight formative experience, soon realizing that her on one hand connecting with her true Academy Award nominations, winning his inner Lili is his true self.
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