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Jim Jenkins, This Year’s AICE Goodby Form Hall Of Famer: Matrimonial Bond Editor/Activist For Sprint Nextel Fred Heinrich page 8 page 3

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION May 22, 2009 $7.00 Who Are Those Masked Wall, Loeb, Men & Women? Butler Top AICE Awards SHOOT’s 7th Annual New Directors Showcase Runs The Gamut By Robert Goldrich LOS ANGELES—Editors Angus Wall 13 New Director Profi les From Freelance Newcomers to An Oscar-Nominated Producer and Terence “Biff” Butler of Rock A look at the 38 up-and-coming direc- Paper Scissors (RPS), Santa Monica, tors who fill 32 slots in SHOOT’s sev- A SHOOT Staff Report and Maury Loeb of P.S. 260, New enth annual New Directors Showcase. NEW YORK—SHOOT’s seventh annual New Directors Showcase—which will be celebrated with an York, were the big individual winners, evening screening, panel discussion and reception next week (5/28) at the Directors Guild of America each garnering a pair of honors dur- (DGA) Theater in New York—offers a total of 38 up-and-coming helmers filling 32 slots (27 individual ing the eighth annual Association of directors, four duos and one three-person team). Independent Creative Editors (AICE) The field of talent is far ranging from freelance newcomers to lauded agency creatives who have Awards Show gala held on Wednesday transitioned to filmmakers, to even a two-time Best Picture Academy Award nominee as a producer (5/20) at The Beverly Hills Hotel. The (for In The Bedroom and Lost In Translation). competition honors the art and craft The latter is Ross Katz who earned inclusion in the Showcase of editing. on the strength of his directorial debut, the acclaimed Taking Wall and Butler teamed to take the Chance, which he also co-wrote. The prowess in storytelling National Campaign category for the reflected in the feature, which debuted recently on HBO, Nike Training commercials “Fast For- 4 Ammo For Great Guns piqued commercial production house interest in Katz, ward,” “Manny” and “Maria” directed The international production house including when it was screened at this year’s Sundance by Malcolm Venville of bicoastal Anon- adds director Enda McCallion to its Film Festival. Mark Thomas and Ralph Winter, partners ymous Content for Wieden+Kennedy, arsenal for spots worldwide. Continued on page 9 Portland, Ore. (Wall additionally served as colorist on the package.) Another Nike job, the spot “Fate” directed by David Fincher via Anony- mous Content for Wieden+Kennedy, also scored Wall an editing win in the AICE Storytelling category. And Butler’s second honor came in the Best of Los Angeles category for the Will.i.am “Yes We Can” viral, nearly four-and-a-half minutes in 4 Tillman Seeks Spots length, on behalf of Barack Obama’s Noted feature filmmaker looks to di- presidential campaign. versify into commercials, signs with Loeb’s cutting of the Hummer production house Story. H3T commercial entitled “The Open” earned wins in both the Music/Sound Cinematographers Continued on page 7 Series: Crossing Over Seresin, Donahue on how spots AICP Show Preview: Several Firsts Are What’s Next inform features and vice versa. See page 11 By Robert Goldrich and Website/Microsite)—has increased Show, which in its 18th year will take detailed case studies. The Integrated NEW YORK—While the economy has the volume of submitted work in the on some new dimensions in terms of Campaign honorees were announced understandably taken a bite out of emerging media sector. the competition as well as the event it- at press time. They are: most awards competitions in terms of And the core AICP Show, though self on June 9 at the Museum of Mod- entries, the 2009 AICP Show, The Art experiencing a bit of a drop-off in en- ern Art (MoMA) in New York. • “Dig Out Your Soul In the Streets” & Technique of the American Commer- tries, has still seen the number of par- The focus of the morning session at for Oasis’ new release. cial, has pretty much held its own. For ticipating production companies and MoMA are the Next Awards, with key Client: NYC & Company and War- one, an expanded Next Awards por- ad agencies stay at the same healthy contributors to the three Integrated ner Brothers Records tion of the Show—boosted from one level. Many companies are just being Campaign honorees sharing their in- Agency: BBH New York to four categories (Integrated Cam- more selective about what they sub- sights into the creative genesis of and Production Co.: HSI Productions paign; Viral/Web Film; Experiential; mit, yet they continue to value the strategy behind that work, making for Continued on page 22 ©2009 Optimus. Perspectives

spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Hall of Famer May 22, 2009 Volume 50 • Number 5 In 1964, editor Fred since ‘93 has provided free-of-charge need to help create some opportuni- ble work, including the long running www.SHOOTonline.com Heinrich broke into training and hands-on experience ties for underprivileged young people Well Fargo“Stagecoach” campaign out

EDITORIAL the spot business at in different aspects of filmmaking to in the inner city,” affirmed Heinrich. of McCann Erickson, San Francisco.) Publisher & Editorial Director John Urie & Associates, a pioneering numerous graduates of varied ethnic Based both on his work as an edi- But the biggest evolution was a per- Roberta Griefer 203.227.1699 ext. 13 [email protected] Los Angeles studio which helped start backgrounds and from financially tor and ICF, Heinrich was at press time sonal one as the successful editor em- numerous filmmaking careers over disadvantaged families. The program slated for induction into the Associa- barked on a new career chapter some Editor Robert Goldrich the years. has also helped secure paid entry-level tion of Independent Creative Editors 16 years ago, closing Wildwood and 323.960.8035 ext. 6681 [email protected] Fast-forward to the early 1990s and jobs for many grads. (AICE) Hall of Fame during this dedicating himself to ICF. His retire-

Contributors Heinrich decided to conclude his Indeed, the grass-roots brainchild of week’s AICE Awards ceremony. ment from editing hardly means he’s Christine Champagne distinguished career as an Millie Takaki editor. He embarked upon a “Stephania and I work 12 to 14 hours a day, seven days a week. Inner- ADVERTISING new path, teaming with his City Filmmakers has become a full-time passion.” —Fred Heinrich Display Advertisng Inquires [email protected] wife, producer Stephania 203.227.1699 ext. 13 Lipner, to launch a career spawning Heinrich and Lipner made—and con- Heinrich has seen the industry retired. “Stephania and I work 12 to 14

Advertising Production ground which has gone on to tran- tinues to make—its mark, improving evolve during his career—from Mov- hours a day, seven days a week,” relat- Gerald Giannone scend any single studio. In response the lives of and career prospects for ieolas to computer-based nonlinear ed Heinrich. “Inner-City Filmmakers 203.227.1699 ext. 12 [email protected] to the racial unrest, violence and de- deserving high school students. As- editing, from the days when commer- has become a full-time passion.” Classified struction of the Rodney King riots sorted ICF grads are now full fledged cial production companies maintained Heinrich noted that while a rousing 203.227.1699 ext. 12 [email protected] in L.A. in ‘92, Heinrich and Lipner professionals in the industry. edit houses to the emergence of edito- success, ICF still needs help in terms SHOOTonline Directory Listings decided to do something that would Heinrich recalled that the purpose rial boutiques. (He for example was an of contributors, professionals and 203.227.1699. ext. 11 [email protected] make a positive difference in the lives of ICF hit home for him during its first in-house editor at the legendary com- companies who will provide oppor- OFFICES of youngsters who might not other- year, when students from Bell High mercial production company FilmFair tunities for qualified grads to get their Main Offi ce 256 Post Road East #206 wise get the chance to be part of the School in Bell, Calif., brought in their and then went on in 1973 to form his foot in the industry door. He and Lip- Westport, CT 06880 USA film community. school video yearbook, which includ- own entrepreneurial venture, the ner urge those interested to call ICF 203.227.1699 Fax: 203.227.2787 That “something” turned out to be ed five obituaries. mainstay editorial firm Wildwood in at (310) 264-3992 and/or to log onto West Inner-City Filmmakers (ICF), which “That underscored the fact that we Hollywood where he turned out nota- www.innercityfilmmakers.com. 650 N. Bronson Avenue, Suite B140 Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036 POV Circulation 203.227.1699 ext 12 [email protected] By Jerry Krenach Editorial Production Manager/Reprints/Article Rights Michael Morgera 203.227.1699 ext. 11 [email protected] Instant Karma—An Ideal Scenario © 2009 DCA Business Media LLC. All rights reserved. No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, mcgarrybowen and music production run in parallel band at Dreamland Studios in Hurley, around the end voiceover placement. electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. recently produced paths—the agency shoots the beautiful N.Y. When I heard the final mix at It’s musically seamless. a spot for Chase spot on location in California (Sierra about 4 a.m., I got those spectacular As it turned out, we couldn’t top it. To Subscribe Go To www.shootonline.com/go/subscribe titled “Blue Sky,” serving to introduce Nevada Mountains, Half Moon Bay, chills, which I still believe is the best It went final. It even created an amaz-

To RENEW Go To the bank to California after Chase’s etc.) as I’m digging into the track here way to judge music. I knew we had ing buzz online among Peter’s fans, www.SHOOTonline.com/go/renew acquisition of WaMu. The goal was to in New York. Soon, we’ll be meeting something unique that would elevate who were thrilled to hear his interpre- and complete our online renewal form today. create awareness that Chase now has in the edit room to marry the film with the commercial. tation. Look for the complete version For Subscription Service Inquires Email: [email protected] bank branches in that state. The spot the new version of Lennon’s classic. We worked for a few days on various soon on iTunes. An ideal scenario heralds a bright new day featuring the On the music side, one of our main edit approaches, finishing the final **** SHOOT (ISSN# 1055-9825) printed edition is published monthly for $75.00 per year by DCA Business Media LLC, Chase octagon logo glowing in the sky priorities was to capture the epic feel :30 version with an intro from Peter Jerry Krenach is director of music at 21 Charles Street, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. over beautiful California scenes. of the creative concept—this track had and Cindy, leading into the chorus, production at New York-based adver- POSTMASTER: Send address changes to SHOOT, P.O. Box To match the spot’s natural energy to soar—so the vocalist choice was and arranging the background vocals tising agency mcgarrybowen. 184, Lowell, MA 01853 and to underscore its optimism, we paramount. As part of my extensive USPS (06-234) needed the right song--one that could search of artists, I called David Baron, Flash Back For SHOOT custom reprints please contact Michael strengthen the emotional connection a highly accomplished arranger/pro- Morgera 203.227.1699 ext. 11 or email to: mmorgera@ shootonline.com to the brand by resonating with our ducer whom I’ve worked with before May 14-28, 2004 Editor Hank Corwin of bicoastal Lost Planet was SHOOT >e.dition published weekly except in January, audience. Chase understands how vital and deeply trust. It turned out that he the big winner last night at the third Association of Independent July, August, and December when three-times per Creative Editors (AICE) Awards, presented in Chicago. He garnered month. music is to a campaign, so I knew this was in the middle of producing Peter was going to be an exceptional project. Murphy’s (yes, that Peter Murphy... three awards for his work for Hewlett-Packard ...N.Y.-based audio- SHOOT is produced in the U.S.A. When determining the musical ap- from Bauhaus) new solo record. Wow. Engine has opened audioEngine|west in Phoenix, which will op- SHOOT is a member of: proach with Chase and our executive What great timing. I don’t know how erate under the aegis of audioEngine partner and veteran mixer/ creative directors (Danny Gregory to describe Peter’s voice except that it sound designer/composer Bob Giammarco....Bill Sandwick, former and Haydn Morris), we considered seems like it can split the earth in two. N.Y.-based exec producer of bicoastal HSI Productions, has bought many different songs during story- Perfect for our spot. For background production house JGF, Hollywood, from director Jeff Gorman. board and animatic development, ul- vocals we decided to reach out to timately deciding on John Lennon’s Cindy Mizelle, who fortunately was in May 14-28, 1999 Director Chris Milk—whose credits include the Instant Karma. Its classic refrain of town on break from her current tour noted “Tready Bear” :30 for 3DO and “Extreme Is Dead,” a Gold “We All Shine On” as the driving lyric with Bruce Springsteen. Clio-winning spec spot for Sprite—has joined @radical.media.... reinforces the spot’s creative concept. We produced the entire song (rath- The Sussan Group, N.Y., has signed director Willi Patterson for U.S. Once all parties approved the song, I er than just an edited arrangement), representation....Chelsea Pictures has signed director Andrew Wal- had the amazing opportunity to pro- which allowed everyone to dig a lot ton for exclusive spot representation. He was formerly repped si- duce a new arrangement. I live for deeper, leading into more fertile, cre- multaneously by Avalon Films, Farmington, Mich., and Setterholm these moments. ative territory. Peter’s full version of In- Productions, Minneapolis.... At this point in the process, the film stant Karma was recorded with a live May 22, 2009 SHOOT 3 News

People & projects Great Guns Signs Enda McCallion For Spots Globally By Robert Goldrich managing directors (Laura Gregory had been associated with initially in network campaign for Taxi New York. McCallion made his first directing VENICE, Calif.—Enda McCallion— and Tom Korsan, respectively) and the his career. His endeavors at Epoch, for One Versus ad, “Chase,” paralleled the mark in Europe, turning out assorted an accomplished commercialmaker shop’s reputation in visual storytelling instance, included: a humorous piece pending collision between a train and notable spots. He then moved state- whose feature directorial debut, the which is simpatico with the brand of for Ginn Resorts out of agency Carmi- a speeding car to that between players side, hooking up with the venerable psychological thriller Hit And Run, filmmaking he is best known for. chael Lynch, Minneapolis; a spot titled in a National Hockey League game, Ritts/Hayden Films where he estab- is slated for release later this year—has Noting that he had a productive “World War I Pilot,” which struck an promoting Versus’ coverage of the lished himself in American advertis- joined production house Great Guns couple of years at Epoch Films and emotional chord for Ancestry.com via NHL. “Chase” earned distinction as a ing, helming for such clients as Coca- for spot representation worldwide. remains both a friend and admirer of Mullen in Wenham, Mass.; and a Versus SHOOT Top Spot of the Week. Cola, General Motors and Miller Beer. Formerly handled for ad projects its exec producer Jerry Solomon, Mc- in the U.S. and U.K. by bicoastal/ Callion observed that the company international Epoch Films, McCal- profile, more skewed toward dialogue Tillman Jr. Joins Story For Commercials lion now has those markets covered and comedy, wasn’t quite the right fit by Great Guns—which too has offices for him directorially. He reasoned that CHICAGO—George Tillman Jr., direc- Although Tillman’s feature work tel in forming Menagerie Films. Their on both sides of the Atlantic—while Great Guns is likely better positioned tor of the recent film Notorious about includes both comedies and dramas, first project, the short film Paula, writ- also extending his reach to the Asian to help garner him more visually driv- rapper Biggie Smalls, has signed with it has all been very heavily rooted in ten and directed by Tillman, won nu- Story, Chicago and bicoastal, for exclu- reality, and he expects to bring similar merous accolades, including a Student sive national representation as a com- strengths to commercials. “My special- Academy Award from the Academy of After wrapping his mercial director. This marks the first ty is capturing reality,” Tillman said. Motion Picture Arts and Sciences. He feature directing debut, time that Tillman, whose feature di- “While my movies have had different followed that with Soul Food, a com- McCallion is committed rectorial credits also include Soul Food ranges, they’ve all been about drama edy based on his childhood experi- and Men of Honor, has made himself and dialogue that moves people.” ences, that was distributed by Fox and to spots via Great Guns. available for ad assignments. “I love working with talent of all became a critical and box office suc- Tillman came to Story through ranges,” he added. “The star of Noto- cess. His two most recent films, Men ad arena via Great Guns’ full-service en storytelling opportunities. Cliff Grant, the company’s executive rious, Jamal Woolard, was a first time of Honor and Notorious earned similar shop in Bangkok. At the same time, McCallion said producer. The two have known each actor. I’ve also had the opportunity to acclaim for their unromanticized por- McCallion said he was drawn to that Epoch helped to broaden his di- other since they were film students at work with some very accomplished trayal of African-American life. Great Guns by its expansive global rectorial scope as the visual storytell- Columbia College in Chicago. Grant actors, including Robert DeNiro [in As a producer, Tillman has been footprint yet boutique size, the com- ing he did there showed his lighter said that he has remained in contact Men of Honor].” involved in several other films, includ- pany’s high caliber work, his affin- side, diversifying him a bit beyond with Tillman and has long felt that he Tillman was still in film school ing Barbershop, Barbershop 2 and the ity for Great Guns’ U.K. and stateside the sometimes darker-tinged fare he was a natural for commercial work. when he joined producer Robert Tei- recent Home for the Holidays. Kevin Kerwin Captures Authenticity Union Links With Marshall For Akron Children’s Hospital Street, Lands Jinx Godfrey

CLEVELAND—Last June, a docu- SANTA MONICA, Calif.—Bicoastal of the firms collaborating on JCPen- mentary spot titled “Nick/Dr. Union and London-based Marshall ney’s spring ‘09 campaign edited by Hord,” directed by Kevin Kerwin Street Editors have entered into a re- Marshall Street owner Tim Thornton- of Authentic Films, Cleveland, ciprocal arrangement through which Allan for Saatchi N.Y. The campaign for agency Marcus Thomas, one will house the other when jobs debuted during the Academy Awards Cleveland, earned inclusion into come up for either on opposite sides of telecast and continues to air now. SHOOT’s “The Best Work You May the Atlantic. Additionally Kath Sawszak, manag- Never See” gallery. The spot was one of Marshall Street’s ing director of Marshall part of a campaign that broke prime editors, Jinx God- Street Editors, said she through the banal hospital ad- frey, is now repped by plans to travel back and vertising category with video Union for U.S. work. forth between London portraits of two teenage cancer Godfrey had previously and New York in order “to patients, giving us a glimpse of “Can’t Wait” for Akron Children’s Hospital been handled stateside meet agency and produc- their daily moments as hospital “See Austin’s [or Cael’s] story. or home, waiting for the mo- by Filmcore. tion contacts and build re- patients and inviting us to learn Tell us yours. akronchildrens. ments when the patients and Godfrey has cut as- lationships over that side more about their stories online. tv” (More videos online.) their families would forget sorted spots in the U.S. of the pond.” A follow-up to that moving For example, in the :30 “Can’t the cameras were there. Oc- and U.K. over the years. Union has offices in campaign is a tall order but Ker- Wait,” we’re introduced to Aus- casionally Kerwin as director Among her credits are Santa Monica and New win (who is part of SHOOT’s New tin not in the hospital but in the would give hand signals to Von commercials for such Jinx Godfrey York City. Its New York Directors Showcase this year) gym. He loves basketball and Scheele. The agency team was clients as Sprint, Milky Way, BP, Nike, office opened in 2008, with partners/ and the agency were up to the his medical situation hit home nowhere near, and would only American Express and Levis. editors Sloane Klevin and Geordie An- challenge, again sans any hard for him when he realized he see video footage every hour She also has distinguished herself derson, and executive producer Caryn sell for the hospital. In fact the couldn’t play for a year. He talks or so. Kerwin and Von Scheele in long-form fare, having edited, for MacLean. The Union roster of editors spots barely mention or show about what the game and his did almost nothing to prompt example, director James Marsh’s Man is comprised of company partner Jim the hospital. teammates mean to him and their subjects. on Wire which won the best documen- Haygood, Nico Alba, Anderson, Ei- The four new TV :30s are nar- how he “can’t wait” to get back. The Marcus Thomas team tary Oscar this year, as well as both the nar, Jay Friedkin, Nicholas Wayman- rated entirely in the voices of, The filming took place with included exec creative director Jury Prize and Audience Award at the Harris, Klevin, Nick Lofting, Adam and focused on, either 14-year- an almost invisible director. Joanne Kim, creative director/ 2009 Sundance Film Festival. Man on Jenkins, Pablo Piriz, and Paul Plew. old lymphoma patient Austin, Instead, director Kerwin and copywriter Jim Sollisch, art di- Wire also earned Godfrey the best ed- In addition to Thornton-Allan and or on the sister and brother of cinematographer Andreas Von rector Brian Roach and produc- ited documentary Eddie Award from Godfrey, the Marshall Street roster two-year-old leukemia patient Scheele were both serving as er Nikki Di Franco. Kate O’Neil the American Cinema Editors (ACE). is comprised of editor/owner John Cael. The spots’ subtitles do DPs and had the camera rolling produced for Authentic. Editor Meanwhile the Union link marks Mayes, and editors Kate Owen, Spen- little more than describe the for 30 and 40 hours with their was Mike O’Brien of The Carson Marshall Street’s first such associa- cer Ferszt, Charlie Roberts, Quin Wil- diagnoses. Each spot ends with: subjects, mostly in their school Group in Hudson, Ohio. tion with a house in the U.S. Spawning liams and John McManus. SJ O’Mara the deal was the positive experience is staff producer. 4 SHOOT May 22, 2009

News

Goetz Bros. Take Detour In Spot Careers Short Takes

SANTA MONICA—Detour Films, soccer. The spot earned inclusion into HAIR TRIGGERS ZIG COMEDY CAMPAIGN a Santa Monica-based production SHOOT’s “The Best Work You May Toronto agency zig has launched a TV campaign for Scotts Canada, house headed by principal/executive Never See” gallery in June ‘01. promoting the client’s Turf Builder fertilizer products in tongue- producer Josh Canova, has signed the In ‘02, the Goetz Brothers and in-cheek spoofs of stereotypical commercials which hawk potions Goetz Brothers (Kevin and Michael) Goode went their separate ways. De- and treatments to combat for spot work in the U.S. They come tour now represents a new chapter in male hair loss. over from Crossroads, bicoastal, Chi- Kevin and Michael Goetz’s careers, The Scotts spots play like cago and London. giving them the boutique-sized shop mock testimonials from Known for their storytelling prow- they sought as a roost. They got turned suburban male homeown- ess, the Goetz Brothers start off their onto Detour exec producer Canova by ers who take pride in their reel pushing the limits with HBO’s a mutual producer friend. lush lawns as if the greenery “Polygarol” (short-listed at last year’s “Their body of work is impressive,” were a thick luxuriant crop Cannes Lions International Advertis- said Canova. “They understand the of hair on their heads. CLICK HERE TO VIEW SPOT ing Festival), a tongue-in-cheek spot Michael (l) and Kevin Goetz strength of a good concept and are The Scotts Canada spots— which features three woman happily in 2000 by earning an Association of very adept at telling a story.” “Water Smart,” “Multiple Feedings” and “Winter Care”—directed welcoming a fourth wife into the fold Independent Commercial Producers The Goetz Brothers’ goal at Detour by Craig Brownrigg of Radke Film Group, Toronto—compare the thanks to the energy-enhancing ben- (AICP) Show honor in the spec cat- is simply to continue to grow their embarrassment of thin and patchy lawns to that of thinning hair. efits of their hubby taking Polygarol. egory for Mercedes-Benz’s “Dream,” track record of collaboration on story- “Water Smart” and “Multiple Feedings” are currently on air, and Then there’s a commercial titled “I which was placed in the permanent telling spots with strong creative. “Winter Care will launch later in the year. Do It” for JCPenney where an obses- film collection of the Museum of Mod- The brothers started their career The zig creative team included executive creative director Mar- sive compulsive man tries to talk him- ern Art in New York. Goetz & Goode with Mike attending USC’s School tin Beauvais, art director Allan Mah, copywriter Jason Buback, self out of proposing marriage, being also garnered a 2001 Emmy nomina- of Cinema and TV Master’s program planner Lynn Sivec, team leader Natalie Calderon and producer foiled on the way to her home by win- tion for the main title sequence for and Kevin at The Art Center College Dena Thompson. ning every self-imposed mental and The Wonderful World of Disney on of Design in Pasadena. They have col- The Radke support team included exec producer Scott Macken- physical challenge. ABC. The title sequence was done for laborated on spots ever since, drawing zie and producer Kevin Hinds. Stoeps Langensteiner was the DP. Buena Vista Marketing. inspiration and learning from each Editor was Brian Williams of Panic & Bob, Toronto. From trio to duo Among Goetz & Goode’s other no- other, splitting directorial duties while Kevin and Michael Goetz actually table credits was adidas’ “WWI Soc- using no one particular approach. BOLLYWOOD BREAKS IN WITH BANG started out in the commercialmaking cer,” a striking period piece featuring The Goetz Brothers join a Detour In a special partnership with Saavn, a leading digital rights hold- arena as part of a directorial trio, Go- soldiers abandoning their battlefield directorial roster that includes Jeff er of Bollywood movie and music content, New York-based Bang etz & Goode, with Michael Goode. trenches in war-torn France to engage Kaumeyer, Dana Tynan, Rudy Man- Music now brings Bollywood music to the U.S marketplace for im- The threesome made a major splash the enemy in an impromptu game of ning, Geoff Moore and George Mays. mediate licensing opportunities. The catalog includes more than 100 tracks by Oscar and Golden Globe-winning Slumdog Million- ARTISANS aire composer A.R Rahman. In total Bang now has available over 200,00 audio tracks from Bollywood feature film soundtracks and The Joneses Lands Dir. Enno Jacobsen popular Indian music releases. The catalog ranges from over-the- top Bollywood dance numbers to traditional Indian “folk” sounds SANTA MONICA, Calif.—Director when she realizes he is in love with on the backdoor of the residence. The to unique pop, hip hop, electronic and rock fusions. Bang partner Enno Jacobsen has signed with bi- the guy’s car. In the spot “Formula 1” door opens and the intruder enters Brian Jones serves as executive curator of the Bollywood catalog. coastal The Joneses for exclusive rep- for BMW, a man, who otherwise ap- the house. We find ourselves in the resentation in commercials. Previously pears to be a model of conservatism, kitchen, where the clumsy burglar PEOPLE IN THE NEWS.... represented by Newhouse Films, Los exits his car by climbing through the knocks over a container of spices. Arf & Co., a Hoboken, N.J.-based production house has added di- Angeles, Jacobsen has directed spots sun roof. Meanwhile an unsuspecting man rector Adam Karsten to its roster. A Los Angeles resident, Karsten for such brands as BMW, Volkswagen, Among Jacobsen’s early successes slumbers deeply in the bedroom. The gives Arf & Co. a West Coast footprint as well as another option in Suzuki, Toyota and Du Pont over a ca- stateside was an offbeat Right Brain- bedroom door opens and the camera tabletop. He joins an Arf lineup that also features tabletop helmers reer that includes work in the U.S. and moves in on him. Sensing that some- Alex Fernbach (who is also company owner) and Beth Galton. Mark Europe. His success has been based thing his amiss, he awakens. The man Fitzmartin is the production house’s exec producer. Strangely, the primarily on his storytelling skills and opens his eyes to find the interloper Apple Martini shaped Karsten’s early career path. After studying his quirky handling of humor. standing on his chest—the break-in film and art history at UCLA, Karsten worked as a bartender at “Enno has a very original way of artist is a lawn gnome. L.A. eatery Lola’s to support his career in documentary filmmak- telling stories—it’s smart and subtle,” Understandably, the unexpected ing. Demonstrating creativity beyond the camera, Karsten created said The Joneses’ executive producer sight throws the man off guard. The the Apple Martini. With newfound fame, Karsten made regular Mel Gragido. “His experience as an gnome also has company—dozens of appearances on television shows and in magazines, and came to editor shows in the economical way other gnomes who stand around the appreciate the fine art of tabletop photography as his cocktail cre- he spots are constructed.” bed. The main gnome, still planted ation was primped and styled for close-ups. “I am always trying to Jacobsen was born in Germany and on the man’s chest, suddenly speaks, establish a narrative in what I am shooting so there is some kind of got his start as an editor with Neue “Free CD.” underpinning in what I do,” noted Karsten who previously worked Sentimental Film in Frankfurt. His The spot cuts to a graphic promot- on spots out of Bob Industries. first chance to direct came via a pitch ing a CD sale at Wherehouse. A voi- “There should be a reason ev- video for the German phone company Enno Jacobsen ceover touts the sale—“Buy 3, get the ery time the camera moves.”.... Debitel that eventually turned into produced campaign for Wherehouse 4th free”—and then we’re returned Jeremy Colfer, formerly director a package of 30 broadcast spots. He Music retail stores out of agency Colby to the bedroom where the man is at- of development and production moved to the U.S. in 2002 and signed & Partners, Santa Monica. In fact, one tempting to take the gnome off his for Sony Pictures Television’s with Right Brain Media before jump- of the spots, “Little Stalkers—CDs,” chest. The gnome says, “Uh-uh,” and digital network Crackle, has be- ing over to Newhouse in ‘06. earned inclusion in SHOOT’s The the man pulls his hand away. come VP, branded content and Jacobsen has done a lot of work for Best Work You May Never See gallery The Joneses is handled by indepen- development, at Los Angeles- car accounts with most of those ads in- in ‘03. dent reps Maggie Klein in the East, Adam Karsten based hybrid agency/produc- volving offbeat stories. In a spot for the The spot opens on what appears to Doug Stieber & Company in the Mid- tion company Stun Creative. At Crackle, Colfer established strong Volkswagen Jetta, a woman is discon- be the POV of a would-be robber ap- west, Dawn Ratcliffe in Detroit, Howell relationships with agencies, talent and producers while oversee- certed when her boyfriend begins fol- proaching a home. A potted plant gets Associates out West, and Alyson Grif- ing the production of hundreds of episodes of digital content.... lowing another driver—but is relieved knocked over as the camera moves in fith in Texas. 6 SHOOT May 22, 2009 Rock Paper Scissors, School Each Win Thrice At ‘09 AICE Awards

Continued from page 1 The only other edit shop with more Meanwhile editor Derek Swanson Neil Gust of Outside Editorial, helmed by Diego Kaplan of America (Amber Music, N.Y.) and Best of New than one AICE Award honor was The (who’s now with Filmcore Detroit) won N.Y., topped the New/Emerging/Al- Filmworks, Miami, for Dieste, Dallas.. York categories. “The Open” was di- Whitehouse. Editor Christophe Wil- the Best of Detroit category for the Ad ternative Media category for Jaguar’s Lindy Wilson of Fischer Edit, Min- rected by Steve Rogers of Biscuit Film- liams of The Whitehouse, London, Council PSA “Cheerleader” directed “XKR-S” directed by Peter Lang of neapolis, edited the Best of Minne- works, L..A., for Modernista!, Boston. topped the Visual Effects category for by Vance Malone via bicoastal/inter- Pictures In A Row, Hollywood, Calif., apolis winner, Washington Lottery’s RPS and School, Toronto, tied for Toshiba’s “Time Sculpture” directed national Hungry Man (Malone is now for Euro RSCG, New York. “Birds” directed by Jerry Brown of the lead in the edit company derby, by Mitch Stratten of bicoastal/interna- with bicoastal/international Station Pictures In A Row also figured in Sticks+Stones Studios, Los Angeles, taking three categories apiece. tional Hungry Man for Grey, London. Film) for Campbell-Ewald, Detroit. the Spec Spot category win with Joe for Publicis in the West, Seattle. Mark Morton of School cut Parkin- (Stratten is also in SHOOT’s 2009 New Swanson edited the spot when he was Remerowski and Charles Son serving And topping the Best of San Fran- son Society Canada’s “Struggle” which Directors Showcase.) with the since closed Mad River Post. as editors on Frito-Lay’s “Doritos Guy” cisco category was editor Kelly Vander won in the Public Service category. And The Whitehouse, Chicago, Another editor to move was Kim directed by Son. Pictures In A Row Linda of Collective, Seattle, for T- “Struggle” was directed by Mark Zib- earned distinction in the AICE Best Bica who while at bicoastal Lost Planet served as production house and agen- Mobile’s “Fine Print” directed by The ert of Sons and Daughters, Toronto, for of Chicago category for Bud Light’s cut NBA’s “Win” directed by Dayton/ cy on the spec piece, with Remerowski Perlorian Brothers of Furlined for Taxi 2, Toronto. (Zibert earned inclusion “Deli” cut by Carlos Lowenstein. The Faris of Bob Industries for Goodby, and Son editing via the company. Publicis in the West, Seattle. into SHOOT’s New Directors Showcase spot was directed by Erich Joiner from Silverstein & Partners, San Francisco. in part due to this spot. See separate bicoastal Tool of North America for “Win” won the AICE Dialogue cat- Best of... Hall of Fame Showcase coverage in this issue.) DDB Chicago. egory. Bica has since departed Lost Rounding out the competition Another prime highlight of the Editor Griff Henderson scored the Filmcore, with shops in New York, Planet and joined Arcade, L.A. were the remaining winners in the AICE Awards proceedings was the Best of Toronto honor for Corby Dis- Chicago, Detroit, Santa Monica and Topping the Comedy category was Best of regional categories. Editor induction of Fred Heinrich into the tilleries Wiser’s “New Shirt” directed San Francisco, scored a win and was Chris Franklin of Big Sky Editorial, Peter Barstis of Editbar, Boston, took AICE Hall of Fame. Heinrich earned by Craig Brownrigg of Radke Film indirectly linked to another. The out- N.Y., for his work on Planters Peanuts’ Best of Boston honors for Blue Cross/ the honor on the strength of his prow- Group, Toronto, for John St., Toronto. right honor was in the Music Video “Perfume” directed by Hungry Man’s Blue Shield of Massachusetts’ “BCBS- ess as an editor and for co-founding And rounding out School’s trio of category for Filmcore Santa Monica Bryan Buckley for Draftfcb, N.Y.. Daniel Spirer” directed by Jonathan Inner-City Filmmakers. (See this wins was editor Aaron Dark in the editor Livio Sanchez’s work on Gnarls Gary Knight of Peepshow, N.Y., Bekemeier of Picture Park, Boston, week’s spot.com.mentary for more on Under $50,000 category for Toronto Barkley’s “Who’s Gonna Save My topped the Montage category for adi- for PArtNERS+simons, Boston. Heinrich, the Hall of Fame and Inner- International Film Festival/Cadillac’s Soul” directed by Chris Milk of bi- das Original’s “House Party” directed Editor Gigi Cone Welch of Fast Cuts City Filmmakers. For more detailed “Scream,” also helmed by Brownrigg, coastal/international @radical.media by Nima Nourizadeh of Partizan for Edits, Dallas, took Best of Dallas for credits on the AICE Awards Show for Toronto’s McLaren McCann. for Atlantic Records/Downtown. Sid Lee, Montreal. Nationwide Insurance’s “Lightning” winners, log onto www.aice.org.)

HHIT US

record. mix. play.

Michael Marinelli Steve Rosen mixer mixer

NEW PLACE. SAME GREAT VIEW. contact: [email protected]

May 22, 2009 SHOOT 7 Top Spot of the Week Jenkins, Goodby Walk Down The Aisle, Say “I Do” For Sprint Nextel By Christine Champagne the producer is on top of everything, get things done right now. “We knew from the script there would be distinct Film crews—well, the best ones—are ef- reporting, “The cake is en route, the that we wanted to use a film crew be- shifts in pace as the spot plays out—an ficient, problem-solving machines able tulips just arrived.” fore we had the right situation for them accelerating rush leading to a sense of to make the impossible possible. And Using her Nextel Direct Connect- to inhabit,” Goodby senior copywriter calm,” Payonzeck said. “There’s a lot if film crews ran weddings, often prob- equipped phone to check in with Steve Payonzeck shared. “That stems of story being told within 30 seconds, lematic affairs requiring complex cho- another crew member, the producer from our experiences on set—when and Hutchins was able to craft a sort of reography, the ceremonies would go discovers that the groom has cold feet. you’re working with a great crew, mini-screwball comedy out of it all.” off without a hitch as we see in a spot That’s no problem, though. The pro- things just get done, sometimes as if by titled “Wedding” that promotes Nextel ducer summons the stunt groom, and magic. And when the unexpected hap- Direct Connect, Sprint Nextel’s instant a hulking crew guy picks him up and pens, they deal with it, which dovetails top push-to-talk network deposits him at the altar. perfectly with the campaign. for succinct calls. After getting a gander at But rather than place the film crew Created by San Fran- the handsome stand-in, in the expected setting, which would Spot cisco’s Goodby Silver- the bride is beaming. be a film shoot, of course, Goodby of the week stein & Partners and The spot ends with decided to have the crew run a wed- directed by Jim Jenkins a V.O.: “Get work done ding, an event that because of logistics CLIENT of bicoastal/internation- now. Nextel Direct and emotions running high presents Sprint Nextel. al O Positive, the clever, Connect with GPS plenty of opportunities for things to AGENCY fast-paced :30 finds a tracking—only on the go awry, Payonzeck said. Goodby Silverstein & bride surveying the Now Network.” Partners, San Francisco. scene of her outdoor Directorial choice Rich Silverstein, co-chairman/creative wedding and bemoan- Chirp alert When it came to marrying a direc- director; Franklin Tipton, creative di- rector; Paul Stechschulte, group cre- ing the rain. That’s no Jim Jenkins Explaining the tor to “Wedding,” Goodby proposed ative director; Christian Haas, group problem for the crack producer run- thinking behind the Sprint Nextel O Positive’s Jenkins take on the as- creative director/associate partner; ning her wedding. She presses a button campaign in general, “We wanted to signment. “There are a lot of reasons Steve Payonzeck, senior copywriter; on her cell phone, which is connected celebrate the blue collar ‘get er done’ why Jim was the right director for Jack Woodworth, art director; Jennie to the Nextel Direct Connect network, work ethic that is the bedrock of this this,” according to Goodby art direc- Lindstrom, producer. we hear a chirp, and it goes into walkie- country,” said Goodby group creative tor Jack Woodworth. “He immediately PRODUCTION COMPANY talkie mode, allowing her to quickly tell director Paul Stechschulte, noting, understood the overarching story, but O Positive, another crew member, “Lose the rain.” “The product [Nextel Direct Connect] maybe more importantly the subtle bicoastal/international. He obliges, stopping the flow from helps workers who generally don’t intricacies to get the most out of the Jim Jenkins, director; Bob Gantz, DP; a water truck. “No rain, no rainbow,” have the time or the desire for chit- script/cast. Even on shoot day, he kept Ralph Laucella, executive producer/ he says. Moments later, the bride’s chat to communicate instantly—we trying to push the script and cast to line producer; Devon Clark, produc- mother asks the producer for an up- wanted to associate hearing the chirp make the spot tighter and smart with tion supervisor. Shot on location in date as to how the overall wedding with knowing something’s going stuff both scripted and unscripted.” Rancho Palos Verdes, Calif. preparations are going. Referring to down right now.” Jenkins and his crew, which includ- EDITORIAL HutchCo Technologies, a TV screen with pertinent GPS data, Film crews certainly know how to ed DP Bob Gantz, shot “Wedding” on Los Angeles. location in Rancho Palos Verdes, Calif. Jim Hutchins, editor; Joaquin Macha- at Wayfarers Chapel overlooking the do, assistant editor; Jane Hutchins, Pacific Ocean. executive producer. The weather could have been bet- POST/VISUAL EFFECTS ter for the two-day shoot. “It was never Company 3, Santa Monica. quite as sunny as we needed it to be, Stefan Sonnenfeld, colorist. and that was the biggest headache... Brickyard VFX, Santa Monica. It’s always perfect out there, and we Patrick Poulatian, lead Flame artist; got two days when it wasn’t,” Jenkins Chris Sonia, Narbeh Mardirossian, said, adding, “The spot ended up Flame artists; Diana Young, VFX pro- looking pretty good considering be- ducer. cause whenever the light was good we SOUND DESIGN Mophonics, bicoastal. shot what we needed to shoot.” Josh Marcy, sound designer; Colette Most of the action was captured Huemer, producer. in-camera, although Brickyard VFX, AUDIO Santa Monica, later put in the sun that Lime Studios, Santa Monica. shines down upon the wedding after Rohan Young, mixer; Joel Waters, as- the producer puts a stop to the rain. sistant mixer; Jessica Locke, producer. The brawn of the actor playing GRAPHICS the crew member carrying the stunt Radium, Santa Monica. groom to the altar allowed the scene Hatem Ben Abdallah, Aftereffects to be done sans rigging. Jenkins shot artist; Joe Censoplano, Inferno artist; that funny scene a few times and ulti- Linda Jackson, producer. mately found that it clicked when the PERFORMERS actor playing the groom held his body Cristina Cimellaro, Terri Hanauer, Vic- stiff as a board. “When I had him treat toria Kelleher, Brad Greenquist, Sam himself like he was some sort of prop, Carson, Edward Fordham, Edward CLICK HERE TO VIEW SPOT Flores, Eric Geller, Sean Davis, Ja- it got a lot funnier,” Jenkins said. son Dugre, Rod McLachlan and Tom An efficient, always-on-top-of-things film crew can make even the most complicated, angst ridden planning proposition a piece of cake--make that a Jim Hutchins of HutchCo Tech- Parker. piece of wedding cake--as evidenced by this detail-oriented, fast paced :30 of matrimonial bliss from Goodby, Silverstein & Partners, San Francisco. nologies edited the spot. “We knew 8 SHOOT May 22, 2009 News

Showcase Directors Represent A Diverse Filmmaking Lot

Continued from page 1 nered Showcase attention in large part “Mindbender” spec ad, which was • Gonzalo “Gonzo” Llorente of Car- original campaign initially recognized in Santa Monica-based house Thom- due to his direction of the Head Ap- recently recognized in our “The Best bo Films, Santa Monica, for Movistar’s in our “The Best Work You May Never as Winter Cooke (TWC), saw Taking parel viral “Speed” (produced by Czar, Work You May Never See” gallery). “Not For Me” out of agency Y2R in See” gallery. The follow-up campaign Chance at the Sundance Fest and soon Hamburg) for what is now agency Buenos Aires. is covered in a separate feature story in thereafter signed Katz for representa- A&S, Berlin. Iannacchino heads up Teamwork • Jonathan Newman of Serendip- this week’s issue of SHOOT .. tion in commercials. Creative Bubble. Besides the aforementioned Maat ity Films, London, for Ford Mustang/ • Jason Moore, who’s repped in the and Loorbach, the other teams in Filmaka’s branded content piece “Fa- Midwest by Back Alley Films, Kansas Creative pedigree Indie spotmakers the Showcase are: Fx & Mat of Nexus ther’s Day” via JWT Team Detroit. City, Mo., for the U.S. Department of The alluded to former agency Eleven of the Showcase directors Productions, London (Royal Bank of • Sam Macon of Radar Studios, Chi- Transportation’s ”Ryman” spec spot. creatives now in the director’s chair didn’t have a commercial production Canada’s “Mr. Long Legs” for BBDO cago, for AirTran Airways’ “Gamer” • And Mark Zibert of Sons and include such notables as Kim Geh- company affiliation at the time of their Toronto); Bif (Jules Janaud, Fabrice le out of Cramer Krasselt, Chicago. Daughters, Toronto, for Parkinson So- rig and Kenny (previously known as being selected by SHOOT. Since then, Nezet, Francois Roisin) from The Mill, • Otis of bicoastal The Artists Com- ciety Canada’s “Struggle” from agency Kenny Herzog). a solo director and a helming duo have London (the short titled Dix); The pany for the Brady Bill’s “Bullets.” Taxi 2, Toronto. Gehrig made her first major mark found roosts as the Amsterdam team Purchase Brothers (David & Ian) of bi- • Robin Hays of Radke Film Group, Lead sponsors for the Showcase as a creative and creative director at of Andre Maat and Henk Loorbach coastal Anonymous Content as well as Toronto, for adidas’ “Sneakerhead” event are the DGA, harvest and ONE Mother, London, where she spent signed with Lost Highway Films, New Canadian house Sons and Daughters spec spot. at Optimus. Silver sponsors are Kodak eight years. In late 2008 she formally York, for representation, and director (Half-Life video game spec short Es- • Kevin Kerwin of Authentic Films, and Deluxe. For a full rundown of this exited Mother to focus full time on Nick Jasenovec has joined the roster cape From City 17); and The Hoffman Cleveland, for Akron Children’s Hos- year’s New Directors Showcase honor- directing and then secured her first of bicoastal Nonfiction Unlimited, Brothers (Mark and Matt) of Santa pital’s “Nick” out of Cleveland agency ees, see our series of individual mini- “commercial,” a branding short for which specializes in handling docu- Monica-based harvest (Bud Light’s Marcus Thomas. This was part of an profiles in this issue. Amnesty International that put her on mentary filmmakers for spots and “Man Treats” spec spot). the map as a helmer in a major way. branded content. The poignant 90-second film, entitled Maat and Loorbach scored Show- Rest of lineup You Are Powerful for Mother, Lon- case recognition on the basis of their Rounding out the 2009 SHOOT don, is her featured piece in the 2009 Cult TV spec Ids while Jasenovec New Directors Showcase are: SHOOT Showcase. It was first recog- will have the trailer of his film Paper • Mitch Stratten of bicoastal/inter- nized in SHOOT ‘s “The Best Work Heart—which won a Sundance Screen- national Hungry Man for such work You May Never See” gallery. writing Award this year—screened for as Toshiba’s “Time Sculpture” out of Meanwhile Kenny had creative ten- the SHOOT Showcase audience. Grey, London. ures at Ogilvy & Mather, New York, Directors in nine other Showcase • Timothy Kendall of Rhythm+Hues and Taxi N.Y. before freelancing for slots remain in the market for spot Commercial Studios, Los Angeles, for such shops as DDB Chicago, Toy, New production company homes. Minnesota Tourism’s humorous “Of- York, and Brooklyn Brothers. He also They are: Ishay Karni Eckhaus fice Boarding” (produced by Drive- got involved creatively at New York (Volvo S60’s “Café” for McCann Er- Thru, Minneapolis) for Clarity Cover- agency Nicebigbrain. He then joined ickson Israel, Tel Aviv); Gregg Casson dale Fury, Minneapolis. bicoastal/international production (Climate Change’s “Moving Day” spec • Brandon Kraines of Stray Dog house O Positive to formally launch PSA); Aine Carey (Ishmael’s “Better in Franklin, Tenn., for the spec viral his directing career. In These Times” music video); Aaron “Hands-Free” (produced by Stereo Kenny got the chance to work cli- Platt (The Glitterati’s “Keep Me Up All Lab Films and United Front Films, ent-direct creatively and with O Posi- Night” music video); Shira-Lee Shalit both in Los Angeles). tive as a director on Boomerang GPS’ (the short film Open Air); Shawn Zey- • Sophie Caretta of Identity, New “Santa,” a comedy spot which is slated tinoglu (whose Mini Cooper “Find York, for a poignant Careerbuilder. for Showcase screening. Yourself” spec spot out of Taxi Canada com spec short. And Showcase director Paul Ian- has been bought by the client); Lapo • Alex Anderson from ONE at Opti- nacchino, Jr., of Creative Bubble, New Melzi (African-American Planning mus, Chicago, for the Optimus promo York, got his start in commercials as Commission’s “Paper Child”); Doug spot “Done.” This too first garnered part of the in-house agency for the Purver (Omar and His Sky Hook attention in our “The Best Work You National Football League. He gar- short film); and Jesse Jacobs (Skittles’ May Never See” gallery.

Get Better Reception From Potential Clients By Reaching Them In The SHOOT Formats For Space Reservations, They Read And View Regularly For News, Info, Great Work & Insights! Contact: Your Ad Agency & Production Industry Clients have strong emotional connections with SHOOT Magazine, Print & Online Advertising The weekly SHOOT>e.dition and SHOOTonline.com, making the print and online enviornments conducive to your message. [email protected] Advertise to raise awareness of your company, talent roster, services or products and get better reception! 203/227-1699, ext 13 In addition to the latest NEWS, Best NEW WORK & SHOOT COLUMNS, here’s what’s coming up. in print... JUNE 19-JULY 16 Issue JULY 17-AUGUST 13 Issue AUGUST 14-SEPTEMBER 17 Issue Classified / Recruitment classifi[email protected] PRODUCTION: AD AGENCY & PRODUCTION INDUSTRY AD AGENCY CREATIVES 203.227.1999 ext. 12 *AICP Show Wrap-up/Honorees List MID-YEAR REPORT CARD *Coverage of SHOOT New Directors PRODUCTION & POST Showcase Event VISUAL EFFECTS & ANIMATION Challenges & Opportunities *Cannes Lions Intl Adv Fest Preview Plus: Top Ten VFX & Animation Spots Chart MUSIC & SOUND Print Issue Details: SIGGRAPH PREVIEW Plus: Top Ten Spot Tracks Chart www.shootonline.com/go/ EDITING, POSTPRODUCTION & Orignal Music & Soung upcomingissues VISUAL EFFECTS Texas & Louisiana New York & The Northeast STOCK FOOTAGE Event Distribution: Event Distribution: Cannes Lions Intl Ad Fest, 6/21-27 SIGGRAPH, New Orleans, August 4-6 HOT Locations Ad Material Deadline: June 12 Ad Material Deadline: July 10 Ad Material Deadline: August 7

9 SHOOT May 22, 2009

CINEMATOGRAPHERS

From Small To Big Screen & Back: DP Perspectives

While the features are distinctly different—a fast paced action adventure film on a commercials vibe,” said Seresin. “The way I understand it is that he looked at Cinematographers larger than life scale, and a quirky comedy/drama—they have drawn SHOOT to a 25 or so different reels and mine somehow got through the short list. I flew out couple of notable cinematographers whose work spans multiple disciplines, pri- to Los Angeles for a meeting with Michael, we hit it off and I got the film right marily commercials and theatrical movies, as well as great creative range within off the bat.” refl ect on their those disciplines. Seresin observed that the Transformers film “represented a change for me. My Ben Seresin recently wrapped shooting Transformers: Revenge of the Fallen for movie background wasn’t too much involved in the high impact action style of director Michael Bay while Peter Donahue lensed the dramedy Gigantic helmed work that Michael does. I had, however, done some second unit DP work on Te r- short and long- by Matt Aselton. minator 3: Rise of the Machines and Lara Croft: Tomb Raider. As a DP, though, my Both Bay (who directs spot via The features background was more from Institute for the Development of En- the art house, independent side of the form work, and hanced Perceptual Awareness, Ven- business, which made it even more ice, Calif.) and Aselton (of bicoastal/ gratifying that Michael took a leap of how one impacts Winternational Epoch Films) bring faith with me. And to get a chance to commercialmaking experience to the work on a Spielberg-produced movie director’s chair. Donahue and Aselton was a treat. He has been a huge icon in fact have collaborated in the past on for me, especially through the early the other. spots whereas this marks the first time years of my filmmaking career.” that Seresin has had occasion to work The alluded to “leap of faith” was with Bay. paralleled by a quick leap into shoot- By Robert Goldrich Here are some reflections from ing Transformers: Revenge of the Seresin and Donahue on their diverse Fallen. “One of the biggest sequences filmmaking careers, their latest proj- in the movie we shot during the first ects and digital cinematography: three days of filming,” related Seresin. “Some directors might prefer to ease Ben Seresin into a project, take the first few days For cinematographer Ben Seresin, to let you find your feet so to speak. while working in commercials, feature But Michael’s thinking is just the op- films and music videos is the kind of posite. He throws everyone, including diversity which he embraces, he is himself, into the biggest challenges in even more enamored in some respects the first few days. This gets everybody with the diversity he’s experienced up to speed and working in a way you within each of those disciplines as he need to carry on for the rest of the aspires for more such variety—from shoot. It sets the tone. As terrifying small simple spots to more visually as it was at first, it served us well. The driven epic campaigns, from the cre- scale of the project was massive and ative freedom afforded him in music for five months of shooting we main- clips the past few years, to theatrical features ranging from a modestly budgeted tained that momentum and high energy pace of shooting. On Michael’s sets, you personal psychological thriller (Done directed by spotmaker Ringan Ledwidge) never see anyone standing around waiting for something to do. In some ways, to an ambitiously budgeted, grand in scope Transformers sequel produced by you shoot with the speed, pressure and pace of a low budget music video that Steven Spielberg. you have a limited amount of time to pull off properly.” In searching for a DP on Transformers: Revenge of the Fallen, Bay was report- Seresin found himself able to adapt to this fast paced, high energy, challenging edly interested in an artisan with experience in commercials and music videos. style in large part because he has such extensive spot shooting experience. “It’s a “Michael’s movies have a fairly fast paced visual dynamic that fits in with the Continued on page 12 May 22, 2009 SHOOT 11 CINEMATOGRAPHERS

Spots Inform Features And Vice Versa For DPs Seresin, Donahue

Continued from page 11 laborations, mostly prior to his embark- ment. You have immediate access. You dynamic brand of storytelling that my ing on Transformers, have been with the can still get good results with HD but background in commercials made it likes of Jake Scott of RSA Films, Mal- there are more restrictions, and the easier for me to accommodate,” noted colm Venville of Anonymous Content, physical environment and conditions Seresin. “It’s a fantastically energizing Brian Beletic of Smuggler, and Dougal have to be better controlled for HD process working with a director like Wilson of Blink. Wilson and Seresin than for film.” Michael Bay. He likes to tell the sto- teamed on a British Telecom job just ries in each scene quickly and directly. prior to the cinematographer starting Peter Donahue That and the pace at which the films on Transformers. The selection of Peter Donahue to are edited very much remind me of a Represented by The Skouras shoot Gigantic was a natural one for commercials approach.” Agency in Santa Monica, Seresin is the film’s director and co-writer Matt While his spot background in- also active in digital cinematography Aselton. The two have worked regu- formed his work on the Bay feature, although he remains devoted to film. Ben Seresinlarly on primarily comedic commer- Peter Donahue the Transformers experience converse- His HD spot shoot experience includes and see the results immediately. Yet cials over the past five or so years and Among the other notable spots ly gave Seresin something that he can deployment of the Sony CineAlta F23 film can deliver great quality under become friends in the process. lensed by Donahue over the years in- bring to his future commercialmaking and F35 as well as Arriflex’s D-20 and the same conditions. For some there’s “We kind of see things the same clude the classic Miller High Life cam- endeavors. “Michael has an incredibly D-21 cameras. Seresin shot a Gatorade hesitation because they cannot see the way,” said Donahue of his being on paign work helmed by Morris, Interna- astute instinct for maintaining ten- spot directed by Fredrik Bond of MJZ results until the next day. But despite the same wavelength with Aselton. tional Paper directed by Albert Watson sion for his audience. His instinct for using the D-21. That camera was se- being without the immediacy, film “We don’t need to discuss things ad of cYclops productions, New York, and understanding what will work on the lected because it lent itself to the na- can still deliver a magic that no other nauseam. We instinctively react very Volkswagen directed by Aselton. screen, what will maintain the engage- ture of the project and Seresin found medium can at this point.” much the same way to things. We be- Donahue’s most recent commer- ment of the audience—particuarly for the results most satisfactory. Seresin added, “The technical pos- lieve in doing things simply and creat- cial credits include Apple (directed his target demographic—is phenom- As part of a test, Seresin also shot sibilities of HD excite me and I can see ing an atmosphere where actors can by Morrison), Anthem, Boost Mobile enal. From that point of view, I learned the Gatorade project using an Arri 235 the huge potential there creatively. The work, and reacting from there.” and T-Mobile (helmed by Aselton), a great deal from him.” film camera with Arri Master Prime HD systems are getting better and bet- Aselton observed of Donahue, True North (directed by Helen Hunt Though the Transformers film kept lenses. “It was an in-the-field com- ter and at some point they might rival “What’s truly helpful about working via Chelsea Pictures; Donahue also Seresin busy for most of the past year, parison and the results were a real eye film. When that happens, I’ll be right with Peter is his understanding of the earlier shot Hunt’s feature directo- he still managed to shoe-horn in some opener. There’s a misconception that there as a regular user. But today film story and the characters. His involve- rial debut, Then She Found Me), and spot duty, most notably a Nike cam- you can go only with HD in any light is still a fantastically versatile medium ment goes beyond lights and cameras. Heineken and State Farm (directed by paign directed by Frank Budgen of situation. But with Kodak high speed and its range and dynamic quality are It’s wonderful to work with someone Stacy Wall who recently moved from Gorgeous, London (repped stateside by film and the right prime lenses, you unequaled. For example, there’s no who thinks beyond their department.” Epoch Films to a house in which he is bicoastal Anonymous Content). Seresin can do things in low light levels that way we could have shot Transformers The Gigantic story centers on a partnered, Imperial Woodpecker). has worked regularly with Gorgeous haven’t been fully explored creatively. on HD. There are self-contained small couple (played by Paul Dano and “One definitely informs the other,” U.K. directors Budgen, Chris Palmer On one hand HD has given people film cameras that you can get terrific Zooey Deschanel) who come from related Donahue of his experiences and Tom McCarty. The DP’s recent col- the confidence to shoot available light results from in any physical environ- dysfunctional family situations yet in features and commercials. “Any- find a way to form a relationship. “It’s time you work, you learn something a very intelligent, very funny script about storytelling and how to do your and when Matty showed it to me, I job, from lighting a room to finding a immediately wanted to shoot it,” said way to let a camera tell a story a dif- Donahue who’s building a reputation ferent way. You are better off for being in the quirky comedy arena. He also involved in both disciplines. Com- shot Five Dollars A Day for director mercials have been very beneficial in Nigel Cole (starring Christopher Walk- terms of my being fast and efficient in en, Amanda Peet, Sharon Stone and theatrical feature films. And movies Alessandro Nivola) for which a release have given me insights into, and the date is pending. And earlier Donahue opportunity to get deeply involved in, shot Junebug, directed by another character development.” Epoch director, Phil Morrison, which Donahue studied photography in was nominated for a 2005 Sundance art school and landed a job working in Take the plunge. Film Festival Grand Jury Prize in the film. He then started shooting music dramatic category and earned a Sun- videos and commercials, diversifying dance Special Jury Prize as well as an into documentaries with Morris. “I’ve Academy Award nomination for Amy been steadily shooting short-form and Adams’ performance. long-form projects, taking on com- Donahue also has a more serious mercials in-between features and be- documentary pedigree, having shot ing heavily steeped in commercials for director Errol Morris Mr. Death as for long stretches of time. It’s been an well as the ‘04 Oscar-winning docu- ideal mix creatively.” mentary feature The Fog of War. Donahue remains firmly a film pro- The cinematographer, who is rep- ponent, having had spotmaking forays resented by Dattner Dispoto and As- into HD lensing with RED camera sociates, Los Angeles, also enjoyed and the Sony 35. While those digital the benefit of working with directors experiences didn’t directly whet his For your next shoot, check out Montana’s jaw-dropping scenery, amazing locations, Morris and Morrison—as with Asel- appetite for more, he noted that he ton—on spots. The ad collaborations nonetheless is eager to become in- world-class outdoor recreation, great incentives, reliable, experienced crew and with Morris, for example, included creasingly active in the HD shooting down-to-earth authenticity you won’t find anywhere else. PBS’ “Photo Booth” which won the realm because “that’s the direction primetime commercial Emmy Award in which things are headed. You have Montanafilm.com/800-553-4563 in ‘01. At the time Morris was with to be prepared for the future. Film, @radical.media. (He is now with though, is still the most relevant and Moxie Pictures.) versatile medium for me.” 12 SHOOT May 22, 2009 7th ANNUAL NEW DIRECTORS SHOWCASE

On May 28 at the DGA Theater in New York, SHOOT Helping to fashion the 2009 New Directors Showcase will debut its seventh annual New Directors Show- lineup were entries from SHOOT’s ‘09 New Directors case reel, which will become available on May 29 at Search, choice work from SHOOT’s “The Best Work You www.shootonline.com/go/newdirectorswebreel. The May Never See” gallery, our Up-And-Coming Directos reel reflects the work and inventive talent of 32 hel- features, and feedback from advertising agency creatives mers—27 individual directors, four directorial duos and and producers. a three-person team. Here’s a look at this year’s field of talent:

How did you get into directing? How did you get into directing? I simply started making fi lms. I had We all met during our studies at the worked at an agency, plus I was a rep, French school, SUPINFOCOM. Fabrice had so I had insight into both the produc- collaborated on a short fi lm called Dy- tion and the advertising worlds. A cre- Bif (Jules Janaud, namo and Jules and Francois completed ative director friend liked my choice of Fabrice le Nezet, a separate short called 90 Degrees. As subject and the impulsive narrative in Francois Roisin) we were all working at The Mill after our Alex Anderson one of my little Gummo-style fi lms The Mill, London studies, we decided to get together to ONE at Optimus and hired me to direct a project that Dix short film make fi lms as a trio. We created our col- Optimus’ “Done” promo wanted to have a similar vibe. lective, named it Bif and started production on Raymond, our fi rst joint short fi lm.

What is your most recent spot project? If you haven’t done a recent commer- What is your most recent spot project? If you haven’t done a recent commercial, cial, what is your most recent project? what is your most recent project? The promo I shot for Optimus was just released in the spring, and I’ve been prepping a The last commercial we completed was a spot called “City” for Vodafone in the U.K. We are currently working on a Ford little fi lm about monsters with a clever script from Mike Smith and Greg Hahn of BBDO. commercial for the U.S. market which is due to fi nish this month.

What is the best part of being a director? What is the best part of being a director? I love working in this time where human beings are just gorging on content. There is more opportunity to make stuff and The best part is having the opportunity to develop new types of narration and graphic design for every piece of work we gain an audience now than ever. Connect with the audience and succeed. Simple. take on.

How did you get into directing? How did you get into directing? I studied architecture and photogra- I have always known I wanted to be a phy in Argentina before attending a director. I went to NYU for directing. French fi lm school. There, I discovered After graduating I had the privilege of directing through short fi lms and being mentored by the legendary act- documentaries. Telling stories and ing teacher William Esper. I went on to giving meaning to what I do has be- attend the Masters Program at Rutgers Sophie Caretta come a vital need that I’ve satisfi ed. Áine Carey University for Acting and Directing. I Identity, New York I draw inspiration from everything, Ishmael’s “Better In These can’t imagine doing anything else. Careerbuilder.com spec spot from fashion to painting, to photography and the cinema—from life in general. I keep Times” music video in close collaboration with my subconscious, which I consider richer and more free, while What is your most recent spot project? If you haven’t done a recent holding onto the humor and poetry of everyday life. commercial, what is your most recent project? I have just completed a health care spot that combined my passion for real people casting and authentic life moments with What is your most recent spot? If you haven’t done a recent commercial, what is your most recent project? classic fi lm language to create an emotionally moving campaign. My most recent project was a spot for a new Davidoff men’s cologne, “Hot Water,” shot in Brazil. What is the best part of being a director? What is the best part of being a director? It’s like being a painter only people are your palette. Everyone from the PA to the account manager plays a signifi cant role I enjoy sharing in the “collective creation”–-using the scripts as a trampoline for my imagination, the free association of the in the fi nal product. It is amazing to blend all the converging colors into a harmonic vision. image you create and the product it represents. The challenge is to fi nd the emotion that rings true.

How did you get into directing? How did you get into directing? I saw Jurassic Park on opening night as Studied motion picture photography a nine year old. I was so blown away, I and directing at The Open University managed to completely skip over the of Israel. Began working as an on-set “jaw on the fl oor” reaction and instinc- camera assistant trainee. Since then, tively went to work on a sequel. My pro- I worked on hundreds of productions posed follow up—Triassic Park—was as one of Israel’s leading fi rst camera Gregg Casson abandoned, but the passion for creating Ishay assistants. Early 1995 I began working Climate Change’s in this medium continued. I discovered short form as an undergrad and found it a natural fi t for Karni Eckhaus on a project which opened my path into the world of directing for both stage and TV. “Morning Day” spec PSA my “creative voice.” Directing commercials was the next logical step. Volvo S60’s “Cafe” From 1997 I became a Master Teacher for actors. In 2008, after several years of experi- McCann Erickson Israel, ence in performing arts and cinematography, I turned to directing commercials as the What is your most recent spot? If you haven’t done a recent spot, what is your most recent project? Tel Aviv primary focus of my career path. I just fi nished a spec for Oakley. For the longest time I had this idea fl oating around in my head of a vault-style robbery with a twist. At the same time, I wanted to do an Oakley commercial that moved the brand away from its traditional extreme sports montage work. What is your most recent spot? If you haven’t done a recent commercial, what is your most recent project? It dawned on me to bring the two together. Negev Ceramics Nouveau Imagine Product: fl oor tiles with pattern chosen by the customer. (A comedy spot.)

What is the best part of being a director? What is the best part of being a director? The opportunity to dream big. There’s nothing more simultaneously frustrating, exciting, nauseating and rewarding than coming up Being able to have an impact on viewers, by creating a simple storyline that makes them identify with the hero--in diff er- with an idea and tenaciously protecting it until completion. Working with the most talented people. ent situations. The most important thing a director should remember is to be precise, smart and never let go of a dream.

May 22, 2009 SHOOT 13 7th ANNUAL NEW DIRECTORS SHOWCASE

How did you get into directing? How did you get into directing? We started at 10 making terrible horror mov- Directing was something I thought about doing for a long time before I worked up the ies and fi nding we were that bad but happy courage to actually do it. Through college (Central St Martins) I tinkered with fi lmmaking, to do so—made us want to do that as a job! but then focused more on art-direction, landing a job at Mother. While at Mother I worked Then we studied and met at school and di- with diff erent directors and started to imagine myself in their shoes. I was always thinking rected our fi rst “offi cial” animated short fi lm, how I would direct the spot if I were shooting. Then when I was working as a creative on en tus brazos, and thanks to its success we a spot with the lovely Dougal Wilson, I talked to him about some music video ideas I had. Fx & Mat could start directing other projects! Kim Gehrig He was so enthusiastic about them and really prompted me to start directing. From here I Nexus Productions, London Academy Films, London made my fi rst music video, and fell in love with directing and fi lmmaking. Royal Bank of Canada’s What is your most recent spot project? If Amnesty International’s “Mr. Long Legs” you haven’t done a recent commercial, You Are Powerful What is your most recent spot project? If you haven’t done a recent commercial, what is your most recent project? BBDO Toronto what is your most recent project? Mother, London The Lastminute.com Mexican thumb wave which was a one off TV event where you could channel hop from ITV, Channel 4 and Channel 5 to We are actually working on a top secret proj- see 3x60second spots as one complete piece. It was a total adventure of a job that took us to four countries in a week. It was part documentary, ect for the Olympics... oops it’s not a secret part set up, part luck! anymore... What is the best part of being a director? How did you get into directing? What is the best part of be- The genuine, to the core, satisfaction when you make a really good piece of work. I got my start in commercials as part ing a director? of the in-house agency for the NFL. You can turn into fi lms, images However, I think like anyone in this that are in your head! That’s business, when I reminisce about really exciting. How did you get into directing? my childhood, it goes hand in hand Matt: Our Dad brought home a video camera with whatever I was watching on TV one day and we started making home movies. or snuck into at the movies when my Mark: That’s true. Paul Iannacchino, Jr. parents dropped me off under the Matt: Mark would get behind the camera Creative Bubble, New York guise of seeing Footloose. So the Hoffman Brothers and tell me what to do. Head Apparel’s “Speed” viral (pro- fi rst time I stepped onto a set sealed (Matt and Mark) Mark: Also true. duced by Czar, Hamburg) the deal (much to the chagrin of that How did you get into directing? harvest, Santa Monica Matt: One time I had chicken pox real bad A&S, Berlin director I’m sure). I decided to give directing a go after pro- Bud Light’s “Man Treats” and my brother exploited my miserable con- ducing for my friends. I realized that if I was spec spot dition to make a movie about a dangerous What is your most recent spot project? If you haven’t done a recent putting together projects for them, I could disease outbreak. commercial, what is your most recent project? do it for myself. Turns out I love it. Think I Mark: I don’t remember that. I’m sure the reason my name is on this list is a direct result of my most recent fi nally fi gured out what I want to be when Matt: Things pretty much haven’t changed. work, a viral for HEAD that features Novak Djokovic in the mother of all instant I grow up. replays. I think it’s fair to say that I’ll be the “nipple tassel” guy for some time Robin Hays, What is your most recent spot project? If you haven’t done a recent to come. Top o’ the world Ma! Radke Film Group, Toronto What is your most recent spot project? commercial, what is your most recent project? adidas’ “Sneakerhead” spec spot If you haven’t done a recent commer- Matt: We are currently forming a Dog Nation for “Mighty Dog” dog food. It’s kind of like What is the best part of cial, what is your most recent project? the Obama campaign meets.... being a director? Honda’s “Full Speed Fly!” Mark: Homeward Bound. I’m going to paraphrase from something I read What is the best part of be- What is the best part of Jake Scott quoted as saying ing a director? being a director? (hopefully in SHOOT)...I Taking ideas and turning Matt: I’d say the fact that doubt I could come up with them into something tan- we get to work together as anything better. What oth- gible that can be brothers and as a duo. We can er job let’s you travel the shared. Creating/collaborat- play to each other’s strengths, world, meet interesting people and sit on a dolly and look important? I may ing/imagining and meeting almost like operating on two sides of the same brain. choose to do that wearing nipple tassels, but hey? That’s just how I roll. new friends to play with. Mark: My side is a larger, and looks like a jumbo tractor.

14 SHOOT May 22, 2009 7th ANNUAL NEW DIRECTORS SHOWCASE

fi nally led to directing work. Since moving to L.A., I’ve done some broadcast lessly with the VFX. I also directed and animated a UPS whiteboard commer- design with Ka-Chew! and banners via Anonymous Content’s V3 division. cial featuring a woman whose dry erase marker drawings come to life.

What is your most recent spot project? If you haven’t done a recent What is the best part of being a director? commercial, what is your most recent project? I love bringing an idea into reality and playing in the moment at each phase Some of my recent spots showcase my abilities for creating live action with a of the process. I’m drawn to concepts that emerge from the unconscious. It’s visual twist. We went into the Skittles shoot meticulously prepared for an ef- great fun fi guring out how to bring a dream to life and to create an atmo- Jesse Jacobs fi cient production to allow improvisation that would later fi t together seam- sphere where characters and stories unfold spontaneously. Skittles’ “Mindbender” spec spot

How did you get into directing? When I fi rst learned to draw, I asked my dad, “How do I get my hand to do what is in my mind?” I always loved characters and stories that existed in a bent reality, and at some point I realized these ideas couldn’t be shot with a camera alone. Creatively, I built a foundation in theater, improvisa- tion, visual eff ects, animation and design, then started in TV commercial post in Chi- cago, where I created spots and shorts that

Nick Jasenovec Nonfiction Unlimited, bicoastal Paper Heart (feature film and trailer)

How did you get into directing? I fi rst started writing and directing com- edy short fi lms in high school, in a video class during the day and in a commu- nity college fi lm class at night . I’d always loved movies, but once I started making them I knew there was nothing else I wanted to do with my life.

What is your most recent spot proj- ect? If you haven’t done a recent commercial, what is your most re- cent project? My most recent project is Paper Heart, a feature fi lm that mixes documentary and loosely scripted narrative elements. It’s about Charlyne Yi, a girl who doesn’t believe in love, searching for answers and advice by making a documentary about the subject. Soon after fi lming begins, she meets Michael Cera and the cameras capture their relationship as it unfolds.

What is the best part of being a director? Getting to work with so many talented, creative people.

May 22, 2009 SHOOT 15 7th ANNUAL NEW DIRECTORS SHOWCASE

How did you get into directing? How did you get into directing? My fi rst job in Hollywood was as a grip Have you ever been to Tempe, AZ? Not on Quentin Tarantino’s Reservoir Dogs. a whole lot to do there, even for a kid. I was so lucky to be a part of that pro- You can only pull the tail off a lizard duction and to see Quentin’s passion so many times before you start to con- for fi lmmaking up close. I went on to sider a life of crime. So instead of rip- become a producer and was nominat- ping off the local gas and sip, I started Ross Katz ed for Academy Awards for a couple of Timothy Kendall telling stories. Stories were always a TWC, Santa Monica my fi lms—Lost in Translation and In Rhythm+Hues, Los Angeles big part of my family gatherings, so Taking Chance the Bedroom. I knew, however, that I wanted to be able to write and direct my own Minnesota Tourism’s putting it on tape seemed like the natural progression to it all. Either way it entertained stories and my fi rst feature, HBO’s Taking Chance, provided the perfect vehicle for me to “Office Boarding” (produced me and it entertained them, so I fi gured why stop? express myself as a fi lmmaker. by Drive-Thru, Minneapolis) Clarity Coverdale Fury, What is your most recent spot project? If you haven’t done a recent commer- What is your most recent spot project? If you haven’t done a recent commercial, what is your Minneapolis cial, what is your most recent project? most recent project? Just fi nished a McDonald’s campaign for BBDO Moscow in Ukraine. I’ve been working Taking Chance premiered at the Sundance Film Festival and on HBO in February. I co-wrote the script with Lt. Col. Mike steadily with Russian agencies for a few years now. Before that I shot a St. Louis Cardinals campaign. I love the contrast. Stroble based on his journal about being an escort for a fallen soldier, Chance Phelps, and directed. It’s a moving story Currently, I’m fi nishing up the sixth episode of a webseries I co-created and sold to Fremantle Media called LA I.C.E. It’s about America. I tried to tell it visually, with little dialogue. I couldn’t have done this without my amazing cast, including about US immigration offi cers who hunt down Canadians. YouTube it. the brilliant Kevin Bacon. What is the best part of being a director? What is the best part of being a director? The people I meet. I have met so many interesting people with so many interesting stories it’s ridiculous. And then there’s I love the collaboration that comes with being a director and being able to work with a team of people to realize a story. the process. The tone, casting, production design, shooting, trying new things, collaborating, editing, fi nishing, exploding Telling a great story eff ectively is really all it’s about. Whether it’s a commercial or a feature, I want to tell a great story. high-fi ves, and drinking wine from a golden goblet. That stuff is pretty cool too.

How did you get into directing? How did you get into directing? I wrote work directly for clients After a few years of watching my screenplays bob along with the other fl otsam in the Hollywood sea, and talked them into letting me I wrote and directed my fi rst feature, Filmic Achievement, mostly to save myself from going to law shoot it. I started off with little school. I was the guy who swore I would never direct, but after my fi rst big directing project, some kind mom and pop operations like An- of switch fl ipped on in my brain. I can’t quite articulate that phenomenon—however, after screening heuser Busch. that fi lm in 20 fi lm festivals and then directing my second feature, I can’t imagine not directing.

Kenny What is your most recent spot Kevin Kerwin What is your most recent spot project? If you haven’t done a recent commercial, what is O Positive, project? If you haven’t done Authentic Films, Cleveland your most recent project? bicoastal/international a recent commercial, what is Akron Children’s A nine-spot documentary campaign for Akron Children’s Hospital that was recently featured in the New York Times. And Running America, a feature doc Boomerang GPS’ “Santa” your most recent project? Hospital’s “Nick” that follows two ultra-runners across the U.S. in the six weeks prior to the presidential election. I interviewed over 150 Americans along the run’s route. It A campaign for Airtran Airways Marcus Thomas, Cleveland was an incredible experience. out of Cramer-Krasselt, Chicago with creatives Pat Hanna, Andrei Chahine, Ryan Stotts, Michelle Litos and Larry Liss. (But please don’t What is the best part of being a director? print their names because these spots are funny and I don’t want to Besides being able to execute my over-caff einated 3 a.m. ideas on a grand scale, it’s the human connection—earning the trust of both actors and non-actors alike so that something compelling share any of the credit.) and undeniably emotional happens in front of the camera. The added bonus is that I often end up learning as much about myself as I do about them.

What is the best part of being a director? There are too many to list, but near the How did you get into directing? top is getting to My dad brought home a HI 8 video camera when I was eight years old. I thought it was the ride shotgun while coolest thing I had ever seen. I fell in love with capturing real moments around the house. tall people have to As I got older I started shooting skate videos for my friends along with the occasional blow- sit in the back. And ing up of watermelons with M80s. Everyone liked my leadership and ideas and I thought, by tall, I mean any- “hey this is pretty f*ckin rad.” body over fi ve feet, fi ve inches. What is your most recent spot project? If you haven’t done a recent commercial, Brandon Kraines what is your most recent project? Stray Dog LLC, Franklin, Tenn. I just fi nished shooting two comedy spots in Vancouver for “Hands-Free” spec viral (pro- MTS. We shot three real buff aloes in the middle of a bliz- duced by Stereo Lab Films/ zard…pure awesomeness. Right now I am in production United Front Films, on two docu-reality shows and a webseries for MySpace… Los Angeles) but shhhh…that’s on the low.

What is the best part of being a director? My favorite part of being a director is seeing the reaction of people while I am showing them my spots. I love to make people laugh and it’s so rewarding when I can see them crack a smile.

Effective May 29th, the 2009 New Directors Showcase Reel will be available to view at www.shootonline.com/go/newdirectorswebreel

16 SHOOT May 22, 2009 7th ANNUAL NEW DIRECTORS SHOWCASE

How did you get into directing? How did you get into directing? How did you get into directing? Andre: I was too animated to be After several years of working in almost all facets of I’ve been shooting since about the sixth an astronaut, too stubborn for a fi lmmaking (particularly in the fi eld of coff ee runs), I grade when I convinced my father to buy politician, too creative for a de- was fi nally given the opportunity I had been waiting our family’s fi rst video camera. They never signer and too easily drunk for a for. The executive producer had a stroke; it was a deci- saw it again. It was immediately co-opted rock musician. sive moment in my career. I picked up the phone, held to facilitate the production of countless André Maat and Henk: I am really an exotic sci- him fi rmly with my right hand, looked him straight in slasher fl icks, and many hours of very off - Henk Loorbach entist which turned out to be Gonzalo “Gonzo” the eye and threatened not to call 911 unless I was as- Sam Macon color sketch comedy. Fast-forward through Lost Highway Films, New York the other word for director in my Llorente signed a project. In between sobs he said he couldn’t Radar Studios, Chicago high school, fi lm school, and a few years Cult TV spec IDs language. Carbo Films, Santa Monica do it while there were other available directors at the AirTran Airways’ “Gamer” touring in a band, I found myself working Movistar’s “Not For Me” production company. Strangely enough, a week later Cramer Krasselt, Chicago art department on fi lm shoots and direct- What is your most recent spot project? If you haven’t done a Y2R Buenos Aires they all suff ered an acute case of dysentery, possibly ing my own projects. I then connected with recent commercial, what is your most recent project? due to the ingestion of large quantities of laxatives in Radar Studios and the rest is history… or the present. Both? Andre: I did a totally analog in-camera splitscreen music video. the coff ee. That’s the day I began directing Henk: A series of stop motion program idents with found objects, What is your most recent spot project? If you haven’t done a recent cardboard and a bag full of googley eyes, and together we did a What is your most recent spot project? If you haven’t done a recent commer- commercial, what is your most recent project? couple of Stuntman episodes for kids. cial, what is your most recent project? I most recently completed a stop-motion spot for Qdoba Mexican Grill and My most recent spot project was a very creative campaign for Coke Zero that I hope will Amalgamated, N.Y.. Before that, I directed a live action comedy spot for P&G What is the best part of being a director? pleasantly surprise viewers. Filming this type of project is always challenging and en- and Leo Burnett. Currently, I’m in pre-pro on two music videos. Andre: To bring imagination to life (...and I love to cheat on life) riching. In addition, working alongside Henk: To bring life Ogilvy Buenos Aires is a true privilege. What is the best part of to imagination. being a director? Both: That we What is the best part of Seeing a fully realized cre- found a lifestyle being a director? ative project from concept that doesn’t stop Without a doubt, the best thing about to completion is beyond between 9 a.m. this profession is that it gives you the satisfying. Telling people and 5 p.m. opportunity to work with very talent- what to do, burning bridges, ed people from whom one can always and drug-fueled orgies with learn something new. actresses are cool too.

OUR PEOPLE. OUR LOCATIONS. AND NOW OUR INCENTIVE. Is why producers choose San Antonio.

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May 22, 2009 SHOOT 17 7th ANNUAL NEW DIRECTORS SHOWCASE

How did you get into directing? How did you get into directing? Since I was little I loved the arts, all of them, and could never decide which one I liked There were three seminal events in my life that led me to becoming a film director, the best. So, when the time came, after my graduation from high school, to decide and they all occurred during the sixth grade. I was the lead in the school play. I what to do with myself, I discovered that I could combine all the arts by making mov- went to science camp. My towel fell off after swim practice and people laughed. ies. It was a dream come true and one that I followed head on without ever looking The last event taught me two important things: I learned that I loved making back. people laugh, but I was going to have to suffer a bit to do it.

Lapo Melzi What is your most recent spot project? If you haven’t done a recent commer- Jason Moore What is your most recent spot project? If you haven’t done a recent com- African-American Planning cial, what is your most recent project? Back Alley Films, Kansas City, mercial, what is your most recent project? Commission’s “Paper Child” Right now I am shooting my MFA thesis short fi lm, entitled Romeo Vs. Juliet, a story MO (Midwest representation) Recent work includes spots for Florida Tourism with Zimmerman/Atlanta, McDon- that answers the question: What if Romeo and Juliet survived and lived in modern Ve- U.S. Department of alds for DDB Bulgaria, Beeline Cellular for BBDO Moscow, and Oticon for Ogilvy rona, N.Y.? Can the greatest romance Transportation’s “Ryman” & Mather. Also, I’m teaching my of all time survive the reality of a relationship? The answer is of course alternative media spec bulldog to ride a skateboard and as simple and complicated as love itself is. teaching filmmaking to inner city kids in NYC. What is the best part of being a director? The best part of being a director is probably directing actors. During my What is the best part of being a director? years in the States, I have learned to respect and love these amazing Spots I admire are the ones with great acting, and that’s what I’m people as never before. It’s always a pleasure and a thrill to be the one interested in as a director. I love scouring the field for the perfect who guides them into transforming a concept on paper into real life cast, evolving the story by creating complex characters, and helping drama. And the excitement never seems to grow old. actors deliver honest moments that people remember.

How did you get into directing? How did you get into directing? While I was at Brandeis in the 1990s, I shot my fi rst fi lm on a high tech VHS cam- I found that directing was a way that I corder. The fi lm was a comedy about a guy who meets God. Thankfully, I lost the could use my artistic skills to make people fi nished fi lm so now no one can see how bad it was, but I had the fi lm bug as surely feel. That’s what is ultimately most im- as the world has swine fl u. I then majored in Film Studies because, let’s be honest, portant; to have an impact on the people who goes to college to actually study, right? That was followed up by a masters that see your work. It can be funny, sad, in Film in England and then, voila, I was a director. I heard George Clooney give a touching or just quirky and interesting. The Jonathan Newman, talk where he said that “Directing is the best entry level job in Hollywood today.” Otis knowledge that these short little films we Serendipity Films, London He was right. The Artists Company, call ads can touch so many people at once is quite empowering. This is the satisfaction Ford Mustang/Filmaka’s bicoastal that allows me to be driven to do more, do better and find bigger and better audiences to “Father‘s Day” short What is your most recent spot project? If you haven’t done a recent com- Brady Bill PSA “Bullets” affect with my film. JWT Team Detroit mercial, what is your most recent project? I just returned from Japan where I shot some spots for the new 2010 Ford Mus- What is your most recent spot project? If you haven’t done a recent commercial, tang. The branded fi lms are currently airing as four minute spots and will be cut into a 45-minute documentary for what is your most recent project? Discovery/Speed TV. I normally shoot comedy dialogue, so it was a My proudest moment lately was the Campaign for the MOFTB through the Mayor’s film refreshing change to shoot this. It was part of my prize for winning office. I was given a chance to show people within the production community and portray them as real people, but do so grand prize in the JWT /Ford competition run by Filmaka. in a way that shows them at their best and most engaging. They were real people who ended up de-mystifying the film business and showed how they are regular people just like us. What is the best part of being a director? For me, I love the challenge of having a blank page and creating What is the best part of being a director? something from scratch. It is the most fulfi lling part of my profes- The best part of being a director is being given the tools, the crew and creative that allows me to put a huge part of my sional life and I don’t know what I would do without it. I also love inner self into the final spot. I am allowed to take a concept and tell a story from my own point of view. the satisfaction of touching an audience, be it through humor or a story with more depth.

18 SHOOT May 22, 2009 Length doesn’t matter. (at least, not to us.) From 30 second spots to feature length films, the Directors Guild of America protects the rights of the world’s finest directors and their teams.

Contact us to find out more about the DGA’s Commercial Directors contracts. We look forward to hearing from you.

West Coast: Hilary Whiting 310 289-5374 East Coast: Bart Daudelin 212 258-0809 Midwest: Dan Moore 312 644-5050 7th ANNUAL NEW DIRECTORS SHOWCASE

How did you get into directing? How did you get into directing? I started shooting fi lm and was always We’ve always loved movies. We behind a camera at fi rst. I bought a Super started off by picking up our par- 8 and fell in love with the process of han- ents’ high 8 camcorder in the early dling a miniature fi lmstrip. Film was silent ‘90s and we haven’t stopped since. and needed something to drive it. So there It’s been a lifelong learning process was a passion for music growing by fi lm’s so far. We started filming a guerilla- Aaron Platt side as I learned. It all converged over time The Purchase style indie feature film that we are The Glitterati’s “Keep Me Up and directing came from an urge to cre- Brothers now completing before transition- All Night” music video ate specifi c images to ideas inspired from (Ian and David) ing into commercials. We made our spec spots, which we launched on Sons and music I loved. Anonymous Content, Daughters in Canada, and a week or so later we were picked up by Anonymous Con- bicoastal tent for U.S. representation. Both are fantastic companies with great people that we What is your most recent spot project? If you haven’t done a recent commercial, what is your most recent project? Sons and Daughters, Toronto are proud to be associated with. It has been quite an exciting time. My recent projects are all very different from one another. I have done two spots; one for a fragrance brand and one for Escape From City 17, Half- a denim line. While the first is an abstract journey through a young girl’s mind and is very experimental; the latter is Life video game spec short What is your most recent spot project? If you haven’t done a recent com- a reality portrayed through repetition of the familiar day-to-day life experience. I suppose most of my work has to do mercial, what is your most recent project? with transformation of some sort. “Escape From City 17” is our most recent project, which we created guerilla-style with a budget of $500. The shooting location proved challenging, as everything was being improvised, and we were What is the best part of being a director? chased out by security. We find it a personal challenge and an adventure to discover just how much we can make “We are the music makers, and we are the dreamer of dreams” sounds like an appropriate quote. As director you get to create out of nothing. an alternate reality that makes sense to you. Out of all the randomness we create in our subconscious, we get to recreate it for a mass audience as we see fi t. What is the best part of being a director? Being able to make movies and commercials that we would want to watch.

JOIN HOLLYWOOD’S PROFESSIONALS IN 2009

For the Pre-Production • Production • Post Production Community How did you get into directing? Having spent the last six years animating and compositing in the postproduction side of filmmaking, I have worked closely with some great directors in New York and Los Angeles. Being responsible for making their vision come to life into a final product had always left me eager and really fed the drive to see and do more. With a pile of random ideas and sketches, Doug Purver it seemed to be the next step. With Omar and His Skyhook, Omar and His Sky Hook short I was really able to step into that role, and I have never felt more comfortable. starting with a fragment of a thought, sculpting it into a stronger concept, and then collaborating with other talent to create something special.

Paramount Pictures Studio Lot, Hollywood, CA What is your most recent spot project? If you haven’t done a recent commercial, what is your Exhibition & Premiere Seminars: June 5 - 6, 2009 most recent project? The Film Series at Cine Gear Expo: June 4 - 6, 2009 Master Class Seminars: June 7, 2009 I am currently in production of another short piece. It explores the contrasts of time and spatial relationships, as well as the delicate balance between nature and human impact. That’s all I can say for now! THE FILM SERIES AT CINE GEAR EXPO 2009 Independent, Student Short Film & Feature Film Competition Contact us @ ANNOUNCING NEW! What is the best part of being a director? 310/472-0809 • [email protected] The Expansion Into Documentary Film Competition Deadlines For Submissions Are: I think the constant challenge of communicating an idea or story in a new way has always fascinated me. As a director, you’re able to immerse For more information and updates, visit us at: yourself in that opportunity. WWW.CINEGEAREXPO.COM Early 3.15.09 • Regular 4.08.09 • Late 5.01.09

20 SHOOT May 22, 2009 7th ANNUAL NEW DIRECTORS SHOWCASE

How did you get into directing? How did you get into directing? At age 5, in my grandparents’ living room, directing shows with my younger brother and cousins. (My grandfa- I got into directing through d.i.y. fi lmmaking. solving problems. ther was a director so it runs in the family, my brother became an actor/producer.) I was a professional child actor in South Africa and then in the U.S. I later realized how passionate I am about bringing the whole story to life, What is your most recent spot project? If you haven’t done and how much I love fi lm, so I moved behind the camera, got my MFA from Columbia Grad Film in Directing... a recent commercial, what is your most recent project? and found my true calling. My last spot was the 200 camera system piece called “Timesculp- ture” for Toshiba. Shira-Lee Shalit What is your most recent spot project? If you haven’t done a recent commercial, what is your most Mitch Stratten Open Air short (produced by recent project? Hungry Man, What is the best part of being a director? Arcady Bay, New York) I was hired to direct Open Air, a woman’s desperate struggle to bicoastal/international I don’t have a fi nd safety during wartime, starring Lynn Cohen (Golda Meir Toshiba’s “Time Sculpture” favorite part in Munich) and written by David Paterson (Bridge to Terabithia). Selected for 20 fi lm festivals Grey, London of fi lmmaking so far, Open Air was nominated for Best American Short at Swansea International Film Festival, because for U.K, and won an Accolade Award for Excellence in Film. me everything is interlinked. I like working with people but also like technical challenges. Some What is the best part of being a director? people fi nd it a bit jarring when they try and put Being a storyteller. I want to move and entertain audiences. I’ve usually gravitated toward com- me in one of those boxes. edies - love making people laugh, but my most recent fi lm, Open Air, is a current events drama that is prevalent in today’s world. Whatever the genre, I look for stories that really move me.

How did you get into directing? At a fairly young age I was introduced to Godard, Demme, Scorsese, Truff aut, Tati, Altman, Polanski, etc. They’re greatness motivated me to get involved in visual storytelling.

What is your most recent spot project? If you haven’t done a recent commercial, what is your most recent project? A still photo campaign for a Toronto-based boutique hotel. Cinematic Shawn Zeytinoglu style, story driven images. Mini Cooper’s “Find Yourself” spec spot What is the best part of being a director? Taxi Canada Getting to use my imagination.

How did you get into directing? I didn’t get into fi lm school so I took photography instead and focused on that. Then I got into advertising photog- raphy and through that I got to work with some of the best creatives in Canada and eventually started working on some of the best campaigns internationally. Through these contacts I was able to hook up a few gigs directing commercials.

What is your most recent spot project? If you haven’t done Mark Zibert a recent commercial, what is your most recent project? Sons and Daughters, Toronto The one I’m working on right now—a fi ve-spot campaign for RSA, London Nissan. Parkinson Society Canada’s “Struggle” What is the best part of being a director? Taxi 2, Toronto Being able to choose a team to work with—art department, AD, DP—honing your team of guys that you work together with consistently on the creative process. That’s good because their input brings stuff to the next level.

May 22, 2009 SHOOT 21 News

AICP Show: Integrated And Beyond

Continued from page 1 brought this year to the Next Awards Curatorial Committee. competition and morning event. The directing duo of Brian and Melanie—a.k.a. Brian M. • “There Can Only Be One” Also new to the mix will be an ex- Evening gala Cassidy and Melanie Shatzky—has secured its fi rst spot Client: NBA, TNT, ESPN/ABC tra interactive component whereby The evening component of the representation, signing with New York-based Wash- 2008 Playoffs morning session attendees will pick AICP Show on June 9 at MoMA, New ington Square Films. Brian and Melanie have already Agency: Goodby Silverstein & Part- Audience Choice Awards spanning all York, continues the tradition of an- wrapped their fi rst job under the Washington Square ners, San Francisco four Next categories. nouncing, screening and honoring banner, a multi-spot campaign for Liverperson.com. The Production Co.: Bob Industries Voting devices will be at each audi- the best work across 26 categories directing team is perhaps best known for the poignant ence seat, with attendees being able to spanning Technique, Concept, Spe- short God Provides, which explores Southerners aff ected God Provides • And “HD Loves HB” select their top honoree in each cate- cialty, Overall Excellence, and the by Hurricane Katrina. debuted at the 2007 Client: Haagen-Dazs gory after hearing the input of judges Next Awards. Sundance Film Festival....Oil Factory, the Los Angeles production house headed by president Billy Poveda, has Agency: Goodby Silverstein & Part- in person and via the documentary. In addition to the four Next cat- signed director Drew Antizs, known for his viral work. ners, San Francisco Barrett chairs the Next judging egories, here’s a rundown of the core Antizs is crossing over to commercials via Oil Factory....Epoch Films, Production Co.: Psyop panel, which includes Bruce Bildsten AICP categories in the other four are- New York, has hired Mamta Trivedi as production manager. She will of Brew: A Creative Collaborative; Bill nas of the competition: oversee the needs of each production, and report to Charlie Cocuz- A.M. discussion Bruce and Brian DiLorenzo of BBDO; za, executive producer, New York. Trivedi previously worked as a unit The morning will also be high- Kat Egan of Exopolis; Lee Einhorn of Technique Categories: production manager on various feature fi lm sets including Dare, lighted by panel discussions featuring Rabbit; Bob Greenberg of R/GA; Rei Visual Style The Vicious Kind, Untitled, Wake Up Call, The Father Game, and A New three or four judges in each of the four Inamoto of AKQA; Julian Katz of Performance/Dialogue or Normal. Dare and The Vicious Kind both premiered at this year’s Next categories. Panelists will drill Bartle Bogle Hegarty (BBH); David Monologue Sundance Film Festival and are slated for release in 2009/10. Trivedi down deeper into the honored entries, Knox of Procter & Gamble; Jason Humor also worked in television as a production manager and UPM on the providing the rationale for and consid- Koxvold of Perfect Fools; Dana Loca- Cinematography sets of Into the Night and Great Directors.....Frantic Films VFX, a di- erations that went into their selections tell of @radical.media; Massimo Mar- Animation vision of Prime Focus Group, has brought on board Neil Huxley, an for the Integrated Campaign, Viral/ tinotti of MIA Films; Diane McArter Editorial art director and motion graphics supervisor who joins the company Web Film, Experiential, and Website/ of Furlined; Don McNeill of Digital Graphic Design from yU+co, where he was key in bringing to the screen the main title sequence for “Watchmen.” In his new role, Neil will be working Microsite categories. The honorees in Kitchen; Tommy Mans of Mekanism; Visual Effects on a stereoscopic 3D feature fi lm currently in the Frantic pipeline. the latter three categories will be an- James Milward of The Secret Loca- Original Music Frantic maintains studios in L.A., Winnipeg and Vancouver.... nounced during these panel sessions. tion; Benjamin Palmer of The Barbar- Sound Design Further insights will be garnered ian Group; David Rolfe of Crispin Por- Musical Arrangement through a documentary capturing ter + Bogusky; Stephen Rutterford of Production the observations and assessments of The Brooklyn Brothers; Mark Sitley Production Design judges relative to each Next category, of Beyond Belief; Matt Smith of The the work and the interactive space. Viral Factory; Elizabeth Talerman of Concept Categories: The emcee of the proceedings will Brand Immersion; Mark Vega of Om- Agency Art Direction be Next Awards judging chair Jamie elet; and Steve Wax of Campfire. Copywriting Barrett, who is partner and creative Chairman of this year’s overall AICP Bandito Brothers, Culver City, Calif., has secured Paris- director at Goodby, Silverstein & Part- Show is Steve Golin, who is chairman/ Specialty Categories: based boutique agency Nicholas Berglund for exclusive ners, San Francisco. CEO of Anonymous Content. As AICP Public Service Announcement representation in Europe. Nicholas Berglund will rep a The documentary—directed by Sor- Show chair, Golin also oversees the Low Budget Bandito roster comprised of CEO/creative director Mike “Mouse” McCoy, partner/director Scott Waugh, CTO/di- rel Ahlfeld of Anonymous Content— 27-member Show Committee. Matt Spec Spot rector Jacob Rosenberg, director David Neham, and di- as well as the judging panels and the Miller is president and CEO of the As- Student Commercial recting teams Gentlemen and Teton Gravity.....N.Y. post boutique Viral/Web Film, Experiential and sociation of Independent Commercial Outside has brought Anna Rotholz aboard as in-house sales rep.... Website/Microsite categories all rep- Producers.. He and Golin are among Overall Excellence Categories: Chuck Silverman of Chuck Silverman Represents, L.A., is handling resent new dimensions that have been those who served on this year’s Show Advertising Excellence/Single representation on the West Coast and in Texas for Toronto-based Advertising Excellence/Campaign Chuck Gammage Animation....Speedshape, a 3D integrated digital And Advertising Excellence/ production studio with shops in Birmingham, Mich., and Venice, Ca- International lif., has taken on indie rep fi rm Where’s the Boards to handle the West CLASSIFIEDS Coast....Comedy director Gil Junger has joined Paradigm’s Commer- cial & Music Video Department in Beverly Hills. He made his feature To place classified ad simply email ad copy to: [email protected] Archival footage 10 Things I Hate About You Your reply will contain price estimate and PDF proof of ad for your review. directing debut with and has directed Print classifieds run online for 30 days as FREE bonus with email The AICP Show-honored work in assorted series including the ‘coming out’ episode of ELLEN.... distribution on SHOOT >e.dition every Friday during 30 day period online. all 26 categories becomes part of the For further info/rates/deadlines go to www.shootonline.com/go/classified permanent archives of MoMA’s De- partment of Film. EMPLOYMENT With this work preserved for per- petuity in the prestigious MoMA ar- AVID ASSISTANT ATTENTION POST HOUSES! chives, a creative and strategic time Manhattan editorial company look- Rent a Panasonic AJHD 3700 ing for Avid Assistant. Must have capsule on the industry has taken D-5 Deck at $700.00 per day. >May 28/NYC: SHOOT 7th Annual New Directors experience digitizing, prepping, Also available Sony SRW 5500, shape, providing context and insights scheduling & supervising post ses- Sony HDW M2000, Sony JH3, into how creativity has evolved over Showcase. www.shootonline.com/go/showcase sions. Must have Avid experience >May 31/San Francisco, CA: TWTRConf:Twitter for – knowledge of After EFX and Final Panasonic AJHD 1400P, as well the years. This archived body of work Cut a plus. Salary 40s. Please email as many other formats. thus becomes an important part of the Business. www.twtrcon.com Please call 646 296 7730 resumes to [email protected] educational dimension that is integral >June 4/New York: American Women in Radio & Television Gracie Awards. www.thegracies.org SOFTWARE to the AICP Show. POSITIONS WANTED: “This is more than just an awards >June 5-7/Hollywood, CA: Cine Gear Expo. www. New Directors Looking cinegearexpo.com For Commercial Work show—not only does it honor and cel- ebrate the craft of commercial film- >June 9/New York: AICP Show & Next Awards. www. Visit www.shootonline.com/go/ aicp.com newdirectorswebreel making, but through being archived at MoMA, contributes to our under- >June 21-27/Cannes: Cannes Lions International to view SHOOT’s 2009 New Directors Advertising Festival. www.canneslions.com Showcase Reel After 5/28/09 standing of advertising and its place in our culture,” said Golin. 22 SHOOT May 22, 2009 IT’S FUN TO JUDGE

Attend the 2009 AICP Next Awards and you’ll get to determine the winners of a very special award in the categories of Integrated Campaign, Viral/Web Film, Experiential and Website/Microsite. The Next Awards, honoring emerging media, is a featured presentation of the AICP Show.

tickets available @ aicp.com

Tuesday, June 9th ¦ The Museum of Modern Art ¦ 11 West 53rd Street ¦ New York City ¦ The Roy & Niuta Titus Theater 1