SHOOT Digital PDF Version, February 2016, Volume 57, Number 1

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VES Award Backstories

DGA Awards Preview

20 Photo courtesy of Twentieth Century Fox. Photo courtesy of Warner Bros.

From top left, clockwise: Leonardo DiCaprio in The Revenant; Tom Hardy and Charlize Theron in Mad Max: Fury Road; and (l-r) Rachel McAdams, Mark Part 13 Ruffalo, Matt Carroll, Michael Keaton and John Slattery in Spotlight. Super Bowl Ads 22 The Road To Oscar Behind-The-Scenes Insights Into Mad Max: Fury

Photo courtesy of Open Road Films. Road, Spotlight, The Revenant, Carol and Amy. 4

Creative/Production Survey 14

Copy To Come Here 18

Sundance: ASC Awards Returning Directors Preview 12 26 How Do Talented

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EDITORIAL Publisher & Editorial Director Haskell Wexler Roberta Griefer 203.227.1699 ext. 13 [email protected] Editor Cinematographer What I remember most, though, said, asking, “Are our priorities human or Robert Goldrich 323.445.6818 [email protected] Haskell Wexler, ASC— comes from the last time I saw Wexler but to feed the bottom line?” who passed away in did not get a chance to speak with him. Later during the awards ceremony, pre- ADVERTISING Digital & Print Rates & Information December at the age of It was in March 2014 when Billy Crystal senter/producer Harry Bring said he met [email protected] 93—will be remembered on many fronts. presented Wexler with the Humanitarian Wexler for the first time during the Inter- 203.227.1699 ext. 13 www.shootonline.com/go/advertise For his lensing of Who’s Afraid of Virginia Award at the first annual Location Man- national Cinematographers Guild’s me- Advertising Production Woolf, the last film to receive an Oscar for agers Guild of America Awards. Crystal morial earlier that month for 27-year-old Gerald Giannone [email protected] black-and-white cinematography. For his recalled directing the HBO film 61*, Sarah Jones, the assistant camerawoman 203.227.1699 ext. 12 Oscar-winning cinematography of Bound which was shot by Wexler. Crystal said who was killed when a train crashed into OFFICES For Glory. For direct- Main Office 256 Post Road East #206 ing and earning a In accepting the award, Wexler, a crew safety advocate, called Westport, CT 06880 USA DGA Award nomina- 203.227.1699 Fax: 203.227.2787 for “more human conditions in the way we work.” tion for the seminal West 323.445.6818 hybrid drama/documentary Medium Cool. that Wexler implored him to make sure a production team while shooting the Circulation I first met him in the context of his that the production of 61* was “really film Midnight Rider in Georgia. 203.227.1699 ext 12 [email protected] commercial directing exploits. In the safe,” without any crazy long hours. Bring said he first hired Jones as an Editorial Production Manager/Custom Reprints Michael Morgera mid-1970s he teamed with another lumi- This concern about safety was a focus intern and that her death has had a pro- 203.227.1699 ext. 11 [email protected] nary cinematographer, Conrad L. Hall, to of the Wexler-directed documentary Who found impact and will prove to be a lasting SHOOT Publicity Wire 203.227.1699 ext12 [email protected] form spot production company Wexler- Needs Sleep? which showed the tragic influence on the industry, leading to safe- Hall. Wexler later partnered with the consequences of sleep-deprived crew ty being the priority it needs to be. This © 2016 DCA Business Media LLC. All rights reserved. lauded DP Vilmos Zsigmond on another members. In accepting the Humanitarian vital cause is also part of Wexler’s legacy SHOOT and SHOOTonline are registered U.S. trademarks. No part of this publication may be reproduced, stored in any commercial production house, Cinematic Award, Wexler called for “more human as he was an articulate, caring advocate retrieval system, or transmitted, in any form or by any means, Directions. (Zsigmond died just a week conditions in the way we work.” Concerns for the wellbeing of people throughout electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. after Wexler’s passing.) for crew safety should be paramount he our industry and society at large.

Print Issues Subscription Service [email protected] POV By Sal Malfitano 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 Composing The Color of Lovesong USPS (06-234)

SHOOT ePubs As a colorist you al- way, and we wanted to make sure that the sence of footage itself to serve as the start- The SHOOT >e.dition weekly ePub is published on ways hope that every color acted in service of that narrative. ing point. We were only ever referring to Friday. The SHOOT Dailies are published daily Mon.-Fri. Brand New[s] weekly ePub is published Wednesdays. film you work on will The film inherently looked and felt dif- the beautiful footage that So, Kat and SHOOT Screenwork published Mondays. www.shootonline.com/subscribe have the opportunity ferent just based on the styles and sensi- Guy had captured as the basis for where to be recognized as an excellent piece of bilities Guy and Kat individually brought the look of the film would go. SHOOTmobile filmmaking. It makes the hard work and to the two halves of the film. Cinematog- We started grading this film very early Get the latest. Anytime. Anywhere. Any Location. Get SHOOT & SPW News texts on your Smart- creative decisions that went into the film raphy and color grade are utilized along in the post process, basically as soon as phone by texting follow SHOOTonline to 40404 all the more rewarding. That’s how I felt with the art direction to illustrate a pas- we had a rough cut that well represented in U.S. when I learned from director So Yong sage of time. the core of the film. This gave us the op- SHOOT is printed in the U.S.A. Kim that Lovesong would be in competi- Kat’s first half was warm, less contrasty portunity to reflect on, and feel confident tion at Sundance this year. and had an inviting and colorful feel. In about, each creative decision. By the time Before the first rough cut of Lovesong the second half, shot by Guy, more cool the final cut was locked, most of the deci- was done, I started discussing the ap- tones come into play, with a bit more sions for color had been made, and it was SHOOT is a member of: proach for color with the director and her contrast. The warm tones are from more really just a matter of fine-tuning. cinematographers, Guy Godfree and Kat artificial sources at this point and these The end result is a look that feels as Westergaard. Starting this early was ideal, convey how the characters have matured honest and real as the film itself. I’m real- as it allowed us ample time to maximize and how their relationship has evolved. ly looking forward to the rest of the world our effort to find the look that best served What I loved about our process for getting to see what these artists crafted at Find SHOOT online at: www.SHOOTonline.com the story. Lovesong was that the filmmakers didn’t Sundance and subsequent festivals. or at: The film is about love that develops come in with any color references. On Sal Malfitano is a colorist at Nice Shoes, between its two main characters, Sarah many projects, creatives will come in with New York. He has held a constant curiosity (Riley Keough) and Mindy (Jena Malone). existing films or still frames as looks that about the aesthetic trends in color imagery Their story unfolds in a subtle and natural they want to reference. We wanted the es- and the process and science behind it all. February 2016 SHOOT 3 ROAD TO OSCAR

Creating Different Worlds The artistry reflected in Mad Max: Fury Road,

The Revenant, Courtesy Photo of Open Road

Spotlight, Carol, Bros. Warner courtesyPhoto of

and Amy Photo courtesy CenturyTwenthieth of Fox By Robert Goldrich, Road To Oscar Series, Part 13 Photo courtesy of The Weinstein Company Weinstein The courtesyPhoto of Photo courtesyPhoto of A24

It’s been reported that John Seale, ASC, second in the Academy Award nomina- fines of the cab of a truck. Seale wrapped ACS came out of retirement to shoot tions tally with 10: Best Picture, Direc- his head around this, ascending a steep director/co-writer George Miller’s Mad tor, Cinematography, Editing (Margaret learning curve, one he welcomed for Max: Fury Road, but the cinematogra- Sixel), Production Design (Colin Gibson, what was to be his first experience in digi- pher regards that as “a running joke.” production designer; Lisa Thompson, tal cinematography. Still, there was some Seale quipped, “I’ve ‘retired’ each of the set decorator), Costume Design (Jenny angst over limited sensor range with the 10 movies I did prior to this.” Beaven), Makeup & Hairstyling (Les- 3D model. Circumstance is what brought Seale ley Vanderwalt, Elka Wardega, Damian Suddenly, though, Miller changed into the Mad Max world. When Miller’s Martin), Sound Mixing (Chris Jenkins, course. Just a few weeks after Seale came DP Dean Semler bowed out for personal Gregg Rudloff, Ben Osmo), Sound Edit- aboard the project, he recalled attending Ireasons, the director turned to Seale ing (Mark A. Mangini, David White), and a pre-pro meeting at which Miller said he whom he worked with years earlier on VFX (Andrew Jackson, Tom Wood, Dan had instead opted to go 2D. “It was a bit the moving drama Lorenzo’s Oil. Oliver, Andy Williams). of a shock but at the same time it freed us “It wasn’t a hard decision,” said Seale. This post-apocalyptic tour de force up,” shared Seale. “The 2D cameras gave “I enjoyed working with George and earned Seale his fifth Best Cinematogra- us what we sought because the Alexa sen- producer Doug Mitchell on Lorenzo’s phy Oscar nomination, the first coming sor was much better and the Alexas were Oil, and I knew Mad Max would be an for Witness in 1986, then Rain Man in battle proven digital cameras.” iconic picture. There wasn’t a script at ‘98, The English Patient in ‘97 and Cold Seale deployed 10 ARRI Alexa Plus From top left, clockwise: Mad Max: the time but the story was laid out all on Mountain in 2004. He won the Oscar for cameras, four of the little Alexa M cam- Fury Road; The Revenant; Spotlight; storyboards. I had no choice but to say yes The English Patient. eras, 10 or 12 Canon 5Ds, and a number Carol; John Seale, ASC, ACS; with the knowledge that we were talking For Seale the Mad Max journey had of Nikons. The M cameras proved ideal Stephen Mirrione, ACE; and Amy about a standout movie.” twists and turns. Seale noted that Miller for working within the cabin of the truck. Winehouse from the This month’s unveiling of the Oscar initially set out to make a 3D movie, and “We were fortunate to be able to get four documentary Amy. nominations put a punctuation mark had spent years developing and creating of the little M cameras that Roger Deakins on that “standout” assessment. Mad his own cameras to do so, particularly to had used on Skyfall,” said Seale who not- Max: Fury Road (Warner Bros.) finished accommodate scenes inside the tight con- Continued on page 6 4 SHOOT February 2016 THE BEAUTY SHOTS YOU EXPECT, WITH THE DIVERSITY OF LOCATIONS YOU DON’T. NEW! Filming in the U.S. Virgin Islands is one unbelievable shot after another. You’ll fi nd a Up to 17% diversity of locations from rural farmland, lush rain forest and rolling hills to quaint Transferable European towns, cosmopolitan settings and colorful Caribbean architecture. Not Tax Credit to mention picturesque beaches. You’ll also fi nd an experienced fi lm community with English-speaking crews and the convenience of U.S. currency. For more opportunities in St. Croix, St. John and St. Thomas, call 340.775.1444 ext. 2243. Up to 29% Plan your production at fi lmUSVI.com. Cash Rebate

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AGENCY: JW T/Atlanta SPECS: 4C Page Bleed PUB: SHOOT CLIENT: USVI TRIM: 9” x 10.875” DATE: February 2016 AD#: USVI16011 BLEED: 9.25” x 11.125” HEAD: “The Beauty Shots You LIVE: 8.5” x 10.375” Expect...” ROAD TO OSCAR Best Picture Nominees Mad Max, Spotlight, The Revenant Continued from page 4 first worked off of George’s detailed story- ed through early 2002. The movie’s title time that choice fell through with Iñár- ed, “We did anything we could to break boards. Amazingly the story and logistics refers to the four person Spotlight sec- ritu entering the picture five or six years the image down so it didn’t have that elec- were all mapped out in George’s head. tion investigative team at the Globe—edi- ago. Iñárritu and Smith collaborated on tronic look. We gave the image grain and He’s one of the most amazing people I’ve tor Walter “Robby” Robinson (portrayed several drafts. While Leonardo DiCaprio contrast and then George pushes the im- ever worked with. He’s got all this in his by Michael Keaton), reporters Sacha had been interested in the project for a age a long way in head and sometimes Pfeiffer (Rachel McAdams) and Michael long time, he went off to do Martin Scors- postproduction. you have to work to Rezendes (Mark Ruffalo), and researcher ese’s The Wolf of Wall Street, pushing the We didn’t want get it out of there. But Matt Carroll (Brian d’Arcy James). schedule back for The Revenant. Iñárritu a standard post- in the end, you work it Golin and his compatriot, producer segued during the interim to Birdman, apocalyptic look out. He’s an incredible Michael Sugar, were drawn to the story which scored four Oscars, including for of desaturation collaborator.” and decided to develop it, bringing the Best Picture and Director in 2015. of colors. Instead project to director Tom McCarthy. “He The Revenant is an epic story of sur- George wanted Best Picture nods [McCarthy] was busy,” recalled Golin. “He vival and transformation on the Ameri- it an almost Producer Steve couldn’t write it at the time but wanted to can frontier in the 19th century. DiCaprio ‘scorched earth’ Golin, founder and direct it. We hired our [Anonymous tal- portrays legendary explorer Glass who look. It didn’t CEO of Anonymous ent management division] client Josh survives a bear mauling and then the be- matter what the Content, earned his Singer to write Spotlight. Tom and Josh trayal of a member of his hunting team, apocalyptic event second and third ca- later went on research trips to delve more John Fitzgerald played by Tom Hardy. was—a meteor or George Miller (l) and John Seale reer Best Picture Os- deeply into the story. Tom became so en- Fitzgerald was supposed to protect the a more gradual decay. Whatever it was, it car nominations last month—for Spotlight amored with the story that he decided he seriously injured Glass but instead left resulted in this scorched earth.” (Open Road Films) and The Revenant would write along with Josh.” him for dead—after killing his son. Glass Initial thoughts of shooting in Aus- (Twentieth Century Fox). His first nod As for why he gravitated to McCar- refuses to succumb, undertaking a gru- tralia, though, were thwarted by that came in 2007 for Babel, which like The thy for Spotlight, Golin related, “I loved eling 200-mile odyssey through the vast scorched earth prerequisite in that heavy Revenant was directed by Alejandro G. The Visitor [which McCarthy wrote and and untamed West on the trail of Fitzger- rains five or so years ago had turned the Iñárritu. Anonymous and Iñárritu have directed]. It was a brilliant movie. I also ald. What begins as a relentless pursuit of Australian Outback desert location into a a collaborative relationship in long and liked his film Station Agent. I knew Tom revenge becomes a heroic quest to return landscape of wildflowers. “George didn’t short form. For example, Iñárritu’s first had an affinity for journalism. He played home, resulting in a personal, spiritual want a single trace of green vegetation, DGA Award win, prior to his scoring the a reporter [character Scott Templeton] in saga of redemption. not a blade of grass, so we wound up in Guild’s top honor last year for Birdman, the show The Wire. His agent is a good Producers named in the Best Picture Namibia,” related Seale who added that came in 2012 for Outstanding Directo- friend of mine and it all ultimately came Oscar nomination for The Revenant are the interiors were shot on a stage in Syd- rial Achievement in Commercials on the together. What also helped was that Tom Iñárritu, Golin, Redmon, Arnon Milchan ney along with some in Cape Town. Green strength of P&G’s “Best Job,” which was and Josh involved the journalists them- and Mary Parent. The Revenant’s other screen work was also prevalent. It was a produced by Anonymous Content. selves from the Spotlight team, adding to nominations are for Best Director, Cin- major undertaking, said the DP, to move Anonymous’ wide-ranging production the film’s authenticity.” ematography (Emmanuel Lubezki, ASC, the massive crew, trucks and vehicles to portfolio spans multiple disciplines and Faust, Rocklin, Sugar and Golin are the AMC), Editing (Stephen Mirrione, ACE), the south Atlantic coast of Africa. genres, including spots, branded content, individuals named in the Spotlight Best Production Design (Jack Fisk), Sound Among the massive hardware was the and TV series (including HBO’s True De- Picture Oscar nomination. Spotlight is up Editing (Martin Hernandez, Lon Bender), EDGE camera rig, a Toyota Tundra truck tective, Cinemax’s The Knick, USA Net- for six Oscars, the others being for Direct- Sound Mixing (Jon Taylor, Frank A. Mon- with a stabilized crane on the roof, which work’s Mr. Robot, and the upcoming TNT ing, Original Screenplay, Editing (Tom taño, Randy Thom, Chris Duesterdiek), had a stabilized camera on the end of it. series The Alienist). Anonymous also has McArdle), Best Supporting Actor (Ruf- Costume Design (Jacqueline West), Lead Still, whatever the machinery and the an extensive track record producing and falo) and Supporting Actress (McAdams), Actor (DiCaprio), Supporting Actor (Har- logistical hurdles, Miller was always in developing feature films, including The Meanwhile scoring twice as many dy), VFX (Richard McBride, Matt Shum- control, affirmed Seale. “He had been Revenant and Spotlight. nominations, 12, which leads this year’s way, Jason Smith, Cameron Waldbauer), honing this film for years in his prepa- Anonymous’ development of Spotlight Oscar pack, is The Revenant. The film and Makeup & Hairstyling (Sian Grigg, ration. This was a very choreographed took some six years. The project was ini- also took 11 years to develop, nearly twice Duncan Jarman, Robert A. Pandini). film, mainly for safety. George is adamant tially brought to Anonymous by produc- as long as what went into Spotlight. It Asked if he thought when he em- about safety. It’s paramount to him. The ers Blye Pagon Faust and Nicole Rocklin started when Anonymous optioned “The barked on his career that he would stunt work is meticulously planned and who had the rights to the story from Bos- Revenant: A Novel of Revenge,” the 2002 one day have three Best Picture Oscar choreographed. This was not a what-if ton Globe reporters behind the Pulitzer book authored by Michael Punke and nominations to his credit, Golin said he film. You knew what the shot was, exactly Prize-winning investigation revealing based on the true story of the American wouldn’t have thought that as recently how the stunts would play out.” cases of childhood molestation by some frontiersman Hugh Glass. Golin teamed as last year relative to recently bestowed Miller never lost sight of the story in the 90 local priests and the Catholic Church’s with Anonymous cohort, producer Keith nominations two and three. “The alche- midst of the heart-pumping action. It’s a systematic cover-up of that abuse. Spot- Redmon, on the development of The my of a movie is tricky,” observed Golin. tale driven by women seeking a place free light takes us through that exhaustive Revenant. Anonymous brought Mark “No one sets out to do a movie that’s not of tyranny, sparking an adventure with process of investigative journalism—the L. Smith in to write a draft of the script. great—yet not many movies come out dimensions that go far beyond an action good steps and the missteps—which for Originally another director was attached great. On both these movies, we were film. “Eventually there was a script but we this story began in mid-2001 and extend- to The Revenant but over an extended Continued on page 8 6 SHOOT February 2016

ROAD TO OSCAR Insights Into Editing, Costume Design On The Revenant Continued from page 6 up shop for a stretch and came back to schedule was pressing. Everybody had cially costumes. His career is about delv- fortunate to have super talented people L.A., putting the movie together, trying to be completely focused. If Leo hadn’t ing into the inner workings of characters involved and that the alchemy worked to do that job of finding the story, find- been able to nail his performance, endure psychologically. This journey of Glass is out well. Still, we had one movie in devel- ing the movie within what we had done. the elements, if the entire cast and crew marked by enlightenment through pain opment for 11 years, another for six. Who We were hampered by if we show this to hadn’t been so resilient, this film couldn’t and suffering. And part of what I had to could reasonably think that both would somebody, we would just be guessing as have come together like it did. One false do was metaphorical, portraying all that come together in the same year to earn to the ending and a lot of Glass’ life as step would have been costly.” in the costumes Glass wore. Alejandro Best Picture nominations?” Among the other Oscar nominees on responds to costumes; his body language The Revenant is costume designer West. changes when he likes something. I had The Revenant This marks her third nomination, the to work to get that feeling from him. It Mirrione is no stranger to Oscar, hav- first two coming for the Philip Kaufman- goes beyond historical detail, which he ing won the Best Editing Academy Award directed Quills in 2001, and David Finch- cares about very much. But he also cares in 2001 for Steven Soderbergh’s Traffic, er’s The Curious Case of Benjamin Button deeply about the emotions that he feels a garnering his second nomination in 2007 in 2009. West’s filmography also includes costume is portraying, reflecting the char- for Iñárritu’s Babel (with fellow editor several pictures for director Terrence Ma- acter’s inner being, what his path is, his Douglas Crise), and now a third nom for lick, all shot by Lubezki, who also lensed backstory—in the case of Glass what he Iñárritu’s The Revenant. The Revenant. encountered in the wild. Babel and The Revenant are just part The Revenant reunited West with not “Alejandro had the poetic idea that Leo of the filmography shared by Iñárritu and only Lubezki but also production design- [Glass] would wear a bearskin that’s left Mirrione. Their first collaboration was 21 er Fisk, an Art Direction Oscar nominee behind in camp when his fellow trappers Grams (2003). Mirrione and Iñárritu also Costume designer Jacqueline West in 2008 for director Paul Thomas Ander- abandon him,” continued West. “There’s teamed on Biutiful (2010) and Birdman son’s There Will Be Blood, and now nomi- a wonderful irony that the thing that al- (2014), the latter with Crise. In terms of reflected in his dreams. But what would nated in the production design category most killed him, a bear, ends up saving chronology, said Mirrione, The Revenant have been considered a big disadvantage for The Revenant. West has worked on his life in the wilderness. The bearskin actually preceded Birdman—or at least it we made work for us. We were able to in- multiple films (Malick’s The Tree of Life, keeps Leo alive, protects him, gives him was supposed to. “Five years ago, Alejan- corporate a lot of the effects work while The New World, To the Wonder) over the buoyancy down the river. Glass is not a dro brought me the script but when Leo we waited to resume shooting—so we years with Fisk who in a recent install- mercenary like Fitzgerald who’s only went off to do The Wolf of Wall Street,” re- moved closer in some respects to the fin- ment of our The Road To Oscar Series looking to make money from the wilder- called the editor, “the project was put on ished edit than we would have been had credited her with making major contribu- ness. There’s a scene where Glass climbs hold. So we did Birdman instead.” everything gone according to schedule . tions to The Revenant. Fisk said, “Jackie out of a horse’s carcass which protected Birdman was a formidable challenge The circumstance forced us to be super West’s costumes were omnipresent, like him during a brutal storm. It’s almost like in that the film played as seemingly one critical of what we were doing, to solve portable settings unto themselves.” Glass is reborn. He can stand up again continuous take, meaning that “one false storytelling issues before that reshoot.” West noted, “The Revenant marks the and touches the horse in a tender man- move and the whole thing would fall While his base during shooting was eighth time I’ve worked with Jack Fisk, ner, thanking it. He’s thankful for the apart,” noted Mirrione. “We had to be dis- an editorial office in downtown Calgary, the sixth time with ‘Chivo’ [Lubezki] and animals. For Glass, wilderness is his ca- ciplined and plan things out perfectly. In a Mirrione said he had to be “super mo- of course the first with Alejandro. I was in thedral. For that reason, I chose an almost way it was good that Birdman came first, bile. There would be times when I’d have Italy on the first night of a long-awaited spiritual monastic costume for him, with serving as kind of a warm-up, helping us to travel out two hours to the side of a vacation with my husband when I got a hood. Alejandro responded to it—it was hone the discipline we needed to make mountain in case Alejandro wanted to an email from Jack Fisk who said I have one of the first costumes I showed him.” The Revenant work.” work with me during a lunch break be- to come home and meet with this direc- Every costume choice, related West, is Just as The Revenant was a story of cause that was the only time he had for tor. He told me it was Alejandro whose important to Iñárritu “who wants things survival, so too did the filmmaking team the rest of the week. Or I’d just have to movies I love. I always wanted to work to be subliminal. He wants the costumes have to endure harsh elements and ter- pick up and go to distant locations, set- with him. But I told Jack I could not just to spark something the viewer feels. rain. Also hanging over them was a loom- ting up in a hotel for a week. We all had leave my vacation. It’ll be instant divorce. While this is an epic movie, Alejandro ing deadline, necessitating that Mirrione to be very nimble and fast as weather was My agent got involved, one thing led to is a very subtle director who shares little work 12 to 14 hour days for six months changing. They had to switch up what another and a Skype call was arranged details that shed light on the interior of straight. “There were huge technical they were shooting on a given day much between Alejandro and me. We had an each character. This was a very spiritual and logistical challenges,” said Mirrione. more than they would have wanted to. We initial call, then another one in France journey for Glass—as it was for Alejandro, “The big storytelling challenge was that had to adjust. If they needed certain ele- when I was visiting my daughter. Each and he wanted it to be like that for all of us at a critical point we ran out of snow, ments of a just shot scene cut in order to time Alejandro and I talked for about two who were making this film.” meaning we weren’t able to shoot the fi- figure out what to do for another scene, hours. I could hear his passion about the nal climactic scene of the movie as sched- we had to be immediately responsive. It film. He was wonderful to talk to. After we Carol uled. And built into that scene were other was like Glass’ story. Once you climb that Skyped, it was pretty soon that he said he Carol (The Weinstein Company) land- scenes that would serve as the dreams of mountain, there are issues or problems. was hiring me.” ed six major Oscar nominations. Directed the character Glass, his memories from 10 Sometimes you slide back down. Luck- West described Iñárritu as “an auteur, by Todd Haynes, the film tells the story years earlier. Since we ran out of weather ily we had moments of peace so we could a metaphorical, metaphysical director of title character Carol Aird (portrayed [in Alberta, Canada], we basically closed create poetic moments in the film. The who responds to things viscerally, espe- Continued on page 10 8 SHOOT February 2016 Full Page Ad Short Takes ROAD TO OSCAR LUNDGREN, JUNIPER JONES POWER BRAIN GAMES PROMO Little known fact: Action star DP Lachman Discusses Carol; Dolph Lundgren is a genius. Yes, that Dolph Lundgren. Rocky’s Continued from page 8 enced the way photographs looked back monosyllabic Russian nemesis by Cate Blanchett) and Therese Belvit then,” explained Lachman. “I was trying Ivan Drago. It’s this surprising, (Rooney Mara), two women who fall in to reference early color film. If I shot on perception-shifting nugget that love in New York City in the early 1950s. 35mm, I felt I would have lost the look creative content agency Juniper Phyllis Nagy wrote the adapted screen- of that time period. If this had been shot Jones utilized in promoting Na- play based on Patricia Highsmith’s novel, digitally, the picture would have played tional Geographic Channel’s new “The Price of Salt.” much differently and not supported the season of Brain Games. Season 5 premieres on Feb. 14. Nagy scored an Oscar nomination for characters, their story and sense of place Past promos for Brain Games had focused, by-and-large, on camera tricks Carol as did Blanchett (for leading ac- nearly as well.” to promote the show. Juniper Jones was committed to thinking outside the tress), Mara (supporting actress), Sandy Lachman noted that Highsmith was a box and proposed comedy as one avenue. Although comedy generally falls Powell (costume design), Carter Burwell crime novelist and psychological writer pretty far outside the norm for Brain Games as a property, Nat Geo was open (original music score) and Ed Lachman, who delved into the subjective viewpoint to the idea, as long as the creative supported the endeavor. Once Dolph Lun- ASC (cinematography). of the criminal mind. “What Todd found dgren was on the table, Nat Geo jumped at the prospect. Carol marks Lachman’s second career interesting about ‘The Price of Salt’ was Nat Geo creative director Tyler Korba scripted a spot premised on Dolph as Oscar nomination, the first coming for that though the book wasn’t written in prisoner, trapped inside his own body and strength. Although his IQ is 160, Haynes’ Far from Heaven in 2003. The di- the crime milieu, it dealt with the subjec- he can’t function as a smart man because his powerful body keeps getting in rector and DP have collaborated on four tivity of the amorous mind,” said Lach- the way. Fortunately, Brain Games provides him with the perfect outlet. projects over the years, the others being man. “Love was in a sense the crime. It Juniper Jones exec creative director Kevin Robinson directed the promo. the feature I’m Not There and the HBO was a taboo love at that time. We see the miniseries Mildred Pierce. struggles of realizing that love against the ANA’s MARKETING WORD OF THE YEAR Lachman observed that Carol in a backdrop of the struggles of the times. Content marketing is the ANA’s (Association of National Advertisers) 2015 key respect was “kind of an outgrowth Yet ultimately both women come of age Marketing Word (actually, it’s two words) of the Year based on votes cast by of Mildred Pierce,” for which he earned through their love for each other.” 297 of its marketer members. Content marketing won, with programmatic nominations for the ASC Award and a (ANA’s 2014 Marketing Word of the Year), transparency, and storytelling plac- Best Cinematography Primetime Emmy. Amy ing close behind. This is the second consecutive year the ANA surveyed its “For Mildred Pierce Todd did not ref- It’s said that one discipline informs members to identify the Marketing Word of the Year. erence the cinematic language of the another. And for director Asif Kapadia, “The selection of content marketing as ANA Word of the Year wasn’t sur- 1940s, film noir or Hollywood melo- his narrative feature chops have certainly prising, as we’ve seen lots of interest throughout the year in various ANA drama. Instead the look came out of impacted his documentary filmmaking discussions and forums on the topic,” said Bill Duggan, ANA group EVP. trying to capture the reality of what that as reflected in Amy (A24 Films), which “Members are realizing that ‘content’ provides the means for engagement time was like. Similarly for Carol, we did earned an Oscar nomination as Best Fea- and ‘marketing’ is required to drive awareness of content—so the resulting not reference the cinematic language of ture Documentary just days after landing combination of ‘content marketing’ is powerful.” that time. Todd’s approach was to look at him his first career DGA Award nod. the cultural and social fabric back then. Amy peers into the life of Amy Wine- PEOPLE ON THE MOVE... Patricia Highsmith wrote the book in house, an extraordinarily gifted vocal- Animatics shop Animated Storyboards (ASB) has launched an office in Toron- 1949 and it was published in 1952. We ist and songwriter who died of alcohol to. Maria Hanafy will lead the new studio as managing director, along with didn’t want a romanticized view of New poisoning at the age of 27. Her story is four additional staffers. This marks the 10th office for ASB, with current shops York at that time. This wasn’t a time of made all the more poignant by Kapadia running in NY, Chicago, L,A., London, São Pau- optimism. It was more a retrenchment, a who rather than a typical talking heads lo, Bangkok, Tel Aviv, Düsseldorf and Shang- muted time between World War II and the approach has fashioned a documentary hai. Hanafy has nearly a decade of experience Eisenhower years. It was the beginning of that thrusts us into Winehouse’s life as in production, with a background ranging the Cold War, paranoia about McCarthy- if we are there and along for a first-hand from the agency to the production company, ism. We looked at art photographers and ride. Audio captured from Kapadia’s in- casting and post sides of the industry. After photojournalists whose work at the time terviews with assorted subjects serve as earning a degree in radio and TV from San showed a more lived-in idea of what that narration/voiceover which accompanies Francisco State University, she worked for lo- world was. That sense of place and pres- home and personal videos of Winehouse, cal cable stations, producing, shooting and ence of the time period fit in with the sto- performance footage, news coverage and Maria Hanafy editing on-air prom content. Shortly after, ry of Carol and Terese’s romance. Terese other relevant imagery. We see Wine- she landed a gig as a casting manager at Talent6, spending nearly two years feels an emotional isolation. Carol has a house’s budding talent, a stretch of career with the S.F.-based casting agency before shifting to the agency side as an as- certain hesitation about this relationship floundering between her first and second sociate producer at Publicis & Hal Riney where she handled radio and video with a younger woman—the cultural dif- albums, and then the attainment of fame production for clients including US Cellular, Hewlett-Packard and Walmart, ference, the age difference, the sacrifices which makes her prey to not only the tab- working with internal creative teams. In 2012, she returned to production that would have to be made.” loid media that relentlessly hounded her and post as an associate producer at Acme Posts/Hamady Productions be- This visual approach led to the deci- but also a number of people in her trusted fore joining ASB in 2013. Prior to spearheading the Toronto office, she pro- sion to shoot on Super 16mm film with inner circle who were preoccupied with duced projects for clients out of ASB’s NY and Chicago offices... the Arri 416 camera, using older lenses. cashing in on her talent, casting a blind “The grain structure of Super 16 refer- eye to the fact that she needed help. 10 SHOOT February 2016 ROAD TO OSCAR Kapadia Brings Narrative Approach To Documentary Amy Amy also delves thoughtfully into Kapadia’s incisive approach to Amy an eventful month for Kapadia, follow- spect, means everything.” Winehouse’s music, sharing lyrics she was first showcased in a prior docu- ing the Oscar and DGA noms. “I never This is the 13th in a multi-part series wrote that are akin to a diary. Wine- mentary he directed, Senna, which ex- thought it [Amy] would come this far,” with future installments of The Road house’s words reveal her life’s roadmap, plored the life of Formula One driver said Kapadia. “Three-and-a-half years of To Oscar slated to run in the weekly the triumphs, lost love and the downward Ayrton Senna. That film won the Audi- struggling to make the film, to gain the SHOOT>e.dition, The SHOOT Dailies spiral of substance abuse and addiction. ence Award and was nominated for the trust of others—there’s no way I would and on SHOOTonline.com. The series “My background is in narrative films,” Grand Jury Prize at the 2011 Sundance have predicted that this would result will appear weekly through the Academy related Kapadia whose early credits in- Film Festival. Fast forward to today and in an Academy Award nomination. It’s Awards which will be held on Feb. 28. (For cluded The Warrior, which in 2003 won Kapadia just returned to Sundance, this very gratifying. And for me the DGA info on SHOOT’s Academy Season “FYC BAFTA’s Alexander Korda Award for Best time with a narrative feature. (For more nomination is the ultimate honor. To Advertising” print, digital and email blast British Film. “Instinctive from my narra- on that film, see this week’s Sundance gain that kind of recognition from your marketing opportunities, visit http://www. tive background is telling a story from the feature story.) The Sundance gig caps peers, the people you look up to and re- shootonline.com/fyc) central character’s point of view, showing what he or she is experiencing and feeling, putting viewers right there in pivotal moments when key choices are made. I interview a lot of people for a documentary, get their informed opinions, what they UNIVERSAL STUDIOS saw and experienced. As a filmmaker I have to be invisible, to get under the skin of characters. I try to show the audience what a character is thinking. I show them. I don’t tell them. I do that when writing STAGES & BACKLOT and directing a narrative feature—as well as for a documentary. I let the characters tell the story.” However, attaining that for Amy proved to be a major challenge. “Building up trust in people to talk openly about Amy’s life was difficult,” said Kapadia. “They had seen what the press had done to her and there was an understandable distrust of journalists, the media, paparaz- zi. No one wanted to be a part of the film at first. There was so much pain around Amy. People didn’t want to relive that pain. So we had to give them time. This film was about three-and-a-half years in the making as we slowly built trust and relationships over time.” Ultimately through that trust we meet in Winehouse a consummate art- SCOUT OUR ist who might have flourished without pop music fame and all the baggage SOUND STAGES that went with it. While her career sky- rocketed with the breakout hit “Rehab,” AND deep down the music she felt the most Featuring kinship to was jazz. Winehouse had BACKLOT LOCATIONS the stylings and creative sensibilities of a jazz vet and among her childhood idols was Tony Bennett. We see her in a recording session with Bennett and after a slightly rocky start, she finds the DOWNLOAD FROM filmmakersdestination.com rhythm and is clearly happy performing APPLE APP STORE AND with him in a soulful rendition of “Body GOOGLE PLAY STORE 818.777.3000 800.892.1979 Find Us and Soul.” This was just a few months before her sudden death. February 2016 SHOOT 11 Universal Studios_Stages & Backlot Ad_Shoot_1.17.14 SUNDANCE Photo by Leslie Hassler Leslie by Photo Asif Kapadia Ali & Nino Jeff Feuerzeig Jim Hosking Many Happy Returns: Filmmakers Premiere Again At Fest Directors Kapadia, Feuerzeig, Hosking come back to Sundance; Park Pics’ perfect attendance

By Robert Goldrich nomination for Amy just a couple of days the Grand Jury Prize in the Documen- way the first time I had a documentary at Director Asif Kapadia is a double threat on after that film scored a Best Feature Doc- tary Competition. The film was a multi- Sundance. For me nonfiction film is the last the festival circuit, scoring in recent years umentary Oscar nod. Amy is a moving dimensional portrait of manic-depressive vestige of true independent filmmaking. on the narrative feature and documentary exploration of songwriter/vocalist Amy genius singer/songwriter/artist Johnston. Sundance to me represents the place to be fronts. On the latter score, his first film to Winehouse’s life. Winehouse died from This year Feuerzeig returned to Sun- if you’re pushing the envelope in the non- make the Sundance grade came in 2011 alcohol poisoning in 2011 at the age of 27. dance with Author: The JT LeRoy Story, fiction genre. My biggest influence in terms when Senna, which examined the life of “I was doing two films at the same one of 16 world premieres selected for the of pushing the envelope has been the New legendary Formula One driver Ayrton time,” related Kapadia. “As I was finish- U.S. Documentary Competition. This film Journalism of the 1960s, people like Tom Senna, went on to win the festival’s Audi- ing Amy, I was deeply into Ali & Nino, a is billed as being the definitive look inside Wolfe, Gay Talese and Terry Southern. ence Award in the World Cinema—Docu- Romeo and Juliet-type story set around the mysterious case of 16-year-old literary They told about the subjective truth, im- mentary competition while also being the time of World War I. To get the DGA sensation JT LeRoy. It turns out the cel- mersing themselves in their stories.” nominated for the Grand Jury Prize. recognition and the Oscar nomination for ebrated novelist was fictional, created by Feuerzeig recalled that winning the Fast forward to today and Kapadia’s Amy just before coming to Sundance for American author Laura Albert. Directing Award at Sundance 11 years ago narrative feature, the politically charged the second time to debut Ali & Nino has Feuerzeig found himself fascinated “in many ways put me on the map,” help- love story Ali & Nino, recently made its been beyond belief.” with the story. “It was called the largest lit- ing to meaningfully diversify beyond his world premiere in the Sundance Pre- Kapadia’s roots are in narrative fea- erary hoax of our time a while back with mainstay, still ongoing comercialmaking mieres section. With a cast that includes ture filmmaking as reflected in his early The New York Times, Rolling Stone, Van- endeavors for which he is represented Adam Bakri, Maria Valverde, Mandy career effort The Warrior, which in 2003 ity Fair and Salon.com covering the story. by Caviar Content. “Sundance helped Patinkin, Connie Nielsen and Riccardo won BAFTA’s Alexander Korda Award The New York Times exposed the identity launch the other side of my career which Scamarcio, Ali & Nino, a U.K. entry, in- for Best British Film, additionally earn- of the actual writer back in 2005 or ‘06. is screenwriting and making more films.” troduces us to the title characters who ing him as its director/co-writer BAFTA’s But through everything, there seemed to And further diversification is in the are upper class teens living in the Rus- Carl Foreman Award for the Most Promis- be one missing voice—that of the writer offing as Feuerzeig as a screenwriter is sian province of Azerbaijan just prior to ing Newcomer. of the books. She was absent from all the turning out his first narrative feature, the outbreak of World War I. He is Mus- In several key respects Kapadia has stories that were ultimately about here. The Bleeder starring Liev Schreiber and lim and she is Christian but despite their applied his narrative feature filmmaking I thought to myself, ‘That’s the person Naomi Watts, and directed by Philippe cultural differences, they love each other sensibilities to his documentary endeav- whose story I would like to hear.’ I wanted Falardeau. The film is based on a Feuer- and get married much to the chagrin of ors, an approach which helped both Sen- to hear the one voice we hadn’t heard zeig-directed ESPN 30 for 30 documenta- disapproving parents. When Ali takes her na and Amy to resonate with audiences. from. I sought out Laura Albert.” ry, The Real Rocky, which tells the story of to spend several months in Persia, she (See this week’s installment of The Road The biggest challenge Author: The JT underdog boxer Chuck Wepner who went realizes how much her freedom is being To Oscar for more insights into Amy and LeRoy Story posed to him, said Feuerzeig, the distance in a bout against Muhammad constrained. The clash between East and the impact of a narrative feature approach was rooted “in the complexity of the story. Ali and helped inspire the creation of the West and between traditional Muslim life to documentary filmmaking). Once I started getting deeper into it, I felt famed Rocky Balboa character. Schreiber and the 20th century independence of like this was the strangest story about a stars as Wepner in The Bleeder. her upbringing is very striking. Then the Jeff Feuerzeig story I had ever heard. The challenge was Great War breaks out, and things take a Another Sundance returnee is director to first understand it for myself and then to Jim Hosking turn for the worse. Jeff Feuerzeig who made his first mark be able to structure the film so that the au- Jim Hosking, another director active Kapadia’s return to Sundance capped at the festival back in 2005 when his dience could also follow the story.” in commercialmaking—repped in the U.S. an eventful month of January, which The Devil and Daniel Johnston won the For Feuerzeig, having his film selected and U.K. by production house Hungry saw him score his first career DGA award Directing Award and was nominated for for Sundance is gratifying. “I felt the same Man—also brought a film to Sundance for 12 SHOOT February 2016 SUNDANCE

2003, Crabs which between Park Pictures and Gettin’ Rad Wing), June Squibb (Nebraska, About premiered at the Productions, was tabbed to open the Schmidt), Maude Apatow (Girls), Madisen London Short Film 2016 Sundance Film Festival, it contin- Beaty and Zach Woods (In the Loop, The Festival in 2012, the ued a winning streak for Park’s features Other Guys, Spy). “G is for Grandad” division, headed by Sam Bisbee, Jacque- Other People centers on a struggling segment in ABCs line Kelman Bisbee and Lance Acord. comedy writer, fresh from breaking up of Death 2 in 2014) A sister shop to spot production house with his boyfriend, who moves to Sacra- and assorted spots. Park Pictures, the feature operation has mento to help his sick mother. Living with Hosking noted produced five films—all of which were his conservative father and younger sisters, that his commer- selected for Sundance. The four prior our protagonist David feels like a stranger cialmaking experi- films are The New Tenants (2009, a live in his childhood home. As his mother The Greasy Strangler ence has informed action short which went on to win an worsens, he tries to convince everyone (in- the second time. The first was his short his longer form film work, with their Oscar), and the features Robot & Frank cluding himself) he’s “doing okay.” Renegades which screened at Sundance sharing a common bond. “I like to tell (2012), Infinitely Polar Bear (2014) and Other People was produced by Adam in 2010. Now Hosking’s first feature- stories through the characters and their God’s Pocket (2014). Scott and Naomi Scott of Gettin’ Rad, and length film, The Greasy Strangler, just personalities. Even if I’m making five sec- Written and directed by Chris Kelly Park Pictures’ Sam Bisbee. EPs include debuted in Sundance’s Midnight section. ond spots like I did back in the day, I want (a supervising writer on Saturday Night Park’s Acord and Kelman Bisbee along Hosking who not only directed but also the characters to be interesting, to feel Live, and a consulting producer on Com- with co-producers Theodora Dunlap, Cody co-wrote (with Toby Harvard) The Greasy well rounded and real. Even if they’re on edy Central’s Broad City), Other People Ryder and Claire Beitcher. Other People is Strangler, describes it as “a peculiar comedy, screen for two seconds, these characters stars Jesse Plemons (Breaking Bad, Fargo, keeping good company in that Sundance’s depicting a weird love triangle involving a should feel like they could live outside Friday Night Lights), Molly Shannon (Me opening night slot has recently featured father and son and a girl they meet. There’s those few seconds or even beyond the 30 and Earl and the Dying Girl, Saturday breakthrough films such as Whiplash and some strangling as well. It’s really quite an ex- second commercial during which you see Night Live), Bradley Whitford (The West What Happened, Miss Simone? perimental film that I wanted to be funny in them. That is where comedy and human- an alarming, borderline grotesque way.” ity lies—in the characters.” The cast includes Michael St. Michaels, In the ad arena, Hosking first estab- Sky Elobar and Elizabeth De Razzo. lished himself on the agency side of the Setting out to make a film that could business, serving as a copywriter at HHCL not easily be categorized, Hosking wasn’t and then Mother, both in London. He sure how The Greasy Strangler would went on to MTV’s on-air promotions de- be received by Sundance officials. Yet in partment in New York where he got the retrospect he concedes that the festival’s opportunity to continue to be active as a Midnight program was a categorical fit creative while directing select projects. for his film. Sundance’s Midnight fare is Hosking later decided to focus full time billed as anything from horror flicks to on a directorial career, returning to Lon- comedies to works that defy any genre— don where he joined Partizan at the end unruly cult status-contending films that of 2000. He moved onto such roosts as will keep viewers on the edge of their Skunk in the U.S. and Stink in the U.K., seats and wide awake. eventually landing at Hungry Man in 2012. Hosking’s filmography over the years includes notable shorts (i.e., Litle Clumps Park Pictures’ perfection of Hair which premiered on the BBC in When Other People, a co-production

Other People February 2016 SHOOT 13 CREATIVE/PRODUCTION INDUSTRY SURVEY

A Tale Of Television’s Two Golden Ages

We are in the midst of what’s generally regarded as a Golden Age ties, including live TV of yesteryear having as its counterpart History’s lessons; of Television with content creation opportunities across multiple today live productions of The Sound of Music, Peter Pan and The platforms attracting marquee talent, big ticket writers, directors Wiz Live on NBC and Grease: Live on Fox. And then there’s the promise of the and actors, including feature artisans who earlier in their careers that matter of sponsors being woven into programming as the would have resisted the small screen. However, this isn’t TV’s Philco, Westinghouse, Kraft and Chevrolet references in our future; brand and first Golden era as historians have chronicled a stretch from the opening paragraph attest. Brands today are grappling with ways late 1940s through 1960 as extraordinary, starting with the likes to make their way into existing programming, have created their Empire building of The Philco Television Playhouse, Westinghouse Studio One, own online channels, and are becoming increasingly active in Kraft Television Theatre, generating original content A SHOOT Staff ReportWThe Chevrolet Tele-Theatre, beyond commercials. innovations such as the tel- At the same time, today’s ecast of the stage produc- brand, advertiser and agen- tion of Mary Martin in Peter cy efforts also underscore Pan, and brilliant teleplays a profound difference be- by Paddy Chayefsky, Horton tween the two Golden Ages. Foote, Reginald Rose, Rod The first era had a limited Serling and others brought number of outlets, defined into people’s homes. for decades by the big three Both Golden Ages are in a networks of CBS, NBC and sense bookends for SHOOT ABC. Now in sharp contrast which now celebrates its there are assorted platforms 55th anniversary. The first spanning broadcast, cable, Golden era was winding satellite, online and mobile. down when SHOOT first hit Many of these platforms are the scene. And SHOOT has sans advertising or at least since broadened its cover- not ad friendly, accentuat- age over the years, serving ing arguably the biggest as a predictor of—and chron- difference between the two icling—the media, creative Golden eras—the push/pull and production dynamics dynamic. From top right, clockwise: that have helped to bring When the Big Three Lee Daniels; Anne-Marie Mackay; about today’s Golden Age while casting a thoughtful eye as to ad-supported networks were the only game in town, a captive a scene from the hit Fox primetime what is in store for the entertainment and advertising sectors as audience had to “endure” commercials, good and bad, that TV series Empire they come closer together in the years to come. were pushed at them. Now, though, viewers can push back, em- On the occasion of turning 55, SHOOT seeks insights from powered to choose what they see and when they see it, zapping the industry at large but first here’s some food for thought as to commercials or seeking outlets that don’t run spots. Thus it’s in- where we’ve been, where we are and where we’re headed. cumbent upon agencies and brands to create content—commer- To be sure, the two Golden Ages of Television share similari- cials and otherwise—that is relevant and of entertainment value 14 SHOOT February 2016 CREATIVE/PRODUCTION INDUSTRY SURVEY

in order to pull, elicit and earn attention screened. Immediately after, during the observed Mackay. “Pepsi is very music all turned out to be a great experience, from prospective consumers. actual Fox network commercial break, the driven so it was a natural storyline to show different than that of some of my friends Daniels-helmed Pepsi spot is again shown. that part of marking a pop music artist who tried out commercial directing. They Empire The backstory that brought produc- coming of age would be a Pepsi commer- told me it would be like ants all over a Successfully connecting with consum- tion house Wondros into the equation cial, with a brand lineage that included sugar cube—different people giving you ers through content requires that brands dates back some 18 months when com- commercials with Michael Jackson, Ma- notes, telling you to do this or that. But maintain a delicate balance of art and pany founder Jesse Dylan directed and donna, Beyonce. Making Lee the director when I got into it, there weren’t any notes. commerce, a prime recent example being interviewed Daniels for a documentary of the commercial, bringing him into the It was a unique and fun experience.” a mesh of advertising and entertainment about Sundance for Robert Redford. plot to make Jussie the voice of Pepsi also For his first foray into commercial di- that emerged during this past season of Daniels and Dylan connected, resulting felt right. And Lee immediately went with recting, Daniels said that Mackay and Dy- Empire, Fox’s hit primetime series. Fox in what Wondros chief creative officer the idea of Jussie’s character arguing with lan provided a bit of a comfort level. “I’m joint ventured with Pepsi, BBDO New Anne-Marie Mackay described as “a very his father, wanting to be his own man and always interested in working with people York and the content creation studio Won- speculative kind of discussion about Lee to tie his music into Pepsi.” I like, surrounding myself with people I dros to create and then integrate a piece directing commercials. We decided that if Mackay noted that making the com- connect with.” At the same time, Daniels of TV advertising into the plot of Empire. anything came up we felt was suited for mercial was “a big learning curve for Lee observed that it felt “odd being directed Series creator Lee Daniels said it was Lee, we would reach out to him. In the who ultimately embraced the idea of be- by a director” during his guest starring paramount that the fit be “natural and not meantime, Lee asked me to get involved ing able to tell a story in such a short pe- stint in the “Sinned Against” episode of forced.” Daniels wound up playing him- in a Timbaland project with him, writing riod of time. It was a wonderful journey Empire, which was helmed by Paul Mc- self in the series, directing a commercial a script for a short film that embodied for both of us.” Crane. The other two episodes in the Pep- that was woven into the fabric of Empire. Timbaland’s music and creative spirit.” That journey was made through pro- si story arc were directed by Sanaa Hamri. This entailed far more than inserting a During that collaboration, Mackay said duction house Pony Show Entertain- Mackay observed that the Empire ini- spot into an episode; rather, a story was she and Daniels bonded further, resulting ment, a Wondros sister shop well versed tiative reflects how producers, creatives told over the arc of three episodes, begin- in a fortuitous phone call that the Empire in working with feature and TV directors and brands need to think outside the box ning with the installment that debuted creator made to her when she was work- on commercials and branded content. and to be open to exploring “new fron- on Nov. 18, 2015. In this initial episode, ing at the Wondros office late one evening. Mackay exec produced the spot. tiers” in order to properly connect with entertainment impresario Lucious Lyon’s He asked her to come to the Four Seasons Daniels said he had some trepidation viewers and cogently bring together the son Jamal (portrayed by Jussie Smollett) is Hotel in L.A. immediately because he had going in. “I always like doing things that worlds of advertising and entertainment. building momentum as a pop star, taking some Pepsi people there who said they are sort of scary—like getting into TV. I a meeting with Pepsi execs to discuss be- knew her. Indeed Mackay consulted for don’t like working in a safe zone. I was ter- VR coming the face of the brand. He comes Pepsi before joining Wondros and her rified when I first embarked on Empire. It Among those new frontiers is vir- up with a fresh new track (which was ac- commercialmaking exploits in years past was something so new to me. It was just tual reality, and the ad community has tually created by producer Swizz Beatz) saw her work with Pepsi and BBDO on like after years of doing theater I found stepped up its involvement in that disci- to make his case for being the ideal Pepsi multiple occasions. The Four Seasons the prospect of jumping into film to be pline. Goodby Silverstein & Partners for spokesman, wowing the soft drink maker. Hotel meeting got the ball rolling. terrifying. In the case of this Pepsi project, example has created an imaginative VR The following episode shows the film- Mackay found herself as a common I had to get over the fear of playing my- experience called “Dreams of Dali,” part ing of Jamal’s Pepsi spot being directed bond/intermediary with ties to Pepsi, self in the series. And then came the hard of The Dali Museum exhibition “Disney by the Oscar and DGA Award-nominat- BBDO and Daniels that helped her to part of directing a commercial. It’s hard and Dali: Architects of the Imagination.” ed (Precious) filmmaker Daniels. The facilitate what blossomed into a fruitful to tell a story in the flash of an eye. Again, “Dreams of Dali” takes viewers inside the next installment of Empire places us at a Empire/Pepsi collaboration. “It all had to though, I don’t like working unless I’m mind of the legendary surrealist Salvador press conference during which the ad is feel organic in order to work properly,” afraid of failing. It’s a great motivator. It Continued on page 16

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February 2016 SHOOT 15 CREATIVE/PRODUCTION INDUSTRY SURVEY Virtual Reality Among Emerging Opportunities For The Continued from page 15 moviegoers to put themselves inside an bies across North America and abroad. novation Lab, RSA Films, and The VR Dali by transporting them into one of his action-packed scene from the movie. The Goosebumps VR Adventure was also Company. Executive produced by Scott early paintings, “Archeological Reminis- MPC Creative produced the shoot and part of Technicolor’s exhibit at CES. and directed by Robert Stromberg, this cence of Millet’s ‘Angelus’” (1935). creative directed alongside Rob Letter- CES too was the venue at which The interactive, immersive adventure runs 15 As covered in this week’s VES Awards man (director of the Goosebumps movie). Martian VR Experience—inspired by the to 20 minutes with viewers getting the focus, visual effects house MPC turned MPC Creative also managed key aspects Ridley Scott-directed feature film The chance to perform tasks as Watney strives out 700-plus visual effects shots, the title of the roll out to the public—the team cre- Martian—was unveiled, featuring a set of to survive, buying time for his rescue. sequence and the VR adventure for the ated a custom Goosebumps VR app that episodic first-person adventures from the Viewers can fly onto the surface of Mars, movie Goosebumps, based on the best- housed the content which was loaded and perspective of astronaut Mark Watney steer at zero gravity through space, drive selling series of children’s horror books quality controlled onto 30-plus Samsung (Matt Damon’s character in The Martian). a rover and experience other key scenes authored by R.L. Stine. The VES-nomi- Gear VR Headsets. The project lived as The VR project springs from a partner- from the hit film in a 360-degree VR en- nated virtual reality experience enabled an installation piece in movie theater lob- ship among 20th Century Fox, Fox In- vironment. The Martian VR Experience will be available across tethered VR platforms in 2016. Creating the sound for The Martian VR Experience was Drazen Bosnjak, CCO of Q Department (well known in the commercialmaking community) and its new VR sound technology company called Mach 1. Also showcased at the Sundance Film Festival, The Martian VR Experi- ence represents Fox Innovation Lab’s first major commercial endeavor in virtual reality. The Lab brought Wild—The Expe- rience (based on the feature Wild) to last year’s CES as a proof of concept. Sundance too reflects an evolving landscape. This year its New Frontier section showcased some 30 VR projects.

Perspectives To gain perspectives now that SHOOT has reached year 55, we sought feedback from a select group of industry execs relative to lessons learned from the past, where we are today, the promise of the future, and the daunting challenge of meshing art and commerce as well as entertainment and advertising. We posed the following survey questions: 1) What industry developments and/or whose work over the years has had the greatest positive influence on you? 2) What change(s) in the business do you love and why? And, what change(s) in the business do you dislike and why? 3) How has your role evolved over the years? What do you like most about that evolution? What do you like least? 4) What lessons learned over the years carry the most relevance for your career and business today and in planning for the future? 5) Looking towards the future, 16 SHOOT February 2016 CREATIVE/PRODUCTION INDUSTRY SURVEY Entertainment And Advertising Communities what are the most pressing ques- Andy Azula tions for which you are seeking an- Executive Creative Director swers as you look to evolve your ca- The Martin Agency reer and your company? Responses 7) I predict a lot of change – that’s the safe answer. But that is what is so exciting about it. We are constantly being challenged by can span such sectors as the econ- not just how to use new technology but how to make it work for the companies we are partnered with. I see our agency continuing omy, business, creative, technologi- to be a content shop that covers existing and emerging media. I see businesses continuing to find new ways to have bigger voices cal, media. to a more and more refined target audience. And somewhere in there lies the next brilliant award winning work. 6) What’s your New Year’s reso- lution, creatively speaking and/ Mark Benson or from a business standpoint, for CEO your own company and/or as an MPC individual? 1) The development of technology has had the most profound effect on our business, and the opportunity for our creative, 7) While it’s always precarious to technology and production talent to deliver increasingly remarkable images for our clients. Work that continues to tell stories predict the future, in your informed in evermore creative and imaginative ways. From the craft of photoreal CG creatures, to high-tech VFX techniques, from highly opinion what do you envision for sophisticated interactive capability, to the mind-blowing immersive content of VR experiences. the industry—creatively speaking and/or from a business standpoint— Don Block in 2016? Owner/Executive Producer We asked each respondent to answer GARTNER at least two of the questions. Here are 2) I have a love/hate relationship with the sense that all of the walls have come down in the industry. The walls between industry excerpts from feedback we received. Full verticals, the walls between markets where talent can be accessed, the walls between who does creative, production and post. This responses can be found on SHOOTonline new flat world environment creates great new challenges as well as great new opportunities. The challenge and opportunity is how and in the SHOOT>e.dition. to create new enterprises that maximize all of the new possibilities. Continued on page 18

February 2016 SHOOT 17 CREATIVE/PRODUCTION INDUSTRY SURVEY Observations From Agency Creatives, Prod’n. Execs Continued from page 17

Sean Bryan Chief Creative Officer, McCann New York 2) I love the explosion of ways in which we can help brands communicate with consumers. We’re no longer talking at consumers, we’re having a dialog, including through social media and real life experiences. We’re able to build relevance for our brands in popular culture and in people’s lives. Even the old tools of advertising are being reimagined, for instance long form versions of spots created for broadcast now contribute ongoing online impact and conversations. What bothers me is the disappearance of time for craft. Superb technology’s downside is crushed timelines. When expectations are super fast-tracked what’s often lost is the time to craft, the time to come up with the truly original, the stunningly unexpected.

Jon Collins Global President of Integrated Advertising, Framestore 4) Showing the most courage in times of success and taking chances when things are going well is the best way to ensure that you will lead, not follow. Having been in the industry for more than thirty years, I have seen many cycles, and one of the most apparent is that creativity tends to thrive at the point at which the green shoots of recovery emerge from the ashes of economic recession. After a period of consolidation, creative complacency follows. Then, as the next inevitable economic downturn arrives, there’s an air of panic, followed by the desperate attempt to cling onto the status quo. The cycle of creativity comes after the realization that the inability to change will profoundly affect your business.

Karen Costello EVP, Executive Creative Director Deutsch LA 1) I am incredibly inspired by the rise and success of companies and brands that are cause related, mission based or just willing to put doing good into their bottom line. I am so pas- sionately convinced in our ability as humans to creatively solve some of the world’s problems both big and small and I have seen great movement in companies not only using their profits for good, but working to improve the sustainability of their businesses, address the human toll that is involved in the making of their products and using the scale and power they have as companies to actually affect positive change.

Andreas Dahlqvist Chief Creative Officer Grey New York 2) I really like the fact that it’s less about sending the perfect message and more about putting an action behind your brand promise. With social and digital media as the amplifier, marketers really need to make stuff that’s worthwhile for people. Stuff that’s additive rather than interruptive. It’s about asking how the marketing can add value. Why anyone would care or share. It’s still about getting brands into pop culture and into the conversation but we have more tools than ever to do that and we need to work harder to earn our place at that proverbial water cooler. The key words being ‘to earn’ in all media at the moment.

Phillip Detchmendy Executive Producer RSA Films 7) All of the projects we do are going to continue to be more and more under the microscope and have to do a lot of work for the brand. Not that there were ever throwaway jobs, but now all eyes are on everything. I think we are going to see an increasing trend where there are the larger, more normally funded projects, and then many smaller ones. This is also the year that VR will increasingly come into it’s own in storytelling and advertising. Our recently released The Martian VR Experience is a prime example of this. Marketing money will continue to grow, but how it is spent will change. Continued on page 29

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& The SHOOT Publicity Wire to keep abreast of the latest commercial and entertainment production and post of Fox courtesy Image Searchlight Pictures DGA The Road Awards To Oscar Preview The Art of Collaboration on Birdman, The Grand Budapest Hotel, Boyhood, industry news, new work, talent, techniques, tools, applications, locations, award shows, festivals & events. 21 Virunga and Interstellar 4 photo credit: Bronze,”“The photo by Scott Henrikson Sundance Film Market your company via SHOOT’s digital and print platforms to let decision-makers at Production, Editorial, Festival 25

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18 SHOOT February 2016 CHAT ROOM David O. Russell Director/writer/producer brings a fable feel to the real-life story of inventor Joy Mangano

By Robert Goldrich which is based on the story of Joy Mangano, Miracle Mop inven- David O. Russell is a five-time Oscar nominee and has been nom- tor and home shopping entrepreneur. inated twice for the DGA Award (The Fighter in 2011 and Ameri- We see Joy, who’s portrayed by Lawrence, go from girlhood can Hustle in 2014). The Oscar nominations were for Best Achieve- dreams marked by innovation and invention to a less than in- ment in Directing for The Fighter in 2011, Silver Linings Playbook in spired adulthood mired in the mundane as well as responsibili- 2013 and American Hustle in 2014, with a Best Adapted Screenplay ties tending to her dysfunctional family. However, she regains her nod for Silver Linings Playbook, and a Best Original Screenplay nom inventive, entrepreneurial spark and battles the odds—including (shared with Eric Warren Singer) for American Hustle. betrayal and the brutal world of commerce—to create a success- Russell has directed actors to a total of 11 Oscar nominations ful business which is a testament to the power of individual drive and three Oscar wins spanning The Fighter, Silver Linings Playbook and enterprise. Her life story has elements of emotion, comedy, and American Hustle. Now adding a 12th acting nomination to adversity, perseverance and joy, with much of the experience, for the Oscar tally is Joy for which Jennifer Lawrence is up for Best better and worse, centered on her family. Leading Actress. The Joy cast also includes Robert De Niro, Bradley Cooper, Ed- Russell not only directed Joy but also penned the screenplay gar Ramirez, Isabella Rossellini, Diane Ladd and Virginia Madsen.

SHOOT: What was the biggest creative chal- with harsh unforgiving stuff that could be she. From The Fighter to Silver Linings lenge that Joy posed to you as a filmmaker? in a Western almost. We wanted to frame Playbook to American Hustle to now things more classically, referencing the Joy—Judy’s fingerprints are across them Russell: To take someone with more of a work of artists such as [realist painter and all, from the wallpaper to designs, delicate quiet strength and do justice to her story. printmaker] Edward Hopper. We went for patterns on walls, fixtures. She creates a To create the world around her of women framing like you’d see in a play, defining multi-layered world that feels lived in but and men that was filled with enchant- the isolation of a character within that also enchanting. She heightens the world ment as well as harsh reality—and to cover frame. Linus and I discussed ideas for but it remains real. She can create a feel all this terrain in 47 days [of shooting]. To backlighting and shadows, suggesting a to an environment that is part of the very create a world that was magic. It’s a big classical approach which would bring a fabric of the story. world in many ways. timeless feel to the imagery. That meant As for Shelley, she was one of the first locations and framing that had to be de- people I met when I started preparing for SHOOT: Among those you collaborated fined in a way that reminded us of those The Fighter, which started a whole new with to create this world was cinematog- great films from the 1940s and ‘50s to tell chapter of filmmaking for me. We met in rapher Linus Sandgren whom you first this story about a woman who has a quiet New York. She came up from Baltimore worked with on American Hustle. power, who is warm yet fierce. We wanted on the train. We sat, had coffee, talked to honor her character and her story. for a long time. From that sprung a won- Russell: Linus takes every shot person- derful collaborative relationship—on The ally. He has an amazing passion and is SHOOT: Your collaborative relationship Fighter, then Silver Linings Playbook, truly becoming one of our greatest cin- goes back even further with such artists as and American Hustle. Joy is our fourth ematographers. We wanted Joy’s story to production designer Judy Becker and first film together. We spend so much time to- be inspirational, a real yet magical story assistant director Michele (“Shelley”) Ziegler gether making films, there’s a closeness about childhood and dreams but also who also served as a co-producer on Joy. that develops. We’re friends. Shelley’s family and my family are close. “Linus [Sandgren] takes Russell: We’re like a music band that’s Shelley is like my right hand. She is a been together for a long time. I’m ex- remarkable filmmaker. We work together every shot personally. He tremely proud of Judy. Our relationship kind of like a Navy Seal team. She has a has an amazing passion is four movies deep and she helps to big heart, is excited about cinema and create cinema that is about people—not shares the vision for a movie like her own. and is truly becoming personal effects. She captures people and We truly make movies together. She helps one of our greatest their worlds. She can repurpose locations, put the boots on the ground, to put ten make them work to be other cities. I be- pounds into a five-pound bag, to make

Photo courtesy of Twentieth Century Fox Twentieth courtesyPhoto of cinematographers.” lieve in the magic of movies and so does the impossible possible. February 2016 SHOOT 19 DGA AWARDS First-Time Nominees Shed Light On Their Work The long and short of it: Reflections from feature and commercial directors By Robert Goldrich Photo by Miller by Mobley/courtesy Pictures Photo of Paramount

You never forget your first time. It’s a uni- for Outstanding Achievement in Com- the DGA Award in 2009. versal adage that also applies to earning a mercials for P&G’s “Best Job” in 2012. SHOOT connected with Cabral, Jay, coveted Directors Guild of America (DGA) On the commercials front, the four Nilsson and Rogers shortly after they Award nomination. And first-timers were first-timers this year are: Juan Cabral of were named DGA nominees. Rogers said prevalent in this year’s field of DGA Award MJZ for Ikea’s “Monkeys” out of Mother, of his first career nomination, “Being rec- nominees, accounting for three of the five London, and Lurpak’s “Freestyle” from ognized by the DGA is important for any directors vying for Outstanding Achieve- Wieden+Kennedy, London; Miles Jay director, irrespective of what form you are ment in Feature Film and four of the five of Smuggler for ESPN/AT&T’s “It Can working in. It’s a big deal. More than any- in the Commercials category. Wait” out of ESPN Creative Works; An- thing it validates the decisions you make The feature directors breaking into dreas Nilsson of Biscuit Filmworks for each day, the choices you take, the things Ythe DGA circle of nominees are: Tom Mc- the Comcast/Xfinity spot “Emily’s Oz” you leave in, leave out. It affirms that Carthy for Spotlight (Open Road Films); via Goodby, Silverstein & Partners, New something you are doing is heading in the Adam McKay for The Big Short (Para- York, GE’s “Time Upon A Once” for right direction whatever that may be. You mount Pictures); and George Miller for BBDO NY, and Old Spice’s “Dad Song” don’t do it because of these things, but Mad Max: Fury Road (Warner Bros.). from Wieden+Kennedy, Portland, Ore.; these things give you the confidence to Joining them are a pair of four-time nom- and Steve Rogers, also of Biscuit, for Nike go further and be able to make decisions inees: Alejandro G. Iñárritu for The Reve- Golf’s “Ripple” and Nike’s “Snow Day,” with greater certainty—and certainty, or nant (Twentieth Century Fox), and Ridley both out of Wieden+Kennedy, Portland. the illusion of it, is definitely reassuring.” From top left, clockwise: Miles Scott for The Martian (Twentieth Century The remaining DGA spot finalist is Regarding the biggest creative chal- Jay; Andreas Nilsson; a scene from Fox). Scott was previously nominated for Tom Kuntz of MJZ who has six career lenges posed to him by Nike Golf’s the “Emily’s Oz” spot for Comcast/ Thelma and Louise in 1991, Gladiator DGA noms. This time around, Kuntz is “Ripple,” which delves into the life of star Xfinity; Juan Cabral; Steve Rogers; in 2000 and Black Hawk Down in 2001. in the running for Old Spice’s “So It Be- golfer Rory McIlroy, and Nike’s “Snow Tom McCarthy; and Adam McKay. Iñárritu won the DGA Award in 2014 for gins” from Wieden+Kennedy, Portland, Day” in which famed athletes and celebs Birdman or (The Unexpected Virtue of Ig- Heineken’s “The Chase” for Wieden have a play day, Rogers observed, “The norance). He was also nominated for Ba- in Amsterdam, and Clash of Clans’ “Re- thing about these two projects, irrespec- bel in 2006. Iñárritu won the DGA Award venge” out of Barton F. Graf, NY. He won tive of the fact that they are both for the 20 SHOOT February 2016 DGA AWARDS

same brand, was how different they were. shooting fiction stuff that seems so real me it was the DGA Award and explained synch to the song. Next time Old Spice ‘Ripple’ required a lot of research, of delv- that it has a documentary feel.” what it means. It’s very special, something should do a song in Czech and shoot it in ing into the McIlroy history, of retracing Jay noted that a key to telling Cleaves’ I feel good about. I haven’t fully processed LA with American actors.” the places and people and experiences story was going initially with a misdirect. “We it yet but it kind of affirms that I’m okay at And Nilsson’s GE spot shows the vir- that Rory had. We had access to his family see this kid who is an underdog. We see him what I do and to keep on doing it.” tues of looking at challenges from a dif- and friends and the actual places where working so hard to better his life. At first it For Biscuit’s Nilsson, selecting the ferent perspective—hence the title “Time he grew up in Northern Ireland which feels like a sports genre story about attaining commercials to enter into the DGA com- Upon a Once.” This off-kilter POV, such certainly helped so that we didn’t have to a dream, in this case a college scholarship, petition involved “a simple method: send as being upside down to view situations cheat things. It was actually a wonderfully through effort and perseverance. Then it’s in the three spots that I liked the most differently, has been embraced by GE enjoyable experience in a great town with all swiped from him in a brief moment. But and was creatively and technically most to spur innovation, and is humorously great people who all believed that it could we don’t center on that moment. A lot of pleased with from last year.” depicted. Nilsson said of the piece, “It’s be good. ‘Snow Day’ was a totally differ- these anti-texting while driving campaigns One of those entries, “Emily’s Oz” for mostly all in-camera and we tried to make ent beast, a behemoth that required me spend so much time on the crash. Things Comcast/Xfinity, illustrates what a blind it as simple as possible. But when playing to put aside my aversion to shooting on build toward the crash. What really means person sees in her head when she “watch- with wires like this, there is almost the stage. The difficulty with that particular everything, though, is everything before and es” her favorite movie. The :60 brings to human element that sometimes becomes piece was shooting an Eastern winter in after the crash. That’s where you uncover life The Wizard of Oz according to Emily, tricky. It’s easier for actors to do their L.A. in July. I also wanted it in camera, the human story.” a seven-year-old girl who was born blind. work when they are not hanging upside which resulted in us constructing an en- To be recognized by the DGA, your We see her vision of what such iconic down. I guess that’s a rule that can be ap- tire working class, suburban street over peers, for telling that story is both flatter- characters as the Tin Man looks like, the plied on any kind of profession.” three stages. We needed to be ready to ing and humbling, said Jay. Cowardly Lion, the Scarecrow and Doro- Regarding the DGA nomination, Nils- shoot in any direction at any time because MJZ’s Cabral takes us to the kitchen thy herself. Featuring a voiceover by Rob- son shared, “For commercials there are a of the availability of the athletes, which in his two DGA entries. Lurpak’s “Free- ert Redford, the spot promotes Comcast/ few awards that really make a difference meant that we had to be ready, with every style” is a combination of food and mu- Xfinity’s accessibility services, including a and this is definitely one of them. This is set, from the get go. Obviously the avail- sic. “My treatment was Jimi Hendrix in talking guide created so that the visually an award that has a great history and one ability of athletes is an issue with this type the kitchen,” recalled Cabral. “I wanted impaired can independently search for can look at the list of previous winners of piece, and as much as we would have to make this preparation of food in the and find movies. to see that just being nominated is some- liked them available to us most of the kitchen like a live performance, a live mu- Nilsson said of “Emily’s Oz,” “This is thing to be proud about.” time, the reality is that you end up with sic jam of food, getting into the heads of probably the most difficult job I’ve done one or two athletes for very short periods chefs, mixing colors, flavors, taste buds. because it didn’t play by the traditional McCarthy, McKay of time so it became a very complicated, My hope is that this spot makes you want rules in the creative process. It is a sincere SHOOT earlier interviewed directors logistical exercise. Hopefully you don’t to go and dance into the kitchen, even if collaboration with Emily and we didn’t McCarthy and McKay about Spotlight and see the pain.” it’s just to get some bread and butter, to move ahead with anything until we had The Big Short, respectively, for our ongoing Director Jay’s second job since joining throw flair into doing even that.” her agreement on the direction we were The Road To Oscar series of feature stories, Smuggler last year was a short film for “Monkeys” has those inquisitive mam- taking. It was only possible with a client prior to news of their DGA noms. (Mc- ESPN and AT&T, “It Can Wait,” which mals jamming in an Ikea kitchen placed in that was actually willing and brave enough Carthy also recently diversified into com- tells the story of Fletcher Cleaves, a prom- the middle of the wild. The monkeys ex- to let this happen in the right way.” mercials with a Duracell job for ad agency ising high school football player who plore the kitchen from top to bottom, and Old Spice’s “Dad Song” has moms Anomaly; he is handled by Park Pictures shortly after being awarded an athletic side to side, opening drawers, making a lamenting while dads rejoice via song for spots and branded content.) scholarship to attend Lambuth Univer- mess, trying to make cappuccino, “smiles about their sons coming of carnal age. Several years ago when he was in the sity sustained serious injuries in an auto- all around,” said Cabral. The spot was a re- Parents are spying on their kids, hidden editing stages of his film Win Win, which mobile accident which left him a paraple- turn engagement for the director on Ikea in the background as their boys turned he directed and co-wrote, McCarthy was gic. Right before the tragic collision, it for agency Mother. The prior collabora- men court young ladies. One mother, for approached by producers with the rights turns out the driver of the other vehicle tion yielded “Beds,” a breathtaking spot instance, is lodged under the ice of a skat- to the stories of The Boston Globe report- was looking down at a text message on that scored Gold at Cannes, among other ing rink as her son and his date skate over ers whose Pulitzer Prize-winning inves- her cell phone.” awards. With the bar set high, Cabral was a her. That scene posed a unique creative tigation revealed cases of childhood mo- On the strength of a 90-second ver- bit wary about revisiting Ikea until he saw challenge for Nilsson who recalled, “I lestation by some 90 local priests and the sion of “It Can Wait,” a six-minute short, the brief. “Monkeys in a kitchen, discover- remember it was hard to get one of the Catholic Church’s systematic cover-up of Jay landed his DGA nod. To do justice to ing it—there wasn’t a lot more written than moms into the frozen ice. We found the the abuse. “I was immediately drawn to Cleaves’ story—it’s now six years later and that. It appealed to me as different and toughest lady in the Czech Republic to the thumbnail version of the story,” re- he is moving into his own apartment to fun, shot in a refuge [in Costa Rica] where do it. She had a day job in a fish fridge called McCarthy. “An outsider comes to lead an independent life—Jay blended el- they take care of monkeys and release and was the only one we found that could the Globe and picks up on a small story ements of documentary and fiction, rec- them into nature on a daily basis.” handle the cold. She said ice was her in the paper mentioning the Church’s reating the past and chronicling the pres- Cabral was surprised by the DGA nomi- preferred element to live in and that she possible complicity in certain crimes. He ent. Jay explained that he’s drawn to this nation. He was in London when he got a was considering opening an ice hotel in assigns a team of reporters to dig into the hybrid approach. “I tend to shoot real-life phone call from MJZ president David Zan- the small town of Sychrov after the shoot. story. This circumstance of an outsider— stories in a cinematic way to get closer to der. “I thought it was a Happy New Year It was also hard to get Czech actors who who comes into the country’s most Irish the emotional core. I’m also interested in phone call,” recalled Cabral. “Then he told didn’t speak a word of English to lip Continued on page 22 February 2016 SHOOT 21 DGA AWARDS Super Bowl Preview Numbers Continue To Rise On Super Sunday While the NFL switched from Roman numerals to a simple 50 First-Time Nominees Rejoice for this year’s Super Bowl which will be telecast by CBS on Feb. 7, the numbers game continues to go merrily upward on the Continued from page 21 After all, McKay is best known for his advertising front. CBS said that ad time for some of the Super Catholic city—sparking an investigation comedy chops, most notably his ongoing Bowl 50 :30s has fetched a per slot price of some $5 million. This struck me as a great storytelling oppor- collaborations with Will Ferrell. McKay continues a trend that has held true over the long haul as the tunity. The more I dug into the material, was head writer on Saturday Night Live premium for delivering a mega TV audience has only escalated the more I saw this incredibly rich story where he met longtime producing and in this era of media fragmentation. Last year, Super Bowl spot of deep social relevance. I brought in writing partner Ferrell. The two went on buys went for an average of $4.4 million per :30, up from $4.2 writer Josh Singer to work with me on to connect with Chris Henchy to launch million in 2014. The Super Bowl now routinely draws in excess of 100 million viewers, gener- the screenplay and we dove in.” the comedy website Funny or Die. Direc- ating not only eyeballs but also much proverbial water cooler/social media talk about both Spotlight takes us through that process tor/writer McKay and writer/actor Ferrell the game and the commercials. of investigative journalism—the good steps have also teamed on such feature films As for the ad creative barometer, while the overall crop of Super Bowl commercials has and the missteps—which for this story be- as Step Brothers, Talladega Nights, The been known to disappoint at times, there have also been some gems in recent years. For gan in mid-2001 and extended through Other Guys, Anchorman: The Legend of example, cracking the Top 5 in SHOOT’s rundown of The Best Spots of 2015 was Snickers’ early 2002. The movie’s title refers to the Ron Burgundy, and Anchorman 2. “Brady Bunch” directed by Jim Jenkins of O Positive for BBDO NY. Fast forward to today and four person Spotlight section investigative Yet McKay’s brand of humor, even at its Snickers is slated to be back on the Super Bowl, again via BBDO but with much to live up team at the Globe—editor Walter Robin- silliest, often has political elements dating to given the popularity of the “Brady Bunch” commercial. A teaser spot directed by Jenkins son (Michael Keaton), reporters Sacha back to SNL and his work as a founder served as a taste of what’s in store as a hungry “Marilyn Monroe” is shown preparing to re- Pfeiffer (Rachel McAdams) and Michael of the Upright Citizens Brigade comedy prise her iconic “Happy Birthday” performance—although with a far less seductive voice. Rezendes (Mark Ruffalo), and researcher troupe. He has written for TV projects Anheuser-Busch (A-B) also has much to live up to as the Super Bowl’s exclusive beer Matt Carroll (Brian d’Arcy James). such as Michael Moore’s The Awful Truth. advertiser for the 28th year in a row. The brewer will bow spots promoting Budweiser, Beyond critical acclaim, Spotlight has Still McKay acknowledged there had to Bud Light, Michelob ULTRA and Shock Top. A-B is slated to run three full minutes of ads elicited positive feedback from different a bit of a leap of faith for him to get The in this year’s game. Bud Light has enlisted Amy Schumer and Seth Rogan for a spot from circles. “Journalists across the country,” Big Short gig, He credited Brad Pitt’s Plan Wieden+Kennedy NY rolling out “The Bud Light Party,” a political party that brings to- said McCarthy, “feel we’ve captured their B Entertainment, particularly Jeremy gether voters who can’t agree on the issues but fully support drinking Bud Light. Among world—and the importance of journalism Kleiner and Dede Gardner who oversee other food/drink advertisers slated for Super Bowl 50 are: Butterfinger from ad shop Santo; to society at large...We’re also hearing the company’s development and produc- Avocados From Mexico with an ad for the second straight year via GSD&M, Austin, Texas; from survivors and families of the victims tion slate, with taking that mini-leap. Skittles which too is on tap for a second consecutive year out of DDB Chicago, this time with who feel they were well represented by McKay shows his acumen for drama an ad featuring Aerosmith’s Steven Tyler; Taco Bell with a :30 from Deutsch LA; and the user- the film. They are the heart of this film. and character-based storytelling while generated Doritos spot which wins the “Crash the Super Bowl” contest. And the Catholic community has by and injecting some of his signature humor large embraced the movie. People are into the story, on select occasions break- Happy returns connecting to the movie for different rea- ing through the fourth wall to reach the The Super Bowl is also perfectly timed to when folks start contemplating their income tax sons. We’re connecting with different peo- audience with inventive cameos that tap returns. Intuit’s TurboTax kicked off a campaign last month via Wieden+Kennedy, Portland, ple on different levels and what’s most ex- into celebs to explain financial matters Ore., with ads showing that TurboTax is so simple that even real-life geniuses can’t make it citing is that we’re unifying them through which banks would prefer to keep com- any easier to use. That campaign will continue or perhaps a new wrinkle will unfold with a this story and the issues involved.” plicated. For instance, McKay deploys :30 marking TurboTax’s third consecutive year on the Big Game. Intuit will also hand over a Meanwhile McKay blended and uni- chef/TV host Anthony Bourdain com- :30 to Death Wish Coffee, winner of its “Small Business, Big Game” contest; agency is RPA. fied comedy and drama to tell a true story paring leftover seafood to toxic financial The automotive category is also again prevalent. Both Honda and its luxury brand Acura that is humorous yet a travesty in The assets. McKay recruited Bourdain for the will run spots. Mullen Lowe LA is turning out an ad for Acura’s new NSX supercar. Agency Big Short which is based on the book scene after reading his memoir “Kitchen RPA, Santa Monica, is handling the Honda commercial. Buick, BMW’s Mini, Toyota Prius and “The Big Short: Inside the Doomsday Confidential.” “He [Bourdain] tells read- Hyundai are also Big Game players. Buick’s :30 will promote its new Cascada convertible Machine” authored by Michael Lewis. ers that they should not order seafood and feature NY Giants wide receiver Odell Beckham Jr. Innocean Worldwide has four Hyun- McKay also wrote the screenplay with stew because it’s where cooks put all the dai spots scheduled. Directors tabbed for the commercials are Peter Berg (whose feature Charles Randolph. Like the book, the crap they couldn’t sell,” related McKay. “I credits include Lone Survivor; his spot roost being Pony Show Entertainment), Fredrik Bond movie introduces us to a small group of thought ‘Oh my God that’s a perfect met- (of MJZ), Aaron Stoller (Biscuit Filmworks), and Janusz Kaminski, a two time Oscar-winning Wall Street outsiders who find themselves aphor’ for a collateralized debt obligation, (Schindler’s List and Saving Private Ryan) DP who directs commercials via Independent Me- ahead of the investment curve when where the banks bundle a bunch of bad dia. Among those featured in the Hyundai campaign are Kevin Hart and Ryan Reynolds. they bet against the booming, seemingly mortgages and sell it as a triple-A rated Also on tap is Kia with a :60 featuring actor Christopher Walken for David&Goliath, L.A. “can’t lose” housing market well prior to financial product.” Making its Super Bowl debut will be SunTrust Banks with a :30 directed by Dante Ariola when the real estate bubble burst in the DGA feature nominees McKay, Mc- of MJZ for StrawberryFrog, NY. Other Big Game first timers are: Amazon with a spot from mid-2000s, triggering the global eco- Carthy, Miller and Iñárritu all also land- Leo Burnett Toronto featuring Alec Baldwin and Hall of Fame QB Dan Marino; PayPal with a nomic meltdown. ed Best Director Oscar nominations. :45 from agency CP+B; LG Electronics with a commercial directed by Jake Scott of RSA Films; Some five years ago McKay read Lewis’ Scott did not as the remaining Academy Colgate with a water conservation spot encouraging folks to turn off the tap water while book and became fascinated with the in- Award nom went to Lenny Abrahamson brushing their teeth; outdoor apparel brand Marmot with work out of Goodby Silverstein & side story of the 2008 market crash. It’s a for Room. Partners; and Apartments.com via agency RPA and featuring Jeff Goldblum and Lil Wayne. story that McKay aspired to tell in a movie The DGA Award winners will be an- Animation studio DreamWorks is producing a :30 which brings Wix.com back to the Big yet on the surface he didn’t seem likely to nounced and honored during a gala cer- Game for the second straight year. Squarespace is also debuting a spot out of Anomaly NY. make the shortlist to direct The Big Short. emony on Saturday, February 6, in L.A. 22 SHOOT February 2016

VES AWARDS

From Stop Motion To Virtual Reality

A look at VES- he feels his area of expertise is of no significance as are all the people he encounters in life—except for a young woman, Lisa (voiced recognized work by Jennifer Jason Leigh) whom he meets at the hotel in which he’s staying. She is an anomaly, and affectionately named by him for the feature as Anomalisa. The other characters in the film, including Stone’s family, are voiced by a single actor (Tom Noonan), underscoring Anomalisa and they’re all like everyone else in Stone’s mind—indistinguishable and of no consequence in a mundane world. the special venue Amazingly, through puppets and stop motion, insights into the human condition are realized, capturing feelings of isolation, Goosebumps alienation, doubt, hope and wonderment in ways that live action arguably couldn’t. This has yielded critical acclaim for Anomalisa, experience including an Oscar nomination for Best Animated Feature Film. Cinematographer Passarelli said that among Anomalisa’s many challenges was “being able to light the small puppet heads like you would live action. In live action you use lighting A SHOOT Staff Report to enhance the storytelling, to shed light on what each charac-

Photo courtesy of Paramount Pictures courtesyPhoto of Paramount ter is thinking. In live action, you use highlights and there’s a A shot from the production of Anomalisa wide palette. But in stop motion, a character’s eyeballs are may- From the age-old painstaking art of stop motion animation to be half the size of your fingernail. The lighting has to be incred- the brave new frontier of virtual reality, this year’s field of Visual ibly meticulous to help convey the feelings in a scene. We cut off Effects Society (VES) Award nominees offers a remarkable depth one-inch squares of LED lights to properly target the puppets and breadth of work over categories spanning features, TV, com- and other elements in their environments. We had very stark mercials, video games, special venue projects and student films. lighting, for example, during Michael’s speech about customer To get a better handle on the VES Awards—which were be- service to the convention audience—during which he comes stowed earlier this week during a gala ceremony in Beverly unglued and clearly thinks his life’s work analyzing customer Hills, Calif.—SHOOT delves into the two aforementioned ex- service is a joke. By contrast we brought a warm, inviting qual- tremes of the technological continuum, focusing on the stop- ity, putting nets behind the camera lens when Lisa and Michael Fmotion storytelling acumen embodied in Anomalisa (Para- are having breakfast in the hotel room the morning after their mount Pictures) and the VR adventure for the theatrical movie first night together.” Goosebumps (Sony Pictures). The deployment of nets across the lens helped Passarelli at- The latter, produced by MPC Creative, was nominated for the tain the desired look for Anomalisa. “At the time the animation VES Award for Outstanding Visual Effects in a Special Venue program only ran with Canon 7D cameras with Nikon lenses,” Project, the individual nominees being MPC LA head of 3D he related. “But we wanted to change the DSLR high gloss look Jason Schugardt, MPC Creative LA EP Mike Wigart, MPC and were able to do so and have more control by using nets. For Creative VR lead Alex Harding and MPC Creative LA creative that breakfast scene between Michael and Lisa with the morn- director Daniel Marsh. ing sun shining through the hotel room window, we put panty- Anomalisa’s VES nod was for Outstanding Visual Effects in hose behind the lens to get the right warmth and feel.” an Animated Feature, the nominees being VFX production su- Passarelli is an accomplished live-action DP who goes back pervisor Derek Smith, producer Rosa Tran, DP Joe Passarelli a long way with director Johnson. In fact, Passarelli shot John- and production designer John Joyce. son’s live-action thesis film when both were students at the Made with an on-camera cast consisting entirely of puppets, American Film Institute (AFI) conservatory. The two kept in Anomalisa—directed by screenwriter Charlie Kaufman and Duke touch and connected on other live-action fare with Johnson Johnson—centers on a lonely, disillusioned man, Michael Stone later diversifying into the animation discipline, directing a stop- (voiced by David Thewlis) on a business trip away from his family. motion special for the NBC series Community, titled “Abed’s He’s on the road to deliver a speech about customer service, a sub- Uncontrollable Christmas” which won an Emmy in 2011 for ject for which he has written a celebrated how-to book. However, Individual Achievement in Animation. This episode built 24 SHOOT February 2016 VES AWARDS

momentum for Starburns Industries, a themselves inside an action-packed scene ture, viewers can look around in all direction. Also, you often have to light the shot Burbank, Calif.-based stop motion, tra- from the movie. MPC Creative produced tions throughout the film, but they don’t to look good from all angles—something a ditional 2D and CG animation studio the shoot and provided creative supervi- have the control to walk around. Placing DOP rarely has to consider. In live-action launched in 2010. Partnered in Starburns VR shoots, you can’t really light anything are EPs/writers Dan Harmon (creator of because the lights would all be in frame. Community) and Dino Stamatopoulos, We have to find new solutions to solve the EP/CEO Joe Russo II, EP James A. Fino, old problems. and Johnson. “On a more technical level, continued Via Starburns Johnson delved fur- Harding, “working on a 360 latlong im- ther into stop motion with season 2 of age in stereo is extremely tricky and you the Adult Swim/Cartoon Network series just can’t do a lot of stuff you’re used to Mary Shelley’s Frankenhole for which he doing. Moving layers around in the im- brought in Passarelli. “I had never seen age, blurs, glows, they all have undesir- a stop motion set before,” recalled Pas- able effects due to the nature of the stereo sarelli. “It was the same as live action but latlong. So we have to work out new tools in miniatures. Duke and I had the same and workflows for a lot of tasks. We can’t type of conversations for this show as we cut any corners.“ had in the past for live action.” Pictures courtesyPhoto of Paramount As for lessons learned and how he Passarelli enjoyed the experience which A scene from Anomalisa would best apply them to his next VR set the stage for what has proven to be sion alongside director Rob Letterman the viewer in the car, they can experience project, Harding related, “Keep checking an eventful collaboration on Anomalisa. (who directed the Goosebumps movie). the scale of the scene and momentum of in a headset! The 2D representation on a Starburns approached Kaufman (writer MPC Creative also managed key aspects the chase. Jack Black, seated inches away screen is only so useful. Early on it was lo- of such films as Being John Malkovich of the roll out to the public—the team cre- from us, acts as a tour guide as the car gistically too hard to get enough reviews/ and Adaptation) who had penned Anom- ated a custom Goosebumps VR app that flees from the monster. The D-Box chair feedback directly in VR. Now we have alisa as a radio play. The production house housed the content which was loaded and is the icing on the cake, because it situates tools to allow this and it makes so much wanted to turn Anomalisa into a stop mo- quality controlled onto 30-plus Samsung people in the experience so they really of a difference.” tion movie. Johnson came on to co-direct Gear VR Headsets. The project lived as feel the thrill of the chase.” He also advised, “Try not to think like with Kaufman and gravitated to Passarelli. an installation piece in movie theater lob- Fellow VES nominee Harding, VR you are making a traditional shot-based “I remember asking Duke,” said Pas- bies across North America and abroad. lead for MPC Creative, said the biggest narrative. There’s a different language sarelli, ‘Do I need to interview with Char- The Goosebumps VR Adventure was also challenge posed by the Goosebumps VR going on here. In my opinion, the most lie to get hired?’ He said he had already part of Technicolor’s exhibit at CES. Adventure is the fact that “to some extent successful projects out there are the ones talked to Charlie about it and Charlie was The Goosebumps VR project places you have to reinvent the wheel with this that embrace VR and try to understand happy I mainly do live action. He didn’t an audience mem- stuff. Traditional it for what it is, rather than try to repur- want an animated feel to overtake what ber in a car, riding notions of compo- pose received wisdom from the filmmak- we were doing.” shotgun with Jack sition, storytelling ing technique. Of course there are skills Passarelli spent nearly two years on Black playing Stine. and even aesthetics and concepts that are still applicable. But Anomalisa—and prior to that he and They are driving somewhat, go out there are some that aren’t.” Johnson teamed on a promotional piece through town with a the window. Every- Furthermore, Harding recommended, as part of a Kickstarter campaign which giant praying mantis thing looks different “Don’t do things that are uncomfortable successfully raised funds for the project. chasing them down. through the headset for the viewer even if it seems to fit the Passarelli for the moment intends to next The VR experience and you never know story. Don’t underestimate how impor- embark on a live-action assignment— was produced end- where the viewer tant sound is—it’s often the best way to which doesn’t carry the commitment in to-end by MPC’s will be looking. So direct the viewer’s attention to something years that stop motion does. But ultimate- content production the first challenge you want them to see, and it elevates the ly he sees himself going back and forth division, MPC Cre- can be to unlearn immersion immensely.” between live action and stop motion fare ative; this included Alex Harding what you know. The Regarding what the VES nod means to in that he finds both disciplines to be cre- everything from live-action production VFX process is tied to the mechanism of him and his cohorts, Harding said, “I’ve atively challenging and gratifying. through VFX and final grade. Motion a camera and the photography process— always enjoyed the more experimental systems technology company D-Box pro- even fully CG work is treated as a simula- side of our business, involving myself with Goosebumps vided the mechanical chairs for the VR tion of a real camera. In VR we’re simulat- creative and multi media projects when I MPC turned out 700-plus visual effects experience, which move in sync to what ing the human eye. This has implications can. So this VR work is right up my alley. I shots, the title sequence and the VR ad- the viewer is seeing inside the headset. for how you do everything. You can’t tell get a lot of satisfaction from contributing venture for the movie Goosebumps, based “The car chase scene is a great example the story with cuts. You don’t have as to something as embryonic and cutting on the best-selling series of children’s of how technique meets the storytelling much freedom with exposure to make a edge as this. So to get our work in this horror books authored by R.L. Stine. component of VR,” said VES nominee compelling image. You can’t embellish field recognized with a nomination from The VES-nominated virtual reality Marsh, creative director of MPC Creative, with lens flares, etc. You can’t use focal VES is a dream come true. It goes to show experience enabled moviegoers to put LA. “In the 360-degree 3D VR Adven- lengths to compose shots and direct atten- that VR is real and it’s got legs.” February 2016 SHOOT 25 ASC AWARDS

Ed Lachman, ASC Emmanuel Lubezki, ASC, AMC John Seale, ASC, ACS Roger Deakins, ASC, BSC Whatever Serves The Story Best—From Super 16 To Digital Theatrical feature ASC Award nominees reflect a wide range of approaches, tools, palettes

A SHOOT Staff Report for Sleepy Hollow. ‘97, Cold Mountain in ‘94 and now Mad up an Oscar nom this year for The Rev- “I went to see The Revenant the other This is Deakins’ 14th ASC nomina- Max: Fury Road. enant as did Deakins for Sicario and Lach- night and it hit me how the whole spec- tion. He previously won for Skyfall (2013), Seale, who won the Oscar for The man for Carol. Lubezki won the Oscar for trum of film language is being used to The Shawshank Redemption (1995) and English Patient, shared, “I’ve always been Birdman last year and Gravity in 2014. tell our stories,” said Ed Lachman, ASC, The Man Who Wasn’t There (2002). His amazed at the awards and what they The only ASC nominee not part of who shot Carol on Super 16mm film. By other nominations include Unbroken represent. I regard the ASC Awards and the current Oscar-nominated field of contrast, Emmanuel “Chivo” Lubezki, (2015), Prisoners (2014), True Grit (2011), the Oscars as a wonderful comment on cinematographers was Kaminski. Robert ASC, AMC, deployed the ARRI Alexa 65 The Reader (2009), Revolutionary Road a great crew who worked hard to put to- Richardson, ASC, wound up scoring the digital camera with lenses from 12mm to (2009), The Assassination of Jesse James gether a film that a director and DP had remaining Best Cinematography Oscar 21mm to shoot The Revenant. by the Coward Robert Ford (2008), No envisioned. It’s a vision that cannot be re- nod for The Hateful Eight. Interestingly “From digital to the beginning of the Country for Old Men (2008), O Brother, alized without everyone involved, getting both Kaminski and Richardson are rep- filmic world, we tap into what serves the Where Art Thou? (2001), Kundun (1998), all these people on board with a sense of resented as commercial directors; Kamin- story best,” continued Lachman. “My and Fargo (1997). purpose and commitment. On Mad Max: ski via production house Independent point is that not all stories should be told Kaminski was previously nominated Fury Road we had a multi-international Media, and Richardson through Tool of the same way. That’s why we need to keep for the ASC Award for Lincoln (2013), The team shooting in Namibia. We didn’t have North America. film available as an option.” (See this Diving Bell and the Butterfly (2008), Sav- the worst conditions in Namibia but also week’s installment of The Road To Os- ing Private Ryan (1999), Amistad (1998), not the best. But this team worked won- Sicario, Bridge of Spies car for more on Lachman’s approach to and Schindler’s List (1994). derfully together. Every morning they Prior to the ASC unveiling this year’s shooting Carol.) Lachman was nominated in 2012 in were enthused, ready and loved what nominations, SHOOT in its The Road To Both Lachman and Lubezki are ASC the television movie category for HBO’s they were doing. Oscar series connected with Deakins and Award nominees this year for Carol and Mildred Pierce, and in 2003 for the feature “I’ve always felt any of these lovely Kaminski who discussed their respective The Revenant, respectively, in the theatrical film Far from Heaven. accolades—such as the ASC Awards and work on Sicario and Bridge of Spies. release category of the 30th annual Ameri- Seale earned top honors from the the Oscars—are a credit to all those crew Sicario marks Deakins’ return engage- can Society of Cinematographers (ASC) ASC for The English Patient (1997) and members. You see what Margaret [Sixel] ment with director Denis Villeneuve, the Awards for Outstanding Achievement. received nominations for Cold Mountain put into the editing of the film, and the first being Prisoners (which earned Deak- They are joined by Roger Deakins, (2004), The Perfect Storm (2001), and work of so many others. I find it amazing ins nominations for both the ASC Award ASC, BSC for Sicario, Janusz Kaminski Rain Man (1989). that a film released nine or ten months and the Oscar in 2014). for Bridge of Spies, and John Seale, ASC, In this week’s issue, part 13 of our ago—spurred on by everything that For Deakins—who has amassed 15 ca- ACS for Mad Max: Fury Road. The Road To Oscar series includes an George put into it—has the legs to main- reer Oscar nods—the perspective of the The winner will be revealed and hon- interview with Seale who shares insights tain momentum and go into the awards story was key. “Denis and I talked about ored on February 14 during the ASC into the lensing of Mad Max: Fury Road, season with recognition from both the that a lot and thought it had to be cen- Awards gala at the Hyatt Regency Cen- which marked his second career collabo- ASC and the Motion Picture Academy. tered for the most part primarily around tury Plaza in Los Angeles. ration with director George Miller, the These are tremendous honors.” Kate [portrayed by Emily Blunt]. We Lubezki won the ASC feature category first being the emotionally moving 1992 Lubezki said of The Revenant, “Going didn’t want to just shoot conventional ac- the last two years for Birdman or (The Un- family drama Lorenzo’s Oil. To go along on this adventure with Alejandro [direction. We wanted a viewpoint to it. We put expected Virtue of Ignorance) (2015) and with his five career ASC nominations, tor Inarritu] and the team was truly one the audience in Kate’s position. Then it Gravity (2014), and also took top prize Seale has collected five Oscar nods, the of the most amazing, challenging, inter- shifts to Alejandro’s (Benicio Del Toro) for The Tree of Life (2012) and Children of first coming for Witness in 1986, then esting experiences of my life.” perspective as we start to understand him Men (2007). He was nominated in 2000 Rain Man in ‘98, The English Patient in In addition to Seale, Lubezki too picked more as a character. And finally we arrive 26 SHOOT February 2016 ASC AWARDS Hot Locations L.A. On-Location Lensing Rises Slightly In 2015 On-location filming in Greater Los Angeles increased 1.3 percent in 2015 to 37,289 Shoot Days (SD), thanks to a rise in scripted television production and the aid of the California Film & Television Tax Credit at the perspectives of both Kate and Ale- Diving Bell and The Butterfly in 2008. 2.0. That was the key takeaway from FilmL.A.’s latest report, “2015 jandro. It’s kind of a split perspective at For Bridge of Spies, Kaminski went Production Retrospective.” The not-for-profit FilmL.A. organization the end. Denis steered away from cover- with a Panavision film camera, opting to serves as the official film office of the City of Los Angeles, the County age of action just to make it exciting. He shoot anamorphic with Hawk lenses to Paul Audley of Los Angeles and 20 other area jurisdictions. went after a personal kind of perspective realize the desired look. “The lenses are Scripted television production is again a growth industry in Los Angeles. In a year where on the action—the perspective of leading not so perfect and pristine, which made TV reality production fell 8.0 percent (to 5,088 SD), the overall Television category posted a characters.” them a fit for that time period, the Cold 9.5 percent gain in 2015 over the previous year (to 15,706 SD) and an impressive 19.4 per- For Sicario, Deakins went with the War era, we were trying to create.” cent increase over the category’s 5-year rolling average. ARRI Alexa XT. “It’s the best digital Kaminski’s approach to Bridge of Spies Among scripted television categories, TV dramas and TV sitcoms led in overall produc- camera, with strong color fidelity. It feels shed light, literally, on the relationship tion growth last year. TV dramas increased 19.3 percent (to 4,374 SD) in 2015 compared to much more naturalistic than any other between James Donovan (an American 2014. The smaller TV sitcom category increased 100.5 percent (to 2,268 SD) over the same digital camera,” assessed Deakins. “Also lawyer portrayed by Tom Hanks) and Ru- period. Meanwhile, Web-based TV production increased 28.3 percent (to 1,449 SD) and TV the XT Studio has an optical viewfinder dolf Abel (an arrested Soviet spy played pilot production decreased 13.9 percent (to 638 SD). which relies on my vision—I prefer it over by Mark Rylance). A single light source “Television’s importance to Greater Los Angeles can’t be overstated,” noted Paul Audley, the electronic viewfinder. The Alexa with peered through frosted covered windows, president of FilmL.A. “Scripted television provides long-term job opportunities and high eco- ARRI/Zeiss master primes supported underscoring the coldness not only of nomic value, so these increases should be celebrated.” Once again, the impact of the California the subjective points of view Denis and I the Cold War but also the first meeting of Film & Television Tax Credit was evident in the numbers reported by FilmL.A. Incentive-quali- wanted for Sicario.” Donovan and Abel. Over time as a con- fied television projects generated 7.2 percent (1,130 SD) of local on-location TV production in Deakins’ collaborative relationship nection evolved between the two char- 2015. Within select TV subcategories the incentive’s effect was more pronounced. Incentivized with Villeneuve will extend beyond Pris- acters, the cool light slowly gave way to production made up 20.3 percent (887 SD) of the TV drama category, 8.4 percent (190 SD) of oners and Sicario. The DP is slated to warmer possibilities. the TV sitcom category, and 8.3 percent (53 SD) of the TV pilots category. lens for Villeneuve “Later you see Local on-location feature production decreased 4.2 percent (to 4,344 SD) in 2015, though what’s referred to as the friendship be- the category began to perk up in the fourth quarter thanks to state-incentivized projects. The Untitled Blade tween Abel and Between October and December, 2015, five state-incentivized feature projects got under- Runner Project. In- Donovan build un- way in Los Angeles (CHiPs, The Conjuring 2, Rebirth, The Sentence and The Disaster Artist), reg- herently that movie til they eventually istering 101 SD, and accounting for 9.4 percent of total feature production for the quarter. poses a daunting have to say goodbye Commercial production stayed flat in Los Angeles last year, with the category posting a challenge given the to each other. At negligible 0.2 percent growth (to 5,201 SD). Nonetheless, the spotmaking industry remains seminal visual pedi- that point, there’s a major production driver in the Greater L.A. Region. For four straight years, commercials gree of the origi- a brightness as we have produced more on-location shoot Days per year than feature films. nal Blade Runner see their concerns directed by Ridley for each other,” ob- A Bid To Bring Back Incentives In Indiana Scott and shot by served Kaminski. Senate Bill 125 proposes to reinstate the film production incentive program in Indiana. the legendary Jor- “You see Donovan’s Highlights of the program include: dan Cronenweth, Janusz Kaminski concern over what For productions with qualified spend of less than $6 million, the program provides a re- ASC. Cronenweth, life Abel is going to fundable tax credit equal to: 40% of qualified production expenditures paid to an individual who passed away in 1996, had won the encounter back home. The possibilities of or entity located in a municipality or county in which either 25% of the households are be- BAFTA Award for Best Cinematography Abel being punished for possible collabo- low the poverty level as established by the most recent United States decennial census, or on the strength of Blade Runner, which ration with the FBI could be severe. The there’s an unemployment rate which is 1.5 times greater than the statewide average over also earned him a British Society of Cin- brightness, with [Donovan’s] concerns the most recent 18 month period for which data is available. In other areas of the state, the ematographers Award nomination. evident, is quite different from when tax credit is equal to 35% of qualified production expenditures. Bridge of Spies meanwhile continues a their relationship started out in the shad- For productions with qualified spend of $6 million or more, the program provides for a long and fruitful collaboration for Kamin- ows. Our approach was to set the proper refundable tax credit of not more than 15% on qualified expenditures. ski with director Steven Spielberg. The environment for great actors like these to The incentives program, if passed, would take effect on January 1, 2017, with a sunset DP’s first feature with director Spielberg do what they do best.” date of December 31, 2019. was Schindler’s List in 1993. They have Spielberg and Kaminski have a knack gone on to work on more than a dozen for doing their best in tandem. “In some New Jersey Incentives Bill Vetoed films together. ways, our relationship has not changed,” Senate Bill 779, which proposed to re-establish the film production tax credit program, Kaminski has been nominated for an related Kaminski. “What I see from Ste- was vetoed last month by Governor Chris Christie. Oscar six times, winning twice for Spiel- ven is the continuous ability to be invigo- berg films: Schindler’s List in 1994; and rated by material. He puts his creative Amendment Proposed For Kentucky Film Program Saving Private Ryan in 1999. Kamin- thinking towards how to make charac- Bill Request 436 proposes to amend Kentucky’s film production program by including all ski also earned Oscar nominee status for ters more human, better—not necessar- counties in the Appalachian region in the definition of an enhanced incentive county. Amistad in 1998, War Horse in 2012 and ily more entertaining. He’s collaborating Productions filming entirely within an enhanced incentive county are eligible to earn Lincoln in 2013, all Spielberg-helmed with everybody—me, the actors, screen- 35% on qualified expenditures. movies. Kaminski’s remaining Oscar nom writers—to do justice to the characters was for director Julian Schnabel’s The through the moviemaking process.” February 2016 SHOOT 27 On The Wire

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MASTERSFX Creates “Creepy Doll” Effects Feature Film “The Boy” Lucky 21’s Rob Pritts Directs Spot For Vitamints Leo Burnett tapped Lucky 21’s Character FX artists from MASTERSFX have created the featured creepy doll “Brahms,” the title Rob Pritts to direct the refreshing introduction of Centrum’s new Vitamints. character starring in Lakeshore Entertainment and STX Entertainment’s horror film, The Boy. ASSIMILATE Ramps Up Virtual Reality (VR) Workflow A picture says a StoryBoard Artist Version 7 Now Available PowerProduction Software, the thousand words, so launch this link vr360.sweb.media on your Android phone (Samsung S6 leading developer of visualization solutions for film and video production, announced the or other) via the Chrome mobile browser, click the goggles in the lower right corner, put it in availability of StoryBoard Artist Version 7, the essential digital and animatic storyboard creation your Google Cardboard, and view immediate headset-based VR from a cloud-based website tool for filmmakers. Platinum Platypus Uses Quantum StorNext Pro Studio Quantum Corp. Jules Daly of RSA Films Named Chairperson of 25th Annual AICP Show announced that Platinum Platypus, creator of video, motion graphics and animation for both Matt Miller, President and CEO of the Association of Independent Commercial Producers media and corporate enterprises, has implemented Quantum StorNext Pro Studio. (AICP) announced that Jules Daly, President of RSA Films, will serve as Chairperson of the 2016 Jim Elkin of Roshambo Films Directs Child Abuse Prevention Spots AICP Show: The Art & Technique of the American Commercial. Jim Elkin completes a series of television commercials/web videos for Roshambo Films and Geomedia Highlights Becky Hammon, Tony Parker in Action for SWBC Child Abuse Prevention. Working with Heinrich Advertising, Jim Elkin created a series of Geomedia, a Texas-based production and interactive studio worked on a recent campaign for stunning and beautifully shot commercials to help battle child abuse. All shot on Canon’s new SWBC highlighting the company’s spokespeople, Tony Parker and Becky Hammon. camera, the C300 Mark II... Sony Pictures Entertainment Names Randy Lake President, Studio Op- JELD-WEN and CMD Leverage HGTV Dream Home Sponsorship A new erations and Imageworks Sony Pictures Entertainment announced that Randy Lake cinematic spot produced by creative production company Wondersmith for JELD-WEN and has been appointed President, Studio Operations & Imageworks. Lake oversees all operations, CMD has just debuted nationwide. Entitled “Beat,” this and an earlier campaign spot entitled strategy and planning for Sony Pictures Imageworks, Post Production Services, Production “Beauty Throughout” were directed by Andrew Hardaway specifically to leverage JELD-WEN’s Services, Global Mastering and Servicing, and Asset... sponsorship of the HGTV Dream Home ... Manhattan Production Music Establishes First-Ever Los Angeles Office Mobius Awards Taps 25 Entries For Shortlist The 2015 Mobius Awards competi- Based in New York City, Manhattan Production Music (MPM,) has established its first-ever LA tion has selected 25 entries representing eight mediums as Best of Show-Grand Prix nomi- office. Concurrently, the company has named Andrew Robbins as its new Senior Director... nees. They range from a book designed by Here Design, London, for the “Yves Saint Laurent: Cameron Thomson Forges Global Partnership with WCPMedia Services Style is Eternal” retrospective at The Bowes Museum in the UK to “The Interactive Form... WCPMedia Services, a leading provider of technology tools enabling studios, content owners Luma Partners with Branding Studio Teak For and distributors, announced that it has engaged Cameron Thom- Product Launch SF-based branding studio Teak recently Toot Your Own Horn! son Group Ltd., as its global. commercial development partner... teamed up with Luma to launch its groundbreaking product and Mobius Award Winners Hail From 17 Countries recent winner of the 2016 Consumer Electronics Show’s Innova- Entrants from 17 countries captured 42 First Place Mobius Golden tion & Design Award:... Statuettes, 43 Certificates for Outstanding Creativity, two Spec Advertising Certificates and four Student Awards in the 2015 Director Ben Conrad Breaks Out with GenPop publicity wire Creative and business leader Ben Conrad continues his momen- Mobius Awards competition. tum in the advertising and entertainment spaces with the launch www.SHOOTonline.com/go/publicitywire New RE/MAX Ad Campaign Illustrates True Value of LA-based live action production company GenPop. of Real Estate Agents RE/MAX, LLC will launch its new ad Competition and Color Collide in Breathtaking Season Lauch Promos campaign at the end of January. Created by the real estate franchisor’s lead advertising agency for Spike’s “Ink Master” Camp + King, the “Sign of a RE/MAX Agent” campaign... To launch the seventh season of its successful reality-competition series, “Ink Master,” Spike Girl Scout Troop 676 Members Find Furever Homes for Overlooked Cats turned to 2C Creative (“2C”) for a stand-out promo campaign. The network wanted a new, Karen Fling, DVM, owner of East Lake Veterinary Hospital and president of East Lake Pet visually engaging way to drive excitement for a familiar fan-favorite, something that had never Orphanage (ELPO) in Dallas announced Squash Blossom Studios has just released a series of been seen before.... seven videos filmed at their recently completed recording studio aimed at finding homes for a group of overlooked cats... Director’s Corner: kaboom’s Carolyn Corben Director Carolyn Corben’s work is Mode Project Design and Animation Brings Clarity to Complex Storytell- distinctive -- highlighted with bright colors, choreographed action, strong visual effects and ing Since 1942, it has been the prize for the best of the best journalism in the public service. mood-setting narrative. For the last nine years, carolyn has directed TV commercials in her The duPont Columbia silver baton has been passed from the hands of Murrow, Cronkite, native UK and beyond... Koppel —now to Kartemquin Films. Rampant Design’s Expands ‘Backgrounds for Editors’ Library with Hun- Ripcord Creative, Content Creation and Production Studio, Launches Rip- dreds of Looping 4K Style Effects Rampant Design announced it has added over 500 cord Creative has taken the leap. The new creative, production and post production resource, a Style Effects to its library of seamlessly looping 4K background effects... division of Wildchild, has just been launched by a team of experienced talents hailing from the Emerson College Seeks Assistant Professor in Digital and Film Produc- related genres of broadcast promotion and advertising. tion with a Specialization in Cinematography The Department of Visual and ArsenalCreative Names Andy Bate as Head of 2D and Lead Visual Effects Media Arts at Emerson College invites applications for a tenure-track Assistant Professor posi- Supervisor ArsenalCreative has announced an expansion of its creative team with the ad- tion in digital and film production with a specialization in cinematography. The appointment dition of award-winning artist Andy Bate as the head of 2D and lead visual effects supervisor. commences in the academic year beginning September 1, 2016. Formerly a senior flame artist at a52... AICE Awards Launches New Category for Documentary-Style Content Documentary-style storytelling – often featuring real people and presenting compelling situa- For the full stories [and many more] and contacts and SPW videos with credits, tions rooted in reality – has become increasingly popular as an authentic means of conveying visit SHOOT® Publicity Wire (spw.SHOOTonline.com). SPW is the best place to brand messages. This surging trend is reflected in the AICE Awards’ newest category... post your news or video release to amp up the “buzz” among the entertainment Cogswell Students Release Second Batch of 3D Animatable Rigs Cogswell & advertising industries motion picture segments’ movers and shakers from College has announced that students within its Digital Art & Animation program have released Hollywood to Bollywood and from Madison Avenue to Cannes and beyond. To get a second batch of 3D animatable rigs -- depicting two original “human... more info on how to “Toot Your Own Horn” via SPW visit pr.SHOOTonline.com

28 SHOOT February 2016 CREATIVE/PRODUCTION INDUSTRY SURVEY

Observations From Agency Creatives, Prod’n. Execs Continued from page 18 Violaine Etienne Founder/Executive Producer Serial Pictures 7) There’s a real convergence of influences happening in advertising at the moment. The collaborations between brands and fashion, music, and art is hitting a stride and only going to continue to advance. I think a celebrity isn’t just going to be the face of a company anymore, but rather a driving force behind the scenes in the development of the brand and its products. And it won’t just be famous actors and musicians. It will also be YouTubers, bloggers, people with a connection to the street, who have a foot in the younger markets. As time goes on, clients are becoming more comfortable with a strategically integrated approach and are, more often, allowing cultural influencers to be the creative conduit.

Corinna Falusi Chief Creative Officer, Flash Back Ogilvy & Mather New York February 5, 2011 3) Creative people have had to evolve into thinking like strategists. Back Creative vet Roger Camp and brand strategist Jamie King have re-joined in the day, we had to figure out the most inventive ways of saying what the forces to, in collaboration with Havas Worldwide, launch Camp+King, a San client wanted. Now, more often than not, we are tasked with figuring out Francisco-based ad agency. The new venture is being billed as a boutique what they want to say, not just how they want to say it. What I like most shop that can tap into the global reach and resources of Havas. Camp+King about that is that we have become smarter and more rounded as creatives. opens with a client roster that includes Old Navy, Shaklee and project work for Yahoo!. Camp will serve as principal and CCO while King will serve as the Bonnie Goldfarb agency’s principal and CEO. Camp and King formerly worked together at Pub- CEO/Executive Producer licis & Hal Riney, San Francisco.....The sci-fi smash Inception and the Facebook harvest films drama The Social Network took top screenplay honors at the Writers Guild 6) Creatively speaking, my New Year’s resolutions include producing Awards. Inception writer Christopher Nolann won for best original screenplay and creating more films that speak to the challenges our world faces in and The Social Network writer Aaron Sorkin won for best adapted screenplay. 2016. It’s imperative that I utilize the skill sets our business has imparted The awards were handed out by the Writers Guild of America in simultaneous to me with respect to corporations and brands and use those skills to help ceremonies at the Renaissance Hollywood Hotel in Los Angeles and the AXA move the important social discussions forward. Equitable Center in New York....The King’s Speech, Inception and Black Swan were the feature film winners at the Art Directors Guild’s 15th annual Excel- lence in 2010 Production Design Awards..... Steve Golin Founder, CEO February 3, 2006 Anonymous Content Ang Lee has won the Directors Guild of America (DGA) Award for Brokeback 3) My role over the years has evolved to my becoming much more of Mountain. On the short-form front, Craig Gillespie of MJZ won the DGA Award a mentor to the people I work with. When I started 30 years ago, I wasn’t as Best Commercial Director of 2005 for the following entries: Ameriquest’s looking to mentor anybody. I was just trying to figure out what was going on. “Surprise Dinner” and “Mini-Mart” for DDB Los Angeles; and Altoids’ “Peo- But I remember people who mentored me and were extremely supportive. ple of Pain” and “Fable of the Fruit Bat” out of Leo Burnett USA, Chicago.... Executive producer Phyllis Koenig and Preston Lee, both formerly of Area 51 Films, have teamed to launch production house Uber Content on the Hol- Lola Lott lywood Center Studios lot in Hollywood, Calif. The new venture opens with a Principal/CEO directorial roster that includes Jordan Brady, Aaron Ruell, Marc Scholermann, charlieuniformtango Theodore Melfi and Simon Stock....Ernest Luppinacci, a founder, partner and 7) I think overall production companies and post houses will be busier chief creative at Anomaly New York, is leaving the shop to pursue work in but not necessarily making more net revenues. Budgets are tighter for quick the branded content arena....Four executive producers are joining GSD&M turnaround work but the opportunities are great. I think if you’re a creative in Austin, Texas: Jeff Johnson, Khrisana Edwards, Karen Jacobs and Monique shop, you’ll rise to the top because the content has to be entertaining no Veillette....Mark Cadman and Russ Lidstone are joining Euro RSCG London as matter if its for broadcast or the internet. Good creative and good quality work will still be king. chief executive and chief strategic officer, respectively....

Paul Matthaeus Founder/Chairman, Digital Kitchen 1) The expansion of what I call the Open Media Environment. It’s been a long road getting to something that is really emblematic, but in 2016 I See indepth think we can say its a real thing. Calendar of Industry Events The first step towards the Open Media Environment was the advent of IndustryEvents.SHOOTonline.com video-over-internet. Now we’re streaming 4K. This has enabled website-as-media-server, and the brand as a content network— content-based enterprise strategies that are far richer, high-fidelity expressions.

Continued on page 30 February 2016 SHOOT 29 CREATIVE/PRODUCTION

DDB, BBDO Perspectives Director Anthony Garth has joined Seed Media Arts, the Roy Continued from page 29 Skillicorn-founded company headquartered in Chicago with offices in L.A., for national representation except for Detroit. Avalon Films continues to handle Garth in the Detroit market. The director’s John Maxham credits span such clients as Chevy, Ford, Lincoln, Dassault, GM, Chief Creative Officer, Jeep and Frontier. Garth’s Chrysler “Born of Choir” spot and DDB Chicago Michigan Tourism’s “Pure Michigan” have won multiple awards for 3) As far as creative lives go, the advertising life is a strange one. In agencies McCann Erickson and Doner, respectively. He began his other creative endeavors, continued success and advancement is strictly a career turning out music videos for the likes of The White Stripes function of continuing to do great work. To rise ever higher on the literary and Jim Jones, and later moving up the charts to Eminem and Kid ladder, Kurt Vonnegut simply wrote more amazing books. (Not so simple, Rock.....Ben Conrad has launched L.A.-based live action production actually.) But our profession mandates that we change and evolve our roles if we want to advance. This can company GenPop. As co-founder of Logan, creative director/ soon result in a writer or art director not doing as much writing or art directing as they once did. If they’re director Conrad worked with brands including Apple, Nike, BMW and Ford. He not fans of mentoring, curating and spending time with clients they may find this new creative life deeply is widely known for directing the viral Gymkhana series with rally driver Ken unsatisfying. Block, which has racked up 200 million-plus views. Gymkhana also grabbed two I know some CCOs (some very good CCOs) who are very executional. They’ll sit in edit suites non-stop and Gold Pencils from The One Show, among many other awards. Gymkhana 5, set review hundreds of cuts. They’ll pour over wire frames for hours one day and review dozens of voice-over on the streets of San Francisco, is the most popular installment, reaching over 80 options the next– giving finely tuned executional feedback on each one. In some ways, this is completely million views on its own. GenPop has assembled a roster of creative technologists understandable as a way to hang on to the craft of advertising, which is the reason what many of us got in and directors spanning live action, animation, projection mapping, experiential the business in the first place. and virtual reality. The talent lineup includes Conrad, Andrew Bruntel, Fellow, I’m lucky I guess, because I’m a better coach than I was a player. And I enjoy it more. At this point, I try Riley Blakeway, Collider Studio, Josh Forbes, Master of Shapes, Andrew Gura, not to get so executional. Instead, I seek to hire people who I trust implicitly to execute well. That’s not to Renascent, Steven Ilous, Geoffrey Lillemon, Pieter Henket and tabletop/lifestyle say I never need to come onto a shoot or post production and give granular feedback. I do. But I tend to look director Tiger in a Jar. Execs include EP Pierre Nobile, Nick Moceri who heads at those instances more as triage than as optimal. My creative product is the agency I’m building. That’s my GenPop’s feature and TV ventures, and managing director Alex Anderson....Editor role now and I absolutely love it. Chris Murphy has joined Whitehouse Post’s L.A. office. He spent the past nearly decade at Canadian shop Relish which continues to handle him for Toronto-based work. He has cut for clients including Google, Bose and Habitat for Humanity.....

Matt Miller Executive Creative Director BBDO San Francisco 2) There are now so many places for ideas to live that our playground has essentially become limitless. I learn about a new platform, partner or technology nearly every week. A truly big idea now has dozens upon dozens of lives, each nuanced and Sara Iversen has joined Alkemy X’s NY team as VP of business specialized to the medium in which it lives. I love that. development. She formerly served as head of sales/EP at BANG But at the same time, I hate how we as an industry sometimes think the medium is the idea. Music + Audio Post. Alkemy X is a creative content company We forget that the power comes from using the medium’s strengths to give a unique, new angle to an offering strategy, ideation, live action, branded content, design, already amazing idea. high-end VFX, and post services. The teams at Alkemy, with offices in Philadelphia and NYC, work cross-discipline in commercials, network creative, integrated marketing, social/digital series, longform TV, and features....ICM Partners is now representing cinematographer Ryan Carmody for commercials and feature films exclusively....DP Philippe Rousselot has wrapped principal photography on the Fantastic Beasts and Where to Find Them for director David Yates and is now available for commercial work Coming February-July 2016... via Marie Perry and Pattie Sueoka at The Gersh Agency.....DP Noah Greenberg, High Profile Marketing Opportunities whose credits include director Robert D. Siegel’s Cruise, has signed with Dattner Dispoto and Associates (DDA) for representation as have editor Andrew Dickler online, The >e.dition, Magazine (Netflix’s Mascots) and line producer Michael D. Jones (Cabin Fever from IFC Digital & print platforms conducive to raising awareness of your company, roster, Midnight)....DDA has also booked DP Maryse Alberti to lens the David Frankel- services, software, equipment, fyc messages, award noms/wins & announcements directed feature Collateral Beauty (New Line Cinema), DP Jon Joffin on the Syfy Bring great exposure, new connections & business your way with network TV show Aftermath, production designer Jason Fijal on the Adult Swim 24/7 website, weekly epub, custom email blasts & print issues... show Dream Corp., editor David Leonard on the AMC series Broke (Lionsgate TV), SHOOTonline.com The SHOOT>e.dition SHOOT Magazine costume designer Caroline Cranstoun on the TV Land show Impastor, and costume website with 40,000 unique visitors per month weekly email newsletter with 28,000 subscribers March/April Issue + PDF version designer Mary Claire Hannan on the feature The Etruscan Smile (directors Mihal Start a 7 or 30-day banner Feb. 5,12,19,26 March 4,11,18,25 Ad Space Deadline: March 15 Brezis and Oded Binnun).....iZotope, Inc., Cambridge, Mass.-based makers of tools any day of the month April 1,8,15,22,29 May 6,13,20,27 May/June Issue + PDF version SHOOT Custom e-blasts June 3,10,17,24 July 1,8,15,22,29 Ad Space Deadline: May 10 for audio production, has added John Bigay as chief marketing officer. Bigay will Reach 45,000+ with your unique message lead the strategic development and execution of global marketing, e-commerce, For more info, please visit: For print, online/>e.dition banner & custom email rates, https://www.shootonline.com/go/advertise contact: [email protected] | 203/227-1699, x13 and education initiatives to accelerate company growth....

30 SHOOT February 2016 OFFICIAL CALL FOR ENTRIES

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DETAILS & ENTRY FORS ENTERNDS.SHOOTONLINE.CO A Tremendous Opportunity For New Directors To Get Their Work Seen and Push Their Careers To The Next Level Each year the final reel of selected New Directors work is screened for 425+ agency, studio, TV & production industry decision-makers at SHOOT’s Annual New Directors Showcase Event at the DGA Theatre in NYC. Plus Selected Directors in the Showcase are invited to attend the SHOOT DIRECTORS/PRODUCERS FORUM & New Directors Showcase Event at NO CHARGE! Plus Showcase Directors are heavily promoted in print and online at nds.SHOOTonline.com. Do You Have What It Takes To Be The Next Hot New Director? What Work is Eligible to Enter? SHOOT is now conducting the 14th worldwide search to discover the best up-and-coming directors who, Category 1: Traditional Broadcast: television spots, spec work, cinema ads, branded content, music based on their initial work, show promise to make positive contributions to advertising and/or entertain- videos, trailers, broadcast promos ment in its traditional and emerging forms. The search is conducted by SHOOT’s editorial staff with input from ad agency creatives, heads of production, production company heads and established directors. Category 2: Alternative Media Content: webisodes, spots created for online, mobile-phone content, SHOOT will compile the 2016 SHOOT New Directors Showcase Reel and interview the direc- in-game ads, advergaming, virals, alternate reality gaming, ads created for PDAs tors for a special feature that will appear in SHOOT’s May issue, ePubs, the SHOOT Publicity Wire and nds. SHOOTonline.com, bringing worldwide attention to the work and the directors. In addition, the work will Category 3: Film/TV Entertainment Content: feature films, independent films, short films, be screened for an audience of key ad agency, commercial & entertainment production industry decision- TV programs makers at SHOOT’s 2016 New Directors Showcase Event at the DGA Theatre in New York City on May 26. Coverage of the event will appear on SHOOTonline and the weekly SHOOT >e.diiton in May. The showcase Directors can submit work completed during 15 month period of 2016 reel will be posted in SHOOTonline’s NDS section and will remain live for a full year. See the 2015 New Jan. 2015-March 2016. (excerpts from shorts, longform film or other CALL FOR Directors Web Reel at nds.SHOOTonline.com. entertainment fare should be NO MORE than 5 minutes in length) ENTRIES Don’t Let This Great Opportunity Pass By! ENTER NDS 2016! Entry Fee $95.00 for first piece of work, $40.00 each additional Don’t miss out on what could be a big step towards being noticed by companies that can represent you entry from same director. Submissions must be posted via online and ad agency & entertainment industry executives that can hire you. Eligibility: Directing any type of entry form -or- postmarked by March 31, 2016 if submitted by mail. advertising or entertainment content professionally less that 3 years. To Enter Online or Download Entry Forms Visit enternds.shootonline.com New Directors Receive Priceless Career-making Exposure Within The Commercial, TV & Film Industries! “SHOOT has created an amazing platform to showcase the work of some of the world’s most talented emerg- “Having previously directed independent films, the SHOOT New Directors Showcase provided a rare oppor- ing directors. As an up and coming director, working both in commercial and features, SHOOT provided me tunity to introduce my work to key players in the commercial world. SHOOT’s stamp of approval helped me to with an extraordinary opportunity to share my work with leading industry professionals. This opportunity connect with production companies, agencies, and directors reps, and I’m excited to say that I’ve since been extended from an amazing night hosted at the DGA theater to continued press after the event. I am honored hired for several directing assignments.” to be named one of SHOOT’s New Directors as it is a title that does not get overlooked by the industry.” —Joseph Pernice, 2015 SHOOT New Director —Erin Li, 2015 SHOOT New Director