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Mr. Hide, Saatchi 3 Advertising, Go Green, In Feel New Mexico’s MFA Good Ride For Take Us To Home, Toyota Prius Sweet Home page 12 page 13

THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION June 19, 2009 $7.00 Blurred Lines Beachfront Views On At AICP Show Cannes & Content Mark Change Agency Creatives, Judges Prep For, Reflect On Upcoming Fest By Robert Goldrich NEW YORK—There have been peren- 18 Showcase Gallery By Robert Goldrich nial and recent constants at the annual See the sights at the SHOOT New AICP Show. The former most notably Directors Showcase Event at the DGA LOS ANGELES—Regarding his approach to the upcoming Cannes Lions Interna- includes the competition’s honored Theater. in New York City. tional Advertising Festival (June 21-27) for which he is a Titanium & Integrated Lions work being preserved for perpetu- judge, Rich Silverstein, co-chairman/creative director of Goodby, Silverstein & Part- ity in the prestigious archives of the ners (GSP), San Francisco, said he has opted to keep his “head in the sand.” And New York Museum of Modern Art’s he’s not referring to the famed beaches in the South of France. Department of Film, creating in effect Silverstein explained, “I’ve made it a point not to look at anything a time capsule showcasing where the before I get to Cannes. You shouldn’t look at the work in isolation. industry’s creative heart and strategic You should see it up against its peers.” mind were in a given year. This month will mark Silverstein’s first tour of duty as a Cannes In terms of more recent history and judge—and for that matter his first time attending the Festival. as reported in our AICP Show cover- Up until this year, he limited his annual attendance to this age last week, this marks the fourth part of the world to cycling’s Tour de France. An avid cy- consecutive year that bicoastal MJZ 4 Antzis Moves Into Spots clist, Silverstein said he finally relented when it came to has led the production house derby in One of the most prolific filmmakers turning out for the Cannes Fest. honors. This time around MJZ tallied on the Funny or Die website joins Oil “I had put it off long enough. Cannes has be- 10 honorees, followed by Los Angeles- Factory, his first TV commercial roost. come so important in the zeitgeist of advertis- based Biscuit Filmworks with eight, ing. Though I must admit that spending a bicoastal Anonymous Content with week in a dark room in the South of France five, and three companies—Bob In- Continued on page 10 dustries, Santa Monica, Psyop, New York, and Superfad, New York, Culver City, Calif., and Seattle—each with four Show honors. Counterbalance But counterbalancing the constants are notable changes as reflected in the 11 Cannes Crystal Ball body of honored work in 2009. Leo Burnett’s Cannes Predictions Reel “The lines are becoming more offers some food for thought relative blurred,” observed Matt Miller, presi- to the past year’s best creative work. dent/CEO of the Association of In- dependent Commercial Producers New York Series: Continued on page 20 Impactful Incentives Production and post folk offer Advice For Showcase Directors: Follow Your Heart feedback on the nature of the biz. See page 15 A SHOOT Staff Report Tilford stressed that being an original fellow panelist Bonnie Goldfarb, ex- that we are in an era in which tools NEW YORK—Acknowledging that the creative talent is the key to succeeding. ecutive producer and co-founder of and technologies—from digital cam- sorry state of the economy translates Conversely, being derivative of others Santa Monica-based harvest, offered a eras to visual effects software to laptop into new challenges for aspiring direc- or trying to copy what seems to be in production house POV. editing—are more readily accessible tors, Todd Tilford, executive creative vogue represents a dead-end path. Goldfarb observed that tough eco- and affordable than ever for direc- director at Grey New York, nonethe- Tilford’s comments came on stage nomic times—with limited budgets tors, helping them to realize and share less affirmed, “There’s always a mar- as a panelist during SHOOT’s 2009 and other constraints—are often con- their creative vision. ket for good new talent.” New Directors Showcase Event on ducive to sparking art and creativity. She added, “If your creative passion His advice to directorial newcom- May 28 at the DGA Theater in New Talented directors need to look at this is to be a director and you have the ers is simply, “Be true to yourself and York. He provided an agency perspec- as a time of opportunity. For example, talent, you can make it. But if you’re to what’s in your heart and mind.” tive on new directorial talent while while money is tight, Goldfarb noted Continued on page 19

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spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Remembrance June 19, 2009 Volume 50 • Number 6 “He was no busi- on to Paramount Studios to launch Plunk and Boom, and features Lady cials,” said Babb. “His range—from www.SHOOTonline.com nessman but he its commercialmaking division, Para- and the Tramp and 101 Dalmatians. packaged goods to cars to comedy to

EDITORIAL was an incredible mount Images, Haboush was the first Haboush then broadened into kids to animals—made him something Publisher & Editorial Director artist—and not just as a director. Try director that Babb brought into the live-action, becoming an accom- very rare today, a generalist doing 30- Roberta Griefer 203.227.1699 ext. 13 [email protected] putting a pencil or a paintbrush in his Paramount fold. Babb and Haboush plished commercials director with a plus days a year.” hand, sit back and wait for something had over eight years together on the mix of straight live action as well as Freelance producer Jon Derovan, Editor Robert Goldrich remarkable,” said Paul Babb of direc- production company side of the busi- combo jobs meshing live and anima- who maintains Crusty Pup Pictures 323.960.8035 ext. 6681 [email protected] tor Victor Haboush, who passed away ness and remained good friends until tion. Haboush had more than 1,500 in the Bay Area, served as Haboush’s

Contributors peacefully last month at his home in the director’s passing. spots to his credit, including work for producer for the last eight years of the Christine Champagne Santa Monica. He was 85. Millie Takaki Babb, who’s executive “He was an incredible artist...Try putting a pencil or a paintbrush in his ADVERTISING producer of Rhythm+Hues Display Advertisng Inquires hand, sit back and wait for something remarkable.” [email protected] Commercial Studios, Los 203.227.1699 ext. 13 Angeles, enjoyed a rich history with “I consider it a gift to have worked Schlitz malt liquor (with the famous director’s career. “Victor allowed me to

Advertising Production Haboush, filling the alluded to busi- with Vic,” related Babb, who noted bull), Hefty (featuring Jonathan Win- be a creative producer,” said Derovan. Gerald Giannone ness acumen void for the director for that Haboush served his country with ters), the Levi’s spot in which jeans are “He brought me into the creative pro- 203.227.1699 ext. 12 [email protected] many years. distinction, having been a helmsman herded like cattle, the early Keebler cess beyond the nuts and bolts of the Classified Back when Babb was at Foote, Cone on one of the landing crafts at Nor- Cookies fare, a series of State Farm ads business....He was generous. He was 203.227.1699 ext. 12 [email protected] & Belding, Los Angeles, as executive mandy on D-Day. featuring insurance agents but with open to good ideas no matter where SHOOTonline Directory Listings producer, he had several producers Haboush came out of a pioneering a unique directorial perspective, live- they came from--and he was quick to 203.227.1699. ext. 11 [email protected] working on jobs directed by Haboush. class at Art Center College of Design in action/animation combo work intro- credit the person who came up with OFFICES Later Babb would serve as exec pro- Pasadena. He first established himself ducing Cinnamon Toast Crunch, and the idea. He would never take credit Main Offi ce 256 Post Road East #206 ducer running production house in animation, starting as a layout art- the long-running, frenetic “jumping for an idea that wasn’t his.” Westport, CT 06880 USA The Haboush Company when it was ist for Disney, painting backgrounds dogs” spots for Kibbles ‘n Bits. Haboush is survived by his wife 203.227.1699 Fax: 203.227.2787 part of the EUE Screen Gems family for such classics as the 1954 Oscar- “Vic was one of the go-to guys in Monica, three children—Auguste, Ce- West of companies. And when Babb went winning best short film Toot, Whistle, the 1960s, ‘70s and ‘80s for commer- dric and Laila—and six grandchildren. 650 N. Bronson Avenue, Suite B140 Los Angeles, CA 90004 USA 323.960.8035 Fax: 323.960.8036

Circulation POV 203.227.1699 ext 12 [email protected] By Bill Marmor Editorial Production Manager/Reprints/Article Rights Michael Morgera 203.227.1699 ext. 11 [email protected] Opportunity Knocks © 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, Enough with the else can we represent ourselves? How it so we had the options for this ex- on working hard and let’s keep on electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. economy already. else can we be useful to our clients? In ploration. We ended up with a stylistic thinking differently. Yes, let’s get those Yes, it sucks. Yes, what ways can we reinvent our indus- editorial approach to the spots. Every- budgets up and let’s start making To Subscribe Go To www.shootonline.com/go/subscribe business is bad. This is what you hear try? Reinvent our mindset? one was open to finishing and color more commercials!

To RENEW Go To from everyone, everywhere, inside Specifically what are the opportuni- correcting in house. The necessity al- But when that finally does hap- www.SHOOTonline.com/go/renew and outside of advertising. ties for innovation afforded by the cur- lowed for creative opportunities. pen, let’s not forget the lessons we’ve and complete our online renewal form today. But how bad is it really? Budgets are rent state of affairs? First, the chance Until this economy changes, we learned from this challenging period . For Subscription Service Inquires Email: [email protected] small, and projects are a lot fewer out to do more for less and the satisfaction have to be fearless. And when it finally Maybe that is the most important there. It is getting harder to meet the of accomplishing something under does change for the better, let’s not go lesson. of all. SHOOT (ISSN# 1055-9825) printed edition is published monthly for $75.00 per year by DCA Business Media LLC, overhead costs. Profits will be down, difficult circumstances turns out to be back to the same old way we’ve ap- **** at 21 Charles Street, Westport, CT 06880. Printed periodicals Editor Bill Marmor is founder of Rex postage paid at Westport, CT and at additional mailing offices. or nonexistent this year. But, if that’s its own reward. proached our business. POSTMASTER: Send address changes to SHOOT, P.O. Box the case, the key question is what do Second, when budgets get tight, Let’s keep on innovating, let’s keep Edit, Venice, Calif. 184, Lowell, MA 01853 we do? there tends to be a chance for a little USPS (06-234) Panic is an easy one, but I think it is more creative freedom. We are forced For SHOOT custom reprints please contact Michael simply time for all of us to accept it and to solve things with our ingenuity. Flash Back Morgera 203.227.1699 ext. 11 or email to: mmorgera@ shootonline.com possibly learn from this experience. Third, we can do more in-house. June 11, 2004 Director David Jellison, formerly of bicoastal SHOOT >e.dition published weekly except in January, Time for all of us to realize where we The reason for this is because of the Cohn+Company, has signed with Santa Monica-headquartered July, August, and December when three-times per Thomas Winter Cooke (TWC) for exclusive spot representation.... month. are and how this happened, and then, previous opportunities. The need to let it go. Move on. do more for less drives this, and the Director Pete Henderson of Toronto-based Brown Entertainment SHOOT is produced in the U.S.A. If there are gong to be no profits, openness of the advertising agencies has joined Free Market Films, New York, for U.S. representation.... SHOOT is a member of: then let’s work for the pure creative and clients to do it. And now the tech- Composer/sound designer Andy Snavley, formerly of CB+Co., West of it all. Lets invent ideas, techniques, nology to do everything from online, Los Angeles, has launched Inglewood, Calif.-based music/sound software, etc. Go back to the origi- to color-correction, to complex graph- design shop Bendy...Paul Hannaford has been promoted to head nal thinking that our forefathers did ics is there. of visual eff ects at Rushes, London because let’s face it—in those days We recently edited a project for Kel- it wasn’t all about money and ease. logg’s. It was shot on the RED camera June 18, 1999 Cliff Freeman and Partners, New York, dominated Throw that hammer into the TV set and had a challenging budget. I took the TV portion of the Art Directors Club Awards last week in N.Y., and think about how else can we do the opportunity to explore stylisti- copping two TV golds and four silvers....Following a high profi le ca- this. I think this is the lesson for today. cally how to approach the look and reer as an agency producer at such shops as Portland, Ore.-based How do we innovate? We start by not cadence of the edit and not allow the Wieden & Kennedy and San Francisco’s Hal Riney & Partners, John thinking about how we did things two limitations to constrain us. Adams has thrown his hat into the directing ring by signing with years ago. It is time for those ideas The agency was very open to seeing Santa Monica-based Area 51 Films....Crash Films has signed direc- or past theories to be put aside and what we could do. The director, Kevin tor Keva Rosenfeld for spot and music video representation.... to rethink how we do business. How Smith of Backyard Productions, shot June 19, 2009 SHOOT 3 News

FromPEOPLE & PROJECTS Ad Viral To Broadcast Viable: Director Antzis

By Robert Goldrich parody in which performers pretend ing bee video featuring Fergie; and up writer, and a spoof spot for Credit Second City and Improv Olympic in LOS ANGELES—Director Drew Antz- they are on a cave expedition—their a humorous sketch starring Natalie Crunch Cereal, which offers an offbeat the late 1980s. There he met another is, who is one of the most prolific film- problem being that the lead explorer Portman and Rashida Jones touting take on how a married couple is cop- improv artist, McKay, who went on to makers on the popular Funny or Die has incredibly bad breath, which is puppies as a panacea for the global ing with the troubled economy. become head writer at Saturday Night website, has landed his first TV com- inescapable in the tight quarters of a economic crisis. The initial connection with Funny Live and then an accomplished direc- mercial roost, joining Los Angeles- narrow underground cave. Antzis has also written and directed or Die sprung from Antzis’ earlier life tor, first doing digital shorts and then based production house Oil Factory some select Funny or Die projects, in- as an improvisational performer. He features, including such Ferrell ve- for exclusive representation. Early contributor cluding a short about a eulogy punch- studied improv in Chicago at both Continued on page 7 Antzis comes to Oil Factory having Antzis has been a contributor to already diversified into the advertising funnyordie.com, the site launched by biz in recent years, collaborating with actor/comedian Will Ferrell and di- Giraldi Adds Directors Lazarevich, Kane agencies that have gravitated towards rector Adam McKay, from the outset, him for branded content based on his co-directing with McKay the viral hit NEW YORK—Bicoastal production Lazarevich enjoyed a lengthy tenure Jon Kane viral comedy work. short The Landlord (starring Ferrell) house Giraldi has brought aboard its at noted tabletop production shop Pe- Director Kane’s latest endeavors in- For example, he has done humor- in March 2007. Since then Antzis has roster director/cameraman Tom Laza- ter Elliot Studio, alternating between clude conceiving, helming, shooting revich and director Jon Kane. directing his own spots and shooting and editing the Get Moe digital film The latter, who continues to work on for director Elliot. series for Mountain Dew and Spike Drew Antzis, one of television promos, music videos, virals In addition to his broad-based expe- TV, known for its cinematic, high oc- funnyordie.com’s most and other film projects via New York- rience with film cameras, Lazarevich tane action sequences. prolific filmmakers, now based production/post studio Optic has shot with a variety of HD and digi- He also comes off of a film and TV Nerve, will be handled for commer- tal cameras, including the latest high- spot series launching the Sonim inde- looks to move into spots. cials by Giraldi. speed digital systems. structible cellphone, which was shot Lazarevich, who was last affiliated Among Lazarevich’s TV commer- in mainland China. ous viral branded content pieces for some 70 comedy virals to his solo di- with Story in Chicago, is perhaps best cial clients over the years have been Kane additionally conceived, di- the likes of Norelco via Carat, New rectorial credit that have played on known for his tabletop directing prow- Pillsbury, Miller, Coors Extra Gold, rected, edited and made the song re- York, and Eclipse Gum for Tribal Funny Or Die, including such buzz ess. He has a depth of experience Snickers, Wrigley Gum, Oscar Mayer, mix for the DSi Re-Mix music video DDB Worldwide, Chicago. Antzis also worthy fare as the parody Sex Tape shooting food, hard goods and liquids Cracker Jack, Clearasil, LL Bean, announcing the new Nintendo DSi helmed a client-direct viral spot for in- starring Eva Longoria; a musical spoof in varied ways, including employing M&Ms, Fruit of the Loom, Nestea, featuring pop singer Jamie Lidell. dustry trade magazine Variety. of the show Intervention featuring se- high speed photography, motion con- Hershey’s, Budweiser, Jim Beam, Mc- Kane’s spot work over the years has The Eclipse viral is an improv show ries star Kristen Chenoweth; a spell- trol and blue screen. Donald’s and Ameritech. Continued on page 7 James Bartolomeo Directs Web Film Director Jeff France Signs Series for Pennsylvania Tourism With Story For Spots PHILADELPHIA—The Peter Ar- CHICAGO—Director Jeff France, relationships.” Also drawing him to thur Stories, a new web-based known for his performance-driven the shop was his personal affinity for fi lm series directed by James comedy, has signed with Chicago- company president Mark Androw and Bartolomeo of Protagonist Films, headquartered production house Story exec producer Cliff Grant. Baltimore, for the Pennsylvania for exclusive national representation in “Jeff always makes the boards bet- Tourism Offi ce and Philadelphia commercials. He had been with Santa ter through the performances he is agency Red Tettemer, follows a Monica-based Thomas able to get from talent,” man on a road trip through east- Winter Cooke (TWC) for Androw said. “His brand ern Pennsylvania as he attempts the past five years. of humor is smart and to recapture a slice of his youth... France’s recent work real-and that is why it is or to be more precise, a slice of includes campaigns for so appealing.” shoofl y pie. Comcast, Sargento and Prior to TWC, France’s The fi rst episode fi nds Arthur In his web series, Peter Arthur is in search of Meg the waitress Time Warner. A cam- affiliations included Blind in a job interview when a ques- reenactment in Gettysburg. those soporifi c tourism spots paign that France directed Spot Media, Coppos Films tion has him hearkening back Pennsylvania derives much of that are shot in slo-mo and fea- for Comcast’s FEARnet and Harmony Pictures. to a fond childhood memory, its tourist business through peo- ture generic actors riding horses channel and Philadelphia He began his career as being in a roadside diner at the ple from neighboring states on and happy kids playing on the agency Salt & Pepper an agency creative and age of 12 and having a piece of weekend getaways, and the web beach? This campaign is kind of recently picked up three served as creative director Pennsylvania Dutch sweet treat series (which can be viewed at the opposite of that.” Silver Addy Awards. Jeff France at Lawler Ballard. shoofl y pie served to him by an www.pastories.com) is squarely Part of what makes the series In one spot, a man dining on steak While the current economy is chal- attractive waitress named Meg. aimed at them. so appealing is its absurd sense in a restaurant puts off his date by lenging for the advertising industry in He’s obsessed over that pie “We’re celebrating that road of humor. confessing his enjoyment of grisly general, France feels that tough times and the ruby-lipped Meg ever trip mentality, jumping in the Bartolomeo, who co-wrote violence. France won a Gold Addy a favor the kind of work that he does. since and now he’s inspired to car and having fun, where the the scripts, has a particular taste year earlier for another Comcast ad, “In this economy, simpler but effec- act on that obsession. He blows journey is as important as the for incongruous juxtapositions. “Intervention.” In a parody of a drug tive concepts seem to be on the rise,” off the job interview, buys a destination,” said Steve Red, “We shot the Civil War sequence or alcohol intervention, a man is con- the director explained. “That trans- motorscooter with sidecar and chief creative offi cer of Red. in Gettysburg as if it were a fronted by his family over his refusal to lates extremely well into what I do, takes off on a road trip through Toward that end, the webi- scene from a period fi lm, but sign up for digital cable. which is supporting great ideas with Pennsylvania to fi nd Meg. sodes showcase the state’s syl- when the camera turns around, “Clever work originates in shops of memorable performances.” Along the way, he has a series van back roads, quaint small it fi nds four tourists on Segways all sizes and in every location,” France Story is represented on the East of hilarious adventures in the towns, historical settings and watching...because it’s only a said. “What impresses me about Story Coast by Laura Zinn, in the Midwest four six-minute webisodes, in- colorful characters. “It’s a won- reenactment,” he recalled. is that is has long-time relationships by Doug Stieber & Co., in the South- cluding nearly getting bayonet- derful way to show off the state,” Pennsylvania Tourism is pro- in every region of the country. I am east by Miller Associates, in the South- ed while caught up in a Civil War said Bartolomeo. “You know Continued on page 9 looking forward to being introduced west by Alyson Griffith, and on the to them and continuing my current West Coast by Char & Associates. 4 SHOOT June 19, 2009

News

On The Town: Masi, Curren Launch Shop Short Takes

NEW YORK—Joe Masi, founder/exec- Monico NEXUS ANIMATES PARENT/CHILD POVS utive producer of New York production Director Monico, formerly with The Director Woof Wan-Bau of Nexus Productions, London, throws us house Identity, has teamed with exec Artists Company, is best known for his on a crazy merry-go-round of child rearing, from birth to trouble- producer Bill Curren to launch Town work in the music video arena and some teen in “Le Cri,” a spot for the Volkswagen Touran out of Entertainment. Identity is the parent commercial space. His commercial Agence V, Paris. company to the new Manhattan-based clients include Ray-Ban, Volkswagen, Wan-Bau deployed a mix venture, which opens with a directorial and Tuborg, and he has just returned of live-action and stop frame roster consisting of Andrew Walton, stateside after lensing recent spots for animation, making rotation- Karina Taira and Paolo Monico. MTV and Honda in Europe. Summer al transitions that shift us Town’s business model is to provide 2008 saw Monico direct an English- from the child’s perspective a platform for this roster from various language TV film in New York, 4 to that of the parents and disciplines to closely collaborate with Single Fathers, which was then distrib- back again. Through pretty clients on creating content for com- uted through the Canale 5 Network in much all of this chaotic up- CLICK HERE TO VIEW SPOT mercial, film, web, and television dis- Bill Curren Italy in 2009. His viral video, MTV bringing, a key constant is tribution. Alana Hall serves as Town’s ton’s recent diverse endeavors. His The Chat, which he wrote, cast, and the child (actually different children to reflect the changes in age head of production. first documentary feature, Arctic Son, shot, earned inclusion on the shortlist as he grows up) crying, screaming and otherwise making his feel- Town has hit the ground running premiered on PBS’ acclaimed P.O.V. for Young Directors Award consid- ings known, often at a high decibel level. with a “real people” spot campaign series in 2007. eration in Cannes. The Italian native “Shooting a combination of stop-frame and live action with a for AARP directed by Walton for began his directing career with a mu- gang of very young children in two days was a tall order, but we GSD@M Idea City, Austin, Tex. The Taira sic video for reggae-punk-ska band I somehow managed it and it turned out to be a lot of fun. Maybe spots broke last month. Japanese-American photographer Quattrocento Colpi from Bologna. it was the fact that we had to endure a lot of screaming that we all Walton’s last company affiliation and film director Taira splits her time “Even during these challenging worked so fast,” quipped Wan-Bau. was Good Films. Prior to that, Walton between New York and Paris. She has times we see opportunity for talented Finally the parents get a reprieve from their now teenager’s ga- was with Chelsea Pictures. His direct- to her credit major editorial and adver- people” related Curren, whose expe- rage band, which is screeching out its version of what’s supposed ing experience spans commercials, tising work in Paris, Milan, Tokyo, and rience includes serving as executive to be music. Mom and Dad seek refuge in the Touran parked in the short films and web content for ad London, including spots for Nestle, producer at Maysles Films and Shorts driveway. They roll up the windows and hear utter blissful silence. agencies and brands. His humanistic Toyota, Nivea and Cerruti Cologne. in New York. “Our directors work Nexus and Paris house Les Telecreateurs teamed on the produc- style embraces actors and real people. Taira’s career began at 19 after at- across all mediums and are well suited tion. The DP was Sebastian Milaszewski. “Le Cri” was cut by Paul Spots for software giant SAP and the tending the Art Center College of to operate in any climate.” Though Hardcastsle of Trim Editing, London. Sound design came out of U.S. Navy, along with an episode of Design in Pasadena. Taira’s former Town operates as a separate entity, the 750MPH, London. the Discovery Channel’s Next World company affiliations include RSA, and directors will have full access to the The agency team included creative director Christian Vince, art series, Future Ships, highlight Wal- then Believe Media. Identity resources. director Romain Guillon, copywriter Pierre Riess and producer Corinne Persch. ARTISANS SINGER RETURNS TO SPOTS VIA SAVILLE Bent Has Some Nervo, Lands Nando Costa Director Bryan Singer has returned to the commercialmaking arena and is once again available through Beverly Hills-headquar- PORTLAND, Ore.—Creative/director at Boston-based agency Modernista!, motion graphics work he did with Nakd tered Saville Productions for select ad projects. Singer had what Nando Costa, founder of Portland- Costa helped put together memora- to be the best contemporary work out amounted to a five-year hiatus from spots, during which time he based design and animation studio ble spots for Napster, Budweiser, and there, period. I’ve always had a sense directed the feature films X2: X-Men United, Superman Returns, Nervo, has teamed with Bent Image Hummer. Back in his native Brazil, that he innately understands the impact and Valkyrie. Singer’s storytelling versatility spans actor-driven Lab, also in Portland, to form Nan- Costa founded the design/anima- of what he does in the realm of design, work, special effects and comedy.... do@Bent. Costa brings his entire tion company Nakd in Rio with his and its effect on modern thinking.” Nervo shop to production company/ wife and creative partner Olofsdotter. Costa sees his move to Bent as a natu- PEOPLE IN THE NEWS.... creative lab/animation studio Bent, Within two years, Nakd was a world- ral progression. “After growing Nervo Production house Prodigy, with offices in Sydney and Melbourne, including creative partner Linn Olof- [over the past couple of years] into a Australia, as well as Auckland, N.Z., has signed director Matt Palm- sdotter. Costa becomes the fourth go-to shop for motion graphics, I was er for representation. A veteran helmer, Palmer started his career partner of Bent, the other three being ready to take the operation to the next as an art director. He transitioned to the director’s chair and has co-founders—executive producer Ray level,” he said. “I saw a real opportunity over the years worked for such clients as Steinlager, Yellow Pages Di Carlo and directors Chel White and to align myself with a company that had and Twisties. Palmer’s directorial reel spans subtle comedy as well David Daniels. a strong history and great leadership.” as visual storytelling..... The Brazilian-born Costa brings a Bent was formed in ‘02 and has McCann Erickson, Los Angeles, has hired Michael Rice as senior portfolio to Bent that includes brand- amassed a body of work encompassing VP/director of digital. He will be charged with further strengthen- ing efforts, commercials, broadcast spots, animated films and videos. Satur- ing the agency’s digital capabilities, including digital strategy and TV, photography and motion graph- day Night Live, Coca-Cola, Lux Soap, production, and will play a key role in business development and ics. His range of expertise comple- Aflac, Budweiser, Guitar Hero, HP, talent recruitment. Rice previously was executive VP, digital, for ments Bent’s animation prowess and PBS, Radiohead’s Thom Yorke, Live Integrated Media Solutions, a leading direct response agency in can help the company evolve into a Earth, and film directors Todd Haynes Beverly Hills, Calif. At Integrat- one-stop content creation studio. and Gus Van Sant, are among the high- ed, he was responsible for man- Daniels related, “Nando is re-defin- Nando Costa profile clients that have gravitated to aging and growing interactive ing the future of motion graphics with class production studio with clients Bent. The studio’s work over the years accounts, as well as supporting every job he does. He takes immense that included MTV, Diesel, Country has earned recognition from top film sales efforts to generate incre- joy in all his work, especially design, Music Television, the Fine Living Net- festivals and industry shows, includ- mental interactive business. and that’s a gift that will germinate work and Panasonic. Costa is also the ing South by Southwest Film Festival From 2005-’08, he was senior throughout the character and story- editor of two books, Brasil Inspired (SXSW), the Clios, the Cannes Lions director of marketing for Lead- telling traditions of this studio, thus and Disorder in Progress, which fea- International Ad Festival, Sundance, Point, Inc., an online acquisition strengthening everyone around him.” ture the work of Brazilian artists and the Chicago Film Festival, the AICP Matt Palmer exchange for direct response Nervo’s prolific run included art inspired by the nation’s culture. Show, the Rosey Awards, the Broadcast marketers, serving as a high level marketing strategist. He also animated films and commercials for White described himself as being Design Awards, the Tribeca Film Festi- has entrepreneurial experience, having built the interactive agen- Zune, Nike, Timex, Dentyne, Adobe “a big fan of Nando’s work well before val, the Rotterdam Film Festival and the cy Citrus from the ground up from 1998 to 2004. and FOX. Earlier as creative director I ever met him. In fact, I regarded the Florida Film Festival. 6 SHOOT June 19, 2009 Director Drew Antzis Comes Aboard Oil Factory For Commercials

Continued from page 4 cently debuted on Funny or Die. ally don’t. I’m very much looking for- have the challenge of constraints in latter score, Antzis has become accus- hicles as Anchorman and Step Broth- The director is eager to diversify ward to getting more involved in the terms of the time format and what you tomed to usually both directing and ers. McKay saw some short-form work into TV commercials, noting he was advertising industry,” related Antzis. can say and do on TV as compared to editing his Funny or Die virals. “Being directed by Antzis and asked him to drawn to Oil Factory in large part by “Good comedy isn’t easy to pull off the Internet.” able to turn over work to an editor in take on a viral for Funny or Die in ‘07. his affinity for its president, Billy Pov- but I’ve managed to do it online and Antzis hopes to collaborate with a commercials and benefit from a com- That effort—The Landlord, in which a eda. “Comedy spots have a traction am excited over getting the opportu- wide range of agency creatives, as well pletely fresh set of eyes is something I little girl who’s a landlord terrorizes that other types of commercials usu- nity to do it on television where you as with commercial editors. On the view as a positive new twist,” he said. behind-in-rent tenant Ferrell, became a viral success, putting Antzis on the viral comedy map. Among Antzis’ latest endeavors, a sketch starring Blue Man Group, re- Two Dirs. Join Giraldi

Continued from page 4 garnered assorted honors, including Clio recognition and inclusion (for a Time Warner spot) in MoMA’s col- lection. His VH1 “Behind the Music” campaign aired during a Super Bowl telecast and spawned a series of Satur- day Night Live parodies. Kane’s interest in documentary filmmaking led him to create Fellow Americans, a series of portraits of av- erage Americans with extraordinary stories, during a tour of the southern U.S. with cinematographer Russell Lee Fine. Fellow Americans served as a model of sorts for Kane’s stylized

Jon Kane documentary brand of filmmaking which has become a signature of his work. spanning short and long form. After establishing himself in the ad industry, Kane spent 18 months, including much of 2001, collaborating with director Godfrey Reggio, com- poser Philip Glass and producer Ste- ven Soderbergh as both the editor and visual designer for Naqoyqatsi, which is the third film in the acclaimed Qatsi Trilogy that began with the seminal film Koyaanisqatsi. Naqoyqatsi con- tinues to be a major audience draw, touring globally with live accompani- ment by the Philip Glass orchestra. In addition to his film and spot work, Kane has come full circle, returning in a sense to his college DJ roots, recent- ly traveling the world as the DJ for the art pop group Fischerspooner. These shows have garnered critical acclaim in the world of electronic music. June 19, 2009 SHOOT 7 News

BlueRock Lands Editor Bruce Ashkinos HD Essentials

NEW YORK—Noted editor Bruce whatever I’m working on better.” tions to an emsemble of companies. Ashkinos has joined New York-based Known for his sure hand in an ar- “Editors In today’s marketplace BlueRock. He comes over after five ray of commercial genres, particularly need to look ahead for their clients Seeing Red: hdstudios years at Chemistry, the New York edi- comedy, dialogue/storytelling and more than ever before and offer cre- Farmington Hills, Mich.-based hdstudios has made a major inroad into RED torial house he co-founded in 2004, real people, Ashkinos sports a cur- ative options across multiple media Camera workfl ow with the purchase of the redBOXX II by Assimilate and formerly known as Slingshot. rent show reel that includes spots for platforms,” Ashkinos explained. Boxx Technologies. hdstudios is a division of Grace & Wild, Inc. Already under the BlueRock ban- Champs Sports, Optimum/Cablevi- “Thanks to BlueRock’s unique re- The redBOXX II system comes equipped with Scratch color correction ner he has wrapped a package of Op- sion, I Am.com and Wendy’s, as well lationship with their partner compa- software to allow native processing of raw .r3d RED fi les. “Before we had the timum/Cablevision spot for Gardner as a European spot for Chipita baked nies—Spontaneous for design/visual Scratch system, RED projects were always hindered by the time required Nelson + Partners, New York, and a snacks directed by Tony Kaye. effects/3D; Blast for full service audio to render huge fi les,” noted Grace & Wild sr. VP of technology Keith Neff . diabetes PSA via McCann Erickson, Looking at the big picture of the postproduction; Contagious for digi- “Now color correction and processing happens in real-time or faster, mak- New York. commercial production/postproduc- tal marketing services; and Ballistic ing quick turnaround for commercials and motion picture dailies practical.” “For me, it was just the right time tion industry today, Ashkinos noted for compositing and scene enhance- Scratch allows real time color corrected output to tape at the highest to make a change,” Ashkinos said. “At how well BlueRock is positioned to ment—there literally isn’t any aspect of quality level HD Cam-SR 4:4:4 HQ recording while also being able to render BlueRock I can focus only on creative meet the demands of an ever-chang- the filmmaking process we can’t cre- industry standard 2K DPX fi les faster than real time. “This is a game changer issues and what I need to do to make ing media industry, citing its connec- atively wrap our arms around.” in the world of RED production,” explained Neff . “We now have the fantastic images RED is known for and effi cient workfl ows that we are familiar with.” The redBOXX II and Scratch system enhances hdstudio’s extensive en- tertainment and commercial production and postproduction off erings. Brian Rund Makes Way To MindSmack Capabilities include dailies delivery, audio design and post-production, edit system rentals, sound stages, production offi ces and what’s billed as being NEW YORK—Audio engineer/sound Already at MindSmack, he has Rund explained that his decision the state’s only motion picture fi lm laboratory. hdstudios has contributed designer/composer Brian Rund has been involved in such assignments as to join MindSmack was based on the to more than a dozen feature fi lm and television projects since the State of joined MindSmack, a New York-based a SyFy network rebrand, projects for company’s forward thinking business Michigan’s fi lm incentive bills were passed in April 2008. post house with services encompass- Sundance Channel, and a Puma spot model that emphasizes a boutique ing editorial, graphics, audio post, web via agency Syrup. studio environment, explorations into Dark Dives Into Aquarium Job design and multimedia development. Rund began his career in 1992 at developing its own original content, Cinemarr Entertainment, headed by S. Shane Marr, tapped the services Rund comes to MindSmack follow- Random Bus\Pink Noise, the audio and its frequent collaboration with of HD pioneer Randall Dark for Ripley’s Aquarium of the Smokies fi rst High ing three years at audio post house divisions of the now-defunct editorial the web development side of the com- Defi nition commercial. The :30 spot, a mixture of live action and animation, SoundHound where he worked on house Dennis Hayes & Associates. It pany, spanning clients that include was shot in 1080i with the Sony HD Cam and Canon HD Zoom Lens and numerous high profile projects for was there that he gained a passion for Citigroup, Doritos, American Express, will be onlined and offl ined at Cinemarr Entertainment in Sevierville, Ten- Syfy Channel (formerly known as Sci sound. His credits there included spots Pepsi and the U.S. Marines Corps. nessee. Ripley’s Aquarium is based in Gatlinburg, Tenn. Fi Channel), History Channel, HBO, for Sony, Diet Dr Pepper, and Dockers. MindSmack was recently founded Ripley’s Aquarium of the Smokies was recently named the number Spike, Nickelodeon, as well as numer- Rund’s work has BDA/Promax (World by company president Todd Feuer and one aquarium in the U.S. by TripAdvisor.com. “Because of that,” says Marr, ous advertising projects. Gold), Tellys and Aegis awards. his brothers Mike and Sam Feuer. who also directed, “there is nationwide focus on this aquarium.” The clar- ity produced by HD technology was ideal for shooting both the live action sequences and background plates which will later have digital cartoon fi sh added. HD expert Dark added, “Capturing the incredible images presented no problems for my HD camera.” Shooting at Ripley’s Aquarium of the Smokies off ered ample opportuni- ties for beautiful images, but also posed challenges that were easily han- dled by utilizing HD technology. “In order to keep the fi sh comfortable and safe, only minimal lighting is permitted in the aquarium during a shoot. The resulting lower light situations could have meant a potential problem get- ting the best images if we had shot fi lm.” said Marr. “Also, the project had an overall abbreviated time frame to be on air in time for spring vacation plan- ning. Shooting in HD helped us on both these fronts by producing beauti- ful lower light images and turning the project around quickly.” After meeting and becoming friends in 2004, this was the second oppor- Take the plunge. tunity Marr and Dark have had to work with one another. The overnight production, with a cast of 40, featured extensive shooting inside the aquarium’s 345 foot long underwater tunnel and the new Lethal Weapons exhibit, which showcases deadly sea creatures. Mammoth Commitment To HD Mammoth HD Footage Library has added RED® Footage with new ma- terial featuring the Mono Lake, Las Vegas, Death Valley National Park and seasonal footage of autumn/fall. All shot on RED in 4K with clips available for delivery in HD1080, HD720, 2K and 4K resolutions. The Mammoth HD Library now features 760-plus collections and over 380 hours of SingleClip material, including RED 4K/3K/2K and Vertical HD for broadcast, fi lm, corporate and marketing/commercial production in- cluding digital signage and display. For your next shoot, check out Montana’s jaw-dropping scenery, amazing locations, Mammoth HD, based in Evergreen, Colo., adds new material to the li- brary monthly. The MHD represented talent base comprises award winning world-class outdoor recreation, great incentives, reliable, experienced crew and cinematographers, videographers, photographers, 3D animators and mo- down-to-earth authenticity you won’t find anywhere else. tion graphics artists from around the world. ******** Montanafilm.com/800-553-4563 Contact SHOOT’s Robert Goldrich with HD-related developments and news at [email protected] or (323) 960-8035.

8 SHOOT June 19, 2009 Pennsylvania Road Trip Humble Beginning For Jeff Bitsack NEW YORK—Jeff Bitsack, whose both Portland and New York, as well distinction last year. Directed by John Continued from page 4 most recent agency staff position was as New York shops Cliff Freeman & O’Hagan of RSA Films, “Office Park” moting The Peter Arthur Stories as executive creative director at Euro Partners, Merkley & Partners, Ogilvy opens on a guy absentmindedly yak- in a big way. RSCG, New York, has joined New & Mather, Toy, BBH, and BBDO. king away on his cell phone and chew- Giant billboards promot- York production house Humble for In the agency arena, he worked ing gum while crossing the street. ing the series have been hung exclusive representation as a direc- over the years on such accounts as He is distracted and almost steps out from numerous buildings in tor. At press time, Bitsack had already ESPN, Fox Sports, Mercedes Benz, in front of a moving car. Turns out midtown Manhattan including embarked on directing a three-spot Sports Illustrated, Activision, DHL, he faces another, more unexpected Madison Square Garden. Match.com campaign for Humble via Pepsi and Nike. danger--from out of nowhere a ram Red Tettemer also hired street agency Hanft Raboy and Partners, Bitsack’ creative endeavors have crashes into the guy, taking him down vendors to hand out slices of New York. garnered numerous awards, including and knocking the gum right out of pie. Pennsylvania Governor While he continues to be available One Show pencils, Design & Art Direc- his mouth. An instant replay of the Ed Rendell declared a “Shoofl y as a freelance creative for agencies on tion (D&AD) pencils, Communication cringe-inducing impact follows, the Pie” Day in the state. select projects, Bitsack’s prime focus is Arts honors, a Grand Clio and several action freezes and both text on screen There is also a sweepstakes James Bartolomeo on his directorial career. cubes from the Art Directors Club. and a voiceover tell us, “Spit out your tied into the web series off ering Tourism Offi ce. He is no stranger to the director’s He also had a creative hand in a Stride Gum and chew another piece a chance to win a weekend get- Bartolomeo, whose back- chair. Prior to Euro RSCG, he served Mercedes spot, “Aaooga” out of Merk- already! Or we’ll find out.” away in Pennsylvania. ground is primarily in directing as exec creative director at JWT New ley Newman Harty, which garnered a The action picks up with a Stride Scripts for the webisodes 30-second TV commercials, rel- York. While at JWT, he directed a primetime commercial Emmy Award van speeding onto the scene, and two were written by Bartolomeo, ished the opportunity to create Domino’s viral campaign that gar- nomination in 2001. Bitsack was a Stride employees confiscating the Red and Red Tettemer col- and direct multiple six-minute nered multiple Clios and an Emmy copywriter on “Aooga,” which was di- chewed gum and then fleeing. leagues Todd Taylor, Matt Lan- web episodes, and found it nomination. Humble produced the rected by Victor Garcia via production Also as exec creative director at zdorf and Michael Barker. good preparation for even Domino’s package. His other direc- house MJZ. JWT, Bitsack contributed to MTV’s Joe Mosca produced on be- longer work. He is planning to torial credits include a campaign for More recently Bitsack served as Choose or Lose spot “Phone,” a :30 half of Protagonist Films. direct a feature fi lm, based on The Food Network. executive creative director at JWT which earlier this month became an Richard Bonds is executive the R.A. Nelson novel entitled Bitsack has logged time as a writer New York on Stride Chewing Gum’s AICP Show honoree in the PSA cat- director of the Pennsylvania Teach Me. and/or creative director at top agen- “Office Park,” a comedy :30 which egory. “Phone” was directed by Bryan cies, including Wieden+Kennedy in earned SHOOT Top Spot of the Week Buckley of Hungry Man.

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June 19, 2009 SHOOT 9 AGENCY CREATIVES ON CANNES

Rich Silverstein Lars Bastholm David Lubars Lisa Bennett Susan Bonds Cannes Preview: Judges Assess Impact Of Troubled Economy

Continued from page 1 the Cyber Lions jury and chief digital the economic challenges we all face? I tions of the Oasis songs at Manhattan seems like torture.” creative officer for Ogilvy North Amer- think the bottom line is that you can venues well before the actual release For some relief from the darkened ica, had recently wrapped some pre- find inspiration at Cannes.” of the album/CD. screening room, Silverstein will bring judging, weeding out certain entries, “This was a very innovative new his bicycle. “At the end of each day as SHOOT went to press. “There was a Predictions reel way of launching an album and weav- of judging, I’m clearing my head and lot of good stuff submitted and based Relative to the economy, Mark Tuts- ing it into the fabric of New York City heading for the mountains.” on that I don’t think the economy has sel, chief creative officer of Leo Bur- and appealing to Oasis fans,” said Clearly Silverstein is looking for- negatively impacted Cannes in terms nett USA, affirmed, “Creativity is your Tutssel. “It’s a great example of creat- ward to a view that goes beyond that of the quality of the work,” Bastholm primary business asset. Creativity will ing interactions between people and of a higher altitude. “When [his GSP assessed. “In some respects, in the be the compass that points the way brands. People are now experiencing partner] Jeff [Goodby] came back from digital arena, challenging economic out of deep recession.” interaction with brands across differ- judging, he affirmed to me that “you times are conducive to more creativ- Tutssel presides over Burnett’s an- ent contact points.” just have to experience Cannes to un- ity and inventiveness emerging. And nual Cannes Predictions reel, show- The state of the economy, contin- derstand why it’s so powerful,” related our cut-off point for this year’s work Mark Tutssel casing 50 contenders likely to earn ued Tutssel, has also translated into a “Silverstein. “I’m looking forward to was March 30, meaning you might see so many different platforms vying for a coveted Lion. “Based on the work reduction of blockbuster big budget seeing the world’s work. Sure we see even more of that creativity reflected consumers’ attention.” we went through and selected for the spots in the Film category as com- North America and some things in in next year competition.” Bennett said the 20 percent reduc- reel, we’re seeing far more innovation, pared to years past at Cannes. Still, that Europe during the course of the year. Bastholm added, “Digital is coming tion in Cannes entries is “understand- far more imagination, experimenta- doesn’t mean there isn’t a place for But to see how the whole world comes of age. Production value has increased able” in light of the recession. But she tion and creativity,” he assessed. some big production value. Tutssel cit- together and competes—to see that en- to Hollywood quality. Years ago we doesn’t think the drop in quantity will “The crippling economy we find ed as examples the Hovis bread’s “Go tire year’s body of worthwhile work— might have thought, ‘wouldn’t it be translate into a decrease in quality. “If ourselves operating in is forcing agen- On Lad,” a brand retrospective spot has got to be inspiring.” awesome of we could do this or that.’ anything, agencies are probably being cies and communication companies showcasing an epic journey through Well now you can. Capabilities have much more selective about work they to think in a far more inventive way. history, out of London agency Miles The economy grown to where if you can dream it, enter. They are only submitting their People now have to find newer ways to Calcraft Briginshaw Duffy; Sony’s Yet while Silverstein will be at you can do it in digital.” very best work, which I think will connect in surprising, engaging and “Foam City” via Fallon London; and Cannes for the first time, many other David Lubars, president of the Film make for a strong show.” rewarding ways. You’re seeing differ- T-Mobile’s “Dance” from Saatchi & regular attendees won’t make be mak- and Press juries, and chairman/chief Susan Bonds, president/CEO of ent types of work, a huge migration Saatchi, London. ing the trip as the global recession has creative officer of BBDO North Amer- 42 Entertainment, Pasadena, Calif., to innovation, to Titanium thinking, Among the other work on Burnett’s impacted their travel plans. ica, related, “The economy means we is a Cyber Lions juror, her first stint category-defying thinking.” Cannes Predictions reel was: Doritos Also impacted is the number of have to do a lot more with a lot less. as a Cannes Lions judge, but she is Tutssel cited Burger King’s “Hotel 626” (an integrated campaign submissions to the competition as this Clients have had to cut their budgets. certainly no stranger to the competi- “Whopper Sacrifice” out of Crispin linking mobile, Twitter, Facebook year’s tally of 22,652 entries represents So creativity becomes all the more tion. 42 Entertainment won the Cyber Porter+Bogusky, as leveraging Face- and a faux documentary to a rich yet a nearly 20 percent drop as compared important—it’s the great equalizer. Grand Prix at the ‘08 Cannes Lions book in a way so new that even the so- terrifying web universe) out of GSP; to the field of entries during a record The power of creativity can be an eco- International Advertising Festival on cial networking site wasn’t sure what the NBA’s “There Can Only Be One” breaking 2008. nomic multiplier. There’s no scientific the strength of Nine Inch Nails’ “Year to make of it. campaign, also from GSP; Skittles’ For example, entries for Film Lions way to measure how much sizzle you Zero,” a unique concept album com- The Burnett chief creative officer “Tailor” TV commercial from TBWA\ are down a whopping 25.4 percent. have in your work. It’s very subjective. bining music with multimedia and also pointed to the BBH New York Chiat\Day, New York; and the Shelter Cyber Lion entries plummeted 20 per- It’s all about the inspiration and cre- interactive storytelling. launch of Oasis “Dig Out Your Soul” PSA “House of Cards” (deploying mu- cent as compared to the total in ’08. ativity that the human mind can come Acknowledging that attendance at album, a campaign in which street sic from Radiohead), created by Leo Press Lions decreased by 32 percent, up with to delight other minds. The the Cannes Fest next week “may not musicians performed their interpreta- Burnett, London. Direct Lions by nearly 20 percent, Ti- closest thing we have to determining be what it has been in years past with tanium & Integrated Lions by a touch if one has been successful in this are people counting their pennies,” Bonds under seven percent. shows like Cannes. The power and nonetheless sees significant value in Design Lions went up a tick over emotion your work has is an impor- being on hand for the proceedings, one percent while a new component tant metric. Shoestring budgets force particularly as a judge. “Cannes is a of the Fest, the PR Lions, scored 431 you to come up with great ideas.” showcase of the best of the best. You entries in its first go-around. Lisa Bennett, chief creative offi- get to meet with and compare notes On the attendance front, no figures cer of DDB West (San Francisco, Los with people who face the same chal- had yet been released but some esti- Angeles, Seattle), is serving as a judge lenges as you do. Being able to interact mates pegged a decline in ‘09 of as on the Cannes Film jury. “I’m looking with people at Cannes and see great much as 40 percent as compared to forward to seeing fresh approaches to work can help you come up with some last year. film. You have to be fresh and unique answers to such questions as: How can Still, the troubled economy has a sil- not only with challenged budgets we be more creative in our approach? CLICK HERE TO VIEW SPOT ver lining according to several Cannes but also with the challenge of how to How can we break through to reach judges. Lars Bastholm, president of break through in a marketplace with consumers? How do we best cope with NBA’s “There Can Be Only One” 10 SHOOT June 19, 2009 AGENCY CREATIVES ON CANNES

Leo Burnett Cannes Predictions’ Tradition Marks Its 23rd Year CHICAGO—It started out in 1987 as a fun contest for employees, conceived by Donald Gunn who at the time was creative resources director at Leo Burnett. (Gunn now heads the annual Gunn Report chronicling the indus- try’s most awarded agencies, advertis- ers, production houses and directors.) Gunn’s notion was to help connect Burnett artisans with the Cannes ex- perience even if they weren’t going to be in Europe. And it’s a connec- CLICK HERE TO VIEW SPOT tion that has grown in size, scope and analysis over the years as the relatively Oasis’ “Dig Out Your Soul In The Streets” JCPenney’s “Doghouse” modest employees guessing game has linking mobile, Twitter, Facebook and successful instances of agencies and In what many public relations ma- stellar debuts.” become so much more. a faux documentary to a rich, terrify- clients “taking it to the streets,” in- vens declared to be the best effort of Still there was outstanding work This year a team led by Mark Tuts- ing, three-dimensional web universe. cluding: Pampero Rum’s “Ephem- its kind, Tourism Queensland invited with Burnett citing: ‘Go On Lad,” sel, Burnett’s worldwide chief creative And Fiat’s ‘eco:Drive’ [AKQA, Lon- eral Museum’ [Burnett, Lisbon] which jobseekers from around the world to for Hovis bread [MCBD, London]]; officer, viewed thousands of cam- don] provided a detailed peek into “turned an entire district of London apply for ‘The Best Job in the World’ ‘House of Cards,’ for housing char- paigns, monitored global and local motorists’ driving habits courtesy of a into a bona fide art gallery, while [Cummins Nitro, South Brisbane]. ity Shelter [Burnett, London].; the award shows and followed industry USB flash drive that connected their Oasis gave New York City residents a And the very essence of the NBA’s racy Levi’s ‘Secrets and Lies’ [BBH buzz to select the work for the agen- cars and computers.” sneak preview of their new album by ‘There Can Only Be One’ campaign London] and Diesel’s ‘SFW XXX’ cy’s now much anticipated Cannes means of street musicians with the wound up gracing the cover of Time [The Viral Factory, London]; and the Predictions reel. Politics ‘Dig Out Your Soul’ effort [BBH New magazine and being spoofed by Satur- humorous Pepto-Bismol ‘Empanada’ “It’s quite astonishing what this has Burnett singled out Barack York]. And it’s hard to resist T-Mobile’s day Night Live.” [Lapiz/Burnett, Chicago] and Esthe evolved into,” said Tutssel. “The reel Obama’s groundbreaking ‘netroots’ ‘Dance’ [Saatchi & Saatchi London], Wam Hair Removal’s ‘Beauty Bowl- is now presented in 40 major cities movement that ultimately helped which employed the impromptu joy Film—a mixed bag ing’ [Ogilvy & Mather, Tokyo] . around the world. People in Moscow win him the 2008 U.S. presidential of a flash mob to amuse passersby at The Burnett Cannes Predictions Burnett also advised the advertis- were reportedly waiting in line one election. “Could a political campaign a Liverpool railway station.” summary assessed, “Unlike most ing industry to keep an ever watchful year to get tickets to a theater screen- land a Titanium Lion?” asked a Bur- years, there were few blockbusters in Cannes Lions eye on “Versailles” for ing. It’s become a big scalable event nett summary. “Meanwhile ‘The Great Leveraging the press the lot, though we should add a quick Canal+ [out of BETC Euro RSCG, Par- that’s gotten better and better, and Schlep’—also on behalf of Obama via Among Burnett’s favorites were caveat: as history tells us, many in this is], as well as JCPenney’s ‘Doghouse,’ represents a great way for the agency the Jewish Council for Education Re- creations that “wove their way into the category make their first appearance the hilarious instructional short [from to keep its finger on the pulse of this search [Droga5, New York]—served up cultural fabric, effectively using the at Cannes, so it’s almost certain we’ll Saatchi & Saatchi New York] for way- business and new creative directions a side-splitting and unique appeal to media to add traction to their stories. be delighted and surprised by a few ward men everywhere.” that are emerging.” voters that broke a few barriers and Here’s a look-see at some of the taboos of political advertising.” general observations gleaned from Burnett’s research that went into the Online progression making of the reel, which contains 50 Among the efforts cited by Bur- pieces of what the agency regards as nett were: Burger King’s “Whopper work that will likely gain Cannes rec- Sacrifice” [Crispin Porter+Bogusky, ognition, representing varied media Boulder, Colo.] which “leveraged Fa- and disciplines: cebook so boldly that even the social networking site wasn’t sure what to Integration make of it”; Sprint’s “Plug Into Now” Burnett’s reference to integra- [Goodby] which “transformed PC tion refers not just “to efforts merely desktops into a stunning real-time executed across a handful of media. data dashboard”; and Mentos’ “Kiss Rather, we’re talking about ideas that Cam” [BBH London], providing any- harnessed a confluence of technolo- one with a webcam the opportunity to gies to produce truly engaging expe- share a virtual, interactive “kiss” with riences. Many of this year’s entries, his or her choice of a hunk or babe. did just this, though Doritos ‘Hotel 626’ was one standout [from Goodby, Street wise Silverstein & Partners, San Francisco], Burnett also pointed out several

CLICK HERE TO VIEW SPOT Shelter’s “House of Cards” June 19, 2009 SHOOT 11 Top Spot of the Week Mr. Hide, Saatchi LA Team To Create A Harmonious World For Toyota Prius By Christine Champagne said the agency knew the director was cushiony balls of cotton that felt and Man, machine and nature come to- the perfect fit for the job, which also looked the way I had imagined clouds. top gether in glorious fashion in a new included two other spots. Also, for the flowers I wanted bright, commercial for Toyota Prius titled Mr. Hide and his DP John Toon happy colors that looked like they “Harmony.” Created by Saatchi & shot the Toyota Prius campaign in a would smell good.” Spot Saatchi, Los Angeles, and directed warehouse in Auckland, N.Z. “I tried Movement was also a crucial ele- of the week by Mr. Hide, who is represented by to do as much planning [as I could] ment in the spot, and Mr. Hide cast bicoastal/international The Sweet before shooting because even though a core group of 30 dancers to handle CLIENT Shop, the colorful, cheerful spot finds we had nine days to do three spots, the more intricate movements as well Toyota Prius. a Prius negotiating a lively landscape which sounds like a lot, the process of as rock climbers and martial artists to AGENCY in which people make getting everything live take on the more physically demand- Saatchi & Saatchi LA, up the mountains, the is very exacting and ing roles of cloud and tree people. Torrance, Calif. grass, the rivers, the takes time,” Mr. Hide While the performers were placed Mike McKay, executive creative direc- sun and the clouds. shared. “I wouldn’t on metal forms to create the trees and tor; Andrew Christou, creative direc- tor; Ryan Jacobs, integrated design This artful imagery have had nearly the the clouds, Mr. Hide had his water creative designer; Sean Farrell, as- is meant to show po- time I needed if I at- people jumping on trampolines to cre- sociate creative director/art direc- tential car purchasers tempted to work ev- ate the effect of a rushing river. tor; Tito Melega, art director; Simon that the third genera- erything out with a In the end, about 90 percent of the Mainwaring, copywriter; Tanya Le- tion Prius hybrid has massive crew around. action was caught in camera. VFX Sieur, director integrated production/ incorporated improve- Besides, I am sure that director/lead Flame artist Jon Baxter multimedia; Jennifer Pearse, senior ments like more space would have made ev- and other artisans from Auckland’s agency producer. and horsepower that eryone nervous.” Perceptional Engineering were on PRODUCTION COMPANY will make drivers hap- Mr. Hide set roughly compositing the elements The Sweet Shop, bicoastal/ py as well as lower emissions, which People person together as the shoot went along so international. will benefit the environment. “We Mr. Hide oversaw a cast of 200 ex- that Mr. Hide and his crew could see Mr. Hide, director; John Toon, DP; thought it was really interesting that tras costumed to look like grass, river whether they were shooting every- Stephen Dickstein and Susan Rued this was the first vehicle that had har- and cloud people and so on. When it thing from the right angles. Anderson, executive producers; Guy mony between the driver and nature, came to the look of the costumes, the Treadgold, art director; Rick Kofaed, production designer. Shot on location so that’s where the core idea came director aimed to create an organic Jigsaw puzzle in Auckland, New Zealand. from,” Saatchi executive creative di- feel. “Since the only physical senses When the shoot ended, Mr. Hide PRODUCTION SERVICES rector Mike McKay explained. that a commercial can appeal to are worked with Perceptual Engineering The Sweet Shop, Auckland. Saatchi’s creative team decided to sight and hearing, how we commu- to put the spot together. “This wasn’t Sharlene George, global executive visually articulate that core idea by nicate to the other senses using the a job I could hand off right after shoot- producer; Larisa Tiffin, line producer; creating a natural world literally made visual was really important. I wanted ing wrapped. I was involved with the Suzanne McAleer, casting director. up of human beings. textures that looked like they would compositing of every shot,” Mr. Hide EDITORIAL After viewing Mr. Hide’s reel of be pleasant to touch,” the director said. “To make it look crafty, we really Bikini Edit, New York. whimsical, charming work, McKay said, noting, “For the clouds, we used built the whole thing out of many jig- Avi Oron, editor; Gino Pagano, execu- saw pieces, so the shoot was only for tive producer; Gustavo Roman, assis- providing the raw materials that we tant editor. then had to put together in postpro- POST/VISUAL EFFECTS duction. It was only when we started Nathan Pickles, offline editor (free- post that we could see how all of the lance). Perceptual Engineering, pieces fit together in a whole.” Auckland, New Zealand. While the multi-layer compositing Jon Baxter, VFX director/lead Flame; was done at Perceptual Engineering, Puck Murphy, Mike Robinson, Leon the final tweaks and adjustments were Woods, Melissa Goddard, Ian Quigley, performed by 2D artist Patrick Poula- Amber Wilson, Flame artists; Kereti tian and VFX producer Diana Young Kanawa and Hannah Walker, sup- at Brickyard VFX, Santa Monica. Ad- port crew; Glenn Wilson and Rachel ditionally, Fin Design+Effects, Sydney, Guidera, 3D pre-vis. created a CG car used in the spot. Fin Design+Effects, Sydney. Avi Oron of New York’s Bikini Edit Brickyard VFX, cut “Harmony,” crafting a commercial Santa Monica, Calif. that lets viewers discover more each Patrick Poulatian, 2D artist; Diana time they watch the spot, which is in Young, VFX producer. Lizard Lounge, Wellington, heavy rotation. “We found it was great New Zealand. to let people discover that the land- Chris Mills, digital artist. scape was made up of people,” McKay SOUND DESIGN said, pointing out, “The first time you Human, New York. watch it, you might not quite notice AUDIO MIX that the landscape is made up of peo- Lime Studios, Santa Monica, ple until the middle of the spot.” Calif. While “Harmony” is something Rohan Young, mixer; Joel Waters, as- to see, the spot is also something to sistant mixer; Jessica Locke, producer. CLICK HERE TO VIEW SPOT hear thanks to an a cappella version of The elements come together--humanity, botany, topography and technology--in uplifting fashion for this feel-good Toyota Prius ride realized by director the Bellamy Brothers “Let Your Love Mr. Hide, a creative team from Saatchi LA, and FX artisans from Perceptual Engineering, Brickyard VFX, Lizard Lounge, and Fin Design+Effects. Flow” performed by Petra Haden. 12 SHOOT June 19, 2009 The Best Work You May Never See Home Is Where The Heart Is For The MFA By Robert Goldrich idea was simple--to show people whom our audience could relate to, and we also Consider this an inspiring departure from all the coverage of mortgage melt- wanted to use the MFA logo as a visual metaphor for the sheltering aspect of downs and the notion that the American dream, home ownership, has become what housing does for families of all sizes and make-ups.” the American ream. In the :30 titled ‘Family,’ the logo sheltered the real family of four from snow. Even with the subprime travesty, the fraudulent packaging of faulty loans into And in “Mother/Son,” the mother and son are protected by the logo from rain. investment portfolios, and other miscarriages of justice that have knocked the global economy for a loop, there is still no getting around the fact that home Real people is where the heart is, a place for family, friends and a good life. And embracing Originally the intent was to cast actors, recalled Maclay. But ultimately the that positive for a worthwhile client, New Mexico’s Mortgage Finance Authority decision was made to opt for real people casting. “We were worried that if you (MFA), was a creative team at 3 Advertising, Albuquerque, N.M., consisting of put a group of actors together, you wouldn’t get the natural bond you feel from creative director Sam Maclay, art director Tim McGrath and writer Thea Kinyon. a couple, a family, a mother and son. So we wound up casting a young couple, This 3 Advertising ensemble created a three-spot campaign directed by Pe- a family of four with two kids, and a mother and small son. Their relationships, ter Zavadil (who’s repped nationally by Fatball, Austin, Tex) in which we get a their bond, came through on camera and that made all the difference in the glimpse of real people and what a better home will mean to them. world for the spots.” In this week’s “Best Work” gallery entry, “Couple,” we see a man and a preg- 3 Advertising, which doesn’t have a production department, brought in Re- nant woman standing in a vacant field which shows off the natural beauty of becca Elise Production Services, Albuquerque, to help bring the project to frui- New Mexico. The couple lovingly embrace and interact, at one point the man tion. Rebecca Elise was executive producer on the campaign, with Carmen Silva even kisses the tummy of his expectant mate. serving as producer through the production services firm. A voiceover relates, “When you buy your first home, you’re not only taking Elise turned 3 Advertising onto Zavadil. “We needed a good people director the next logical step in the game of life. You’re taking the first step through who ran a casual set and made performers feel comfortable, which is key to get- the door that will welcome every person most important to you, even those you ting the best out of a real people cast,” said Maclay. “Peter clearly fit that bill. haven’t met.” He is probably best known for his music video work featuring Reba McEntire, An arched graphic of a home’s roof, the MFA logo, then appears over the among other artists.” couple as if sheltering them from the elements, in this case a subtle wind blow- ing through the scene. An end tag introduces us to MFA, Housing New Mexico, and a website ad- Client New Mexico Mortgage Finance Authority Agency dress (housingnm.org) for more info. 3 Advertising, Albuquerque, N.M. Sam Maclay, creative direc- The other two spots in the campaign, “Family” and “Mother/Son” similarly tor; Tim McGrath, art director; Thea Kinyon, writer. depict close loving familial relationships and the importance of having a home Production Peter Zavadil, director; David Waterston, DP. Re- as a place to help nurture the growth of those relationships. becca Elise Production Services, Albuquerque Rebecca Elise, ex- ecutive producer; Carmen Silva, producer. Editorial Thirty Sec- “Good guys” ond Street, Albuquerque. Clark Morris, editor. Graphics Thirty “These are the good guys,” said Maclay of the MFA. “This is a quasi-public Second Street Kelly Lujan, motion graphics. Audio Mountain agency created by New Mexico’s legislature in 1975. They have a hero program for Road, Albuquerque. Sid Fendley, Ed Shultz, mixers teachers, firemen and police officers, helping them get favorable loans through credit bureaus and banks. The MFA also partially finances construction of hous- credits The homegrown American dream is still alive. ing projects and then offers them at affordable rates to low to moderate income people. They make first- time home ownership possible for those who would otherwise find it difficult. They help people to move into safer neighborhoods so that their kids can play outside. They uncover good home ownership and rental opportunities for needy families. They even make existing homes more energy efficient.” Maclay related, “We wanted to do justice to the MFA and make sure they connected with regular ev- CLICK HERE TO VIEW SPOT eryday people who could use their services. So our

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June 19, 2009 SHOOT 13 The Best Work You May Never See McKinney Zeros In On Homeless Problem Using stop frame animation, the camera moves forward highlighting a slice of people might pass by a homeless person without having any kind of interaction. life on a city block. We see people walking about, others sitting and cavorting at a However, at several points around Durham, people got the chance to notice on sidewalk cafe, some engaged in window shopping, others just hanging out. the sidewalk a small sign that reads, “Ignoring homelessness won’t make it go Yet as the camera proceeds and gets closer to the people, it then moves be- away.” At the base of the sign, the homeless figurines were placed, prompting yond them to an alleyway and finally zeros in on something very tiny and at first some people to squat down to look carefully at the scene, then speak with others not recognizable. Finally getting an ever closer, more revealing look, we see tiny about what they are seeing. figurines of homeless people about the size of a small piece of litter. In this spot “That might be someone’s first real connection with homelessness,” said the figurines are of a mother, a baby and small child, accompanied by a small Jonathan Cude, chief creative officer of McKinney, who led a team of United sign that reads, “Need food please. Homeless.” Ministries of Durham volunteers at posts nearby to handout information about A message appears on screen, which reads, “Ignoring Homelessness Won’t volunteering or donating to the organization. Make It Go Away.” An end tag displays the logo for Urban Ministries of Durham (N.C.). A slogan appears—”Food, clothing and a future,” directing potential do- Collaboration nors to umdurham.org. The campaign is the result of a collaborative partnership among United Min- Entitled “Family,” this is one of two similarly styled and themed PSAs, the istries of Durham, McKinney, animator/director Johnnie Semerad of New York other being “Veteran” in which the camera takes us along a sidewalk, showing studio Semerad, Oscar-winning songwriter Marketa Irglova and Grammy-win- us folks going about their business, oblivious to another tiny figurine—that of a ning music/sound design company Endless Noise, Santa Monica, Calif. male war vet amputee propped on two crutches. He is accompanied by a sign, “After watching these spots or seeing these print ads, it will be hard for anyone “War vet, need help.” to ignore the issue of homelessness,” said Cude who teamed with art director Philip Marchington, copywriter Jenny Nicholson and producer Josh Eggleston Taking it to the streets on the campaign shot on location in Durham. “This work is intended to stop Print, web and out-of-home initiatives also reinforce the campaign’s message, you in your tracks and makes you take a long, hard look at what homelessness out of North Carolina ad agency McKinney. The out-of-home segment took means to the Durham community. It’s gritty and unapologetic in the sense that place during a recent weekend in Durham. On a busy Durham street, many it equates the amount of attention some pay to the homeless to the amount of attention they might pay a piece of trash in the street...It’s meant to provoke you into believing that you can personally do something to help.” Client Urban Ministries of Durham Agency McKinney, Dur- Cude added that Eggleston’s ability to form a “dream team” overnight was ham, N.C. Jonathan Cude, chief creative officer; Philip March- also an indicator that believing can create extraordinary results. In addition to ington, group creative director/art director; Jenny Nicholson, Semerad and Irglova’s contributions, he cited music production company End- copywriter; Josh Eggleston, producer.Production Semerad, less Noise and Jeff Elmassian, who recorded Irglova’s single, “The Hill” from the New York Johnnie Semerad, director; Dan Marachino, DP. Vi- hit movie, “Once.” “Any major marketer would be thrilled to have this brilliant sual Effects Semerad, New York Music Endless Noise, Santa team work on behalf of their brand.” Monica Jeff Elmassian, composer; Mary Catherine Finney, pro- Patrice Nelson, who recently joined the Urban Ministries of Durham as its ducer. Warner/Chappell Music Publishing, New York Dave Petti- executive director, said “this campaign comes at a critical time, as the summer grew, Jessica Laun, licensors. Original song by Marketa Irgolova months approach and donations typically decline. After several months of rising for the motion picture Once. demand for services, Urban Ministries of Durham has already been tapping into A big message in the form of tiny figurines. credits reserves and needs to nearly double its revenues over last summer.” The community-based organization has provided emergency services such as food, clothing, shelter and counseling to people in need in Durham since 1983. It serves between 450 and 560 meals per day. Its shelter houses 80 beds for men, 26 beds for wom- en and nine rooms with private baths for families. Urban Ministries of Durham provides additional services such as its Hope Recovery Program, a six- month live-in drug and alcohol rehabilitation pro- gram, and Clean Sweep, a high-quality, affordable CLICK HERE TO VIEW SPOT cleaning service for businesses in Durham.

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Into The 21st Century Mainstay support services shop 20th Century Props in North Hollywood, Calif., long-form. The state has significant incentives not only for features and TV, but is slated to close its doors next month, a victim of the significant decrease in film also for commercials. Preserving production in the Golden State. The value of the incentives in stimulating the New York economy was enough The end of 20th Century, which opened in 1984, sends a message that those to preserve funding for the program even in the face of a strapped state budget. of us just barely into the 21st Century must take heed of—great success can be un- Just a couple of months ago, the New York legislature passed a new state budget Infrastructure dermined by taking business for granted, a sin that California is arguably guilty in which Governor David Paterson allocated $350 million to fund a one-year of. Once the undisputed bastion of filmmaking, Los Angeles has seen significant extension for N.Y. State’s Film Production Tax Credit Program covering feature declines in recent years in feature and commercial production, as well as many films and television. In The Face Of A TV program genres. Clearly a major factor behind this has been a year-plus of Given an estimated budget gap of some $16.2 billion facing New York, many in industry labor unrest starting with the the film community were concerned writers’ strike and the lengthy stale- that the new state budget would not Global Recession mate, recently resolved, over a film/ contain funding to continue the suc- TV agreement for actors. cessful film/TV incentives program. MBut another prime reason for the But the powers that be in Albany A SHOOT Staff Report drop-off in filming biz has been Cali- came through with enough of an al- fornia not staying in step with other location to keep intact what amounts states and countries that have put to a 30 to 35 percent refundable tax economic incentive programs in place credit on qualified expenses related to to lure lensing, California has been filming in New York State. The sepa- without any such program for years, rate state program covering incentives a drought that is seemingly on the for filming of commercials and ad con- verge of ending with a tax credit initia- tent remains firmly intact. tive that recently gained legislative ap- New York City is also stepping up proval (SHOOT, 3/20) and is slated to to the plate on the theatrical feature/ take effect next month. If indeed this TV program incentives front. Legis- incentive program takes hold, it will lation was introduced in Albany late offer savings to qualifying feature film last month for funding to extend the and TV projects (but not to commer- city’s tax credit—which is in addition cials). Yet at press time California was to the state credit—that began in 2005. in the throes of a budget deficit threat- Currently the city is proposing an ad- ening to shut down many programs, ditional four percent tax credit (down if not parts of state government. So, from its original five percent), target- while likely, it remains to be seen if the ing it more to gain new feature/TV tax credit will get fully implemented business. Film and TV productions as planned. would quality for the credit if they do Even if it does, the reform will come 75 percent of their work in NYC and too late to save 20th Century Props, shoot for at least one day at a top pro- not to mention other businesses that were undone by a precipitous drop in film- duction facility there. ing in California. The moves by New York State and City to maintain incentives during hard 20th Century lost one of its biggest customers when the sitcom Ugly Betty economic, budget-challenged times reflect a view that was prevalent at the As- moved from Los Angeles to New York. Ugly Betty saw beauty in N.Y. State’s sociation of Film Commissioners International’s Locations Trade Show in Santa Film Production Tax Credit program which translates into major savings for the Monica earlier this year—namely that the film, TV and commercialmaking com- show’s producers. munities have come to view film commissioners as far more than troubleshoot- Indeed incentives have revitalized New York production spanning short and Continued on page 16 June 19, 2009 SHOOT 15 NEW YORK PRODUCTION & POST

New York Businesses Off er Feedback On The State Of Business

Continued from page 15 All these events had impact, but this atively and can see through from start guess that about half of our jobs are many smaller agencies throughout ers and sources of helpful information economy seems to have hit our busi- to finish. This year VICE did a series of shot out offshore. the U.S., and continue that trend. and coordination. Indeed the industry ness harder than past bad times. In webisodes shot all over the world for a Yes, we’ve seen more of the non- We always do our best to help out is starting to regard film commission- past bad economies, it seems advertis- soon to be launched Vodka. Currently traditional projects. So-called virals, our agency friends with creative solu- ers and film commissions as financial ers saw merit in continuing or even in- we’re working on a short film project short web films, etc...the reality is tions to creative and fiscal challenges. partners given the varied incentives creasing their efforts. Currently, many with McCann. those dollars are even tighter and the PSAs go a long way on that route. offered in assorted states and coun- advertisers have rolled back their competition for those scripts is just as We recently produced two 30-second tries. This has been spawned by a plans a bit, but there is still work out Jim Golden, fierce as their higher-yielding tradi- spots in New York and L.A. for Leo troubled economy in which tax cred- there. Certain product categories suf- executive producer/co-president, tional commercial brethren. Burnett Chicago for the World Wildlife its and other financial incentives have fer more than others. One area Manic Rascal Films, Ltd. It’s a crazy business. But, it’s still Fund for their “Huge Turn Off” initia- become key to stretching budgets and is fortunate to collaborate in is high- It’s no secret that the advertising more fun than a real job. tive. We still can’t believe how little making certain productions more fea- end fashion/beauty work and that, business has been hit hard by the we produced these for, but thanks to sible than they would be otherwise. as opposed to let’s say automotive, changes in the national and global Tony Harding, the generous support of our director By being competitive in this incen- has been an active area. That work founder/executive producer, Jim Tozzi, and contributions from our tive-laden playing field, New York is has run the gamut from national and THEM production staff, vendors and DP, For- building business and infrastructure. international spots to long form work I have a deep concern for the health tunato Procopio, we made some great Reflecting the latter is a growing visual for varying media outlets. The design of the TV commercial industry in New spots. Vince Geraghty at Leo Burnett effects community, with a movement and visual effects industry seems to York. I do hear from vendors and com- has been a huge fan of ours, and we afoot to form a Visual Effects Society continue to spearhead more and more patriots every day that there is much always give him 200 percent. As such, (VES) Northeast section spanning ar- commercial production efforts and less work out there, and budgets have an important relationship continues tisans and professionals in New York, has certainly become an integral part come down significantly. Maybe there to build. New Jersey, Pennsylvania, Massachu- in all phases. We are involved in dia- will be a “weeding out,” maybe that’s Our plan is remain creative and setts and Connecticut (SHOOT, 2/20). logue at earlier stages with production a good thing, but we are talking about nimble, and seek to build opportuni- SHOOT canvassed a cross-section of companies and clients, and that has real families, real people here. Certain ties for ourselves while continuing to execs and artisans from the commer- increased the need for leaders in the categories of crew and vendors have service our clients. cial production and post communi- visual effects and design field. This been able to pick up the slack with op- ties—all with New York-headquartered collaboration has brought increased economy. It’s also no secret that the portunities in episodic TV. Dominic Pandolfino, companies—to get feedback to the fol- creative thinking and problem solving changes in technology and the time- We are seeing the principles of sup- CEO, lowing survey query: early into the process, which also pres- honored methods used by advertis- ply and demand at work more so than Nice Shoes ents budget-smart production. ers to reach their audiences are also ever before for 2009. We have found There is no doubt that the economy What is the state of the busi- in flux, resulting in fewer jobs going the number of boards significantly re- has made a significant change in our ness and infrastructure in New Maria Gallagher, to bid. As an economic bellwether duced in 2009. It continues to come business model. York? How has the economy executive producer, industry, the first place a national ad- impacted advertising industry- Maximum Entertainment vertiser can go to put millions into the related work? And how is your Films, LLC bottom line is to cut back on the vol- company adapting to the situa- It has been a tumultuous year for ume of commercials they produce and tion. What has been the nature of everyone in the business. We’ve all scale back a media buy. the ad industry-related business had to work a lot harder for the work At Rascal Films, our primary busi- you have been involved with this that’s out there. The competition is ness is making television commercials year? Traditional commercials? high for both agencies and produc- for national and international clients. National TV campaigns? Re- In recent months, we’ve produced gional spots? Longer forms of tourism campaigns for Caribbean Is- advertiser-sponsored content? Is lands, several packaged-goods adverts the mix of work you’ve attracted for global manufacturers, luxury car in 2009 different in nature from commercials, spots for international ‘08? Also feel free to cite some hotel chains, energy companies and in waves, the reasons unclear. What’s happening in the industry recent significant projects. others. The one thing these projects We have been finding ourselves reminds me of Woody Allen’s mono- had in common was a strong desire to bidding against very good companies, logue in Annie Hall where he tells Here is a sampling of the responses save as much money on the project at in many cases for budget challenged the joke about two elderly women at we received: hand without sacrificing one smidgen boards offering poor creative. We have a Catskill mountain resort, and one of of quality. That’s the drummer we all been relying more so than ever before them says, “Boy, the food at this place Bob Cagliero, march to: more for less! on repeat business, with advertising is really terrible.” managing director, At Rascal Films, partner Pete Chris- agencies and clients who know they The other one says, “Yeah, I know; Manic tion. At agencies there have been a ty and I often say to each other—and can trust us to give them the most and such small portions.” Well that’s New York’s ad production market lot of layoffs so the people that are left any one else who cares to hear us—that bang for the buck. the ad business today, not much good always seems to find a way to remain have to take up the slack. For produc- we haven’t done budgets in years. We We continue to see a lot of work work and smaller budgets. above water in tough times—SAG tion, companies are being asked to do do prices. The client has 1x-dollars to for the Internet, and have been get- Nice Shoes has been able to weath- strikes, 9/11 and now a recession. a lot more for the money. That said, produce a campaign, we’re told when ting more involved in digital projects er this economic storm by blending the up side is that there is an openness a project rears its head. We can heft where we work in design and project and mixing its sister companies to to different ways of getting a brand out the scripts, put our finger in the air management for the creation of mi- bundle jobs. there—exploring new media, experi- imagine what our budget might have crosites and other web work, which This not only provides the client ential approaches and integrated plat- been if this were another decade and we see as a growth area. We have also with a much more creative product forms. We’ve definitely seen an up tick say we would need 1.25x-dollars to do continued to pitch TV projects, and but it also allows us to be able to bet- in work that is non-traditional. This is the job. But 1x is the “price” and no- pitching clients direct with “one-off” ter control the final cost. exciting to us, being the type of work body is really looking for a “budget” concepts, identifying areas that they Recently, Nice Shoes took on a we imagined our company to be doing from us. They want their price and may be missing in terms of a demo- large project for a drug company when we started. Jim’s (Maximum there are scores of our esteemed col- graphic, or potential growth area. We that involved Nola Pictures as well as producer Czarnecki) background is leagues and competitors who will find look at every TV idea through the lens Freestyle Collective and Nice Shoes. documentary, TV, and independent a way, if we can’t. Our solution? Often of how we might turn it into a branded It was one of the largest projects that film, and mine is agency so we love it’s leave the country to chase curren- programming opportunity. we have ever been involved with and projects that we can work on collabor- cies and lower labor rates. I would We have traditionally worked for it was received with acclaim. 16 SHOOT June 19, 2009 NEW YORK PRODUCTION & POST

providing the opportunity to regroup, have cross-platforming to play with Johnnie Semerad, rethink and expand our palette. Ev- too. From BlueRock’s webisodes for creative director, eryone wants more for their money, FedEx to Spontaneous designing the SEMERAD, New York especially advertisers. In addition to largest video digital billboard in Times For whatever reason, it seems to traditional television spots, agency Square for Colgate to a book for U2 in be that specialization is out. In the creatives are also handling web, inter- collaboration with Catherine Owens, past, people would hire the best active and print. We’ve been preparing our creative teams are bringing their director, the best editor, the best for advertising to go super nova for a artistic visions to all new mediums. effects guy, the best music, and so while and have assembled the top cre- Our editors, artists and designers have on. Different guys did the print, ative teams under one roof to handle greater creative challenges which are TV, web, sales video, etc. Now we’re advertising’s expanding stage. This leading to greater creative rewards… asked to cover a lot more ground. year has brought BlueRock, Spon- every day they get to play explorer On a recent Pristiq job that we did, Ethel Rubinstein, taneous, Blast and Ballistic a richer and shape the industry. Everyone at the TV commercial drove the cre- makes a lot of sense. CEO, more robust blend with just a hint of BlueRock, Spontaneous, Blast and ative, but we worked the TV, print Not only does the creative have a BlueRock Editorial warm nuttiness. We’re still doing great Ballistic loves what they do and this is and web content. continuity but money is saved by not 2009 has been a year of new terrain commercials at BlueRock but now we an exciting time to do it. From the client point of view this repeating work. Mayor Bloomberg Presents Fourth Annual “Made In NY” Awards Commercial Production/Branded Entertainment House Hungry Man Is Among Handful Of 2009 Recipients

NEW YORK—International com- Winner for Best Musical. Sesame Street that,” said Mayor Bloomberg. “They of Film, Theatre and Broadcasting 7th annual New Directors Showcase mercial/branded content production stands out as the most thoroughly have become stars here in the City unveiled a public service announce- (SHOOT, 5/22). house Hungry Man, headquartered in developed and researched preschool in various facets of the entertainment ment initiative entitled “Reel Jobs. In recent weeks, the “Made in NY: New York, was among five recipients television program and media offer- industry, and we’re proud to call them Reel Proud. Real New Yorkers.” The Walking Tours of Film and Televi- of the fourth annual “Made in NY” ing with a comprehensive curriculum all New Yorkers. Our film and televi- electronic and print campaign fea- sion Locations in New York City” was Awards. Mayor Michael R. Bloomberg that focuses on the development of the sion industry is critical to our city’s tured local New Yorkers who work launched. Narrated by actors Julianna presented the honors, which are in whole child. Produced in New York economic success, and it’s the reason in the production industry in an ef- Margulies and Matthew Modine, these recognition of individuals or orga- since its inception nearly 40 years ago, we created the ‘Made in NY’ tax incen- fort to thank local residents for host- free and downloadable podcast walk- nizations that have made significant Sesame Street has introduced genera- tive. We look forward to working with ing film and television production ing tours, which are available on www. contributions to New York City’s en- tions of children to information and the industry to extend the credit in a in their neighborhoods and explain nyc.gov and iTunes, offer listeners tertainment industry. The ceremony experiences ranging from nutrition fiscally responsible way.” the importance of the industry. The an informative and fun way to learn was held on Monday (6/15) at Gracie and space exploration to lessons about “The ‘Made in NY’ Awards truly are spots were helmed by Otis of bicoastal about the rich and fascinating history Mansion in NYC. cooperation, friendship, and diversity the perfect way to celebrate the City’s The Artists Company, who gained of film and television location shoot- In addition to Hungry Man, the with the help of the beloved Muppets vibrant entertainment industry,” said inclusion last month’s into SHOOT’s ing in New York City. honorees were: actress Edie Falco; including Elmo, Big Bird and Cookie Commissioner Oliver. “Today we hon- Broadway composer and lyricist Lin- Monster. Honored with more Emmy or those who diligently work behind Manuel Miranda; Gerry Byrne, senior Awards than any other television show the scenes, in front of the camera, VP for the Entertainment Group at in history, Sesame Street continues to and behind desks to contribute to the New York Directory Nielson Business Media; Alliance for set the gold standard for excellence films, TV shows, theatrical produc- To access the rich diversity of locations in New York State as well as info on fi lming incentive programs, Inclusion in the Arts, a not-for-profit in educational media, giving children tions, commercials, and publications here’s a directory of fi lm commissions listing their website addresses. advocacy organization; and Sesame the best head start in school and life. that showcase the best New York City On the incentives front The New York State Film Production Credit Program off ers producers 30 per- cent off qualifying expenses when fi lming anywhere in New York State. Producers can save an additional Street, which celebrates its 40th an- Byrne in his capacity at Nielsen has to offer.” fi ve percent when lensing in the fi ve boroughs of New York City. niversary this fall. The proceedings Business Media is responsible for the At the ceremony, Mayor Bloomberg New York State also off ers a Commercial incentive, which can save producers anywhere from fi ve to began with Mayor Bloomberg being global entertainment, music and liter- also acknowledged the CBS daytime 25 percent on qualifi ed expenditures. Additionally, throughout the State, New York provides a compre- introduced by Sesame Street’s Elmo ary publishing enterprises across digi- drama Guiding Light, which will come hensive sales tax exemption for machinery, equipment, and services used in production and postproduc- and joined by Deputy Mayor for Eco- tal, print and face-to-face platforms. . to an end this fall after fifty-seven years tion. There are still more savings in New York City where they provide free permits, parking for essential nomic Development Robert C. Lieber And the Alliance for Inclusion on air. The show, which the Guinness production vehicles and police offi cers while on location. and Mayor’s Office of Film, Theatre in the Arts, established in 1986, is a Book of World Records named the New York State and New York City Nassau County Film Offi ce and Broadcasting Commissioner national not-for-profit advocacy orga- world’s longest-running TV drama, Film Offi ces http://www.nassaucountyny.gov/agencies/ Katherine Oliver. nization based in New York City that has been based in New York City since fi lmcom/ New York State Governor’s Offi ce for Hungry Man’s credentials include seeks solutions to the problems of rac- 1949 when it was a radio serial. The Motion Picture & TV Development Nassau County Offi ce of Cinema/ being home to 20 notable directors ism and exclusion in theatre, film, and Mayor also recognized recent New Executive Director: Pat Swinney Kaufman TV Promotion worldwide and producing in the past television. York City College of Technology grad- www.nylovesfi lm.com Director: Debra Markowitz year alone high profile brand launches It serves as an expert advocate and uate Michael McLean, the first recipi- http://www.longislandfi lm.com for Microsoft as well as the Sprint cam- educational resource for the full cre- ent of the “Made in NY” Scholarship, NYC Mayor’s Offi ce of Film, Theatre and Broadcasting paign featuring many iconic New York ative participation of American arts which is awarded to students who are Rochester/Finger Lakes Film & Film Commissioner: Katherine Oliver Video Offi ce, Inc City images and memorable spots for and entertainment professionals who pursuing a baccalaureate degree in the www.nyc.gov/fi lm American Express starring Martin are African American, Asian Ameri- Entertainment Technology field at the Executive Director: June Foster www.fi lmrochester.org Scorsese and Tina Fey. Hungry Man is can, Native American, Latino, South New York City College of Technology. New York Regional Film Offi ces & Liaisons run by three partners: directors Hank Asian, Arab American, those who are Since 2002, the Mayor’s Office of Buff alo Niagara Film Commission Suff olk County Film Commission Perlman and Bryan Buckley, and ex- Deaf or hard of hearing, blind or have Film, Theatre and Broadcasting has Film Commissioner: Tim Clark Film & Cultural Aff airs Director: Michelle ecutive producer Kevin Byrne. low vision, or who have intellectual, been at the forefront of the New York http://www.fi lmbuff aloniagara.org Isabelle-Start Actress Falco is known for her developmental, or physical disabili- City’s entertainment industry, support- Film Commissioner: Patrick A. Heaney Emmy, Golden Globe and SAG Award- ties. The Alliance promotes and fa- ing the film, television, music video, Capital-Saratoga Film Commission http://www.suffolkcountyfilmcommission. com/ winning role as Carmela Soprano in cilitates inclusive hiring practices and and commercial projects that shoot http://www.capital-saratogafi lm.com the lauded HBO series The Sopra- standards, diversity in leadership, and throughout the five boroughs. Last Westchester County Film Offi ce nos Columbia County Film Offi ce . She can currently be seen in the balanced portrayals of persons of color year, 208 films were shot on location http://www.fi lmcolumbiacountyny.com Director: Iris G. Stevens Showtime series Nurse Jackie, which and persons with disabilities. here, and during the 2008-2009 sea- http://www.westchestergov.com/business_ is filmed entirely in New York City. “New York City is home of some of son, twelve new broadcast and cable Hudson Valley Film Commission fi lmoffi ce.htm Miranda is the composer-lyricist- the most talented people on the plan- series came to New York City. www.HudsonValleyFilmCommission.org / star of In The Heights, the 2008 Tony et, and tonight’s honorees prove just This winter, the Mayor’s Office June 19, 2009 SHOOT 17 1 2 photo SHOOT’s Seventh Annual New Directors 3 4 Showcase, May 28, 2009 op DGA Theatre, NYC

1 Bonnie Goldfarb, harvest 2 New Director panelists: Alex Anderson, ONE at Optimus, Kevin Kerwin, Authentic Films, Áine Carey, unsigned, Jonathan Newman, Serendipity Films, and Ross Katz, TWC with Goldfarb & Tilford 3 Todd Tilford, Grey New York 4 Bob Nelson, former Head of Production, DDB NY, Melanie Jones & Michael Zakula, Kodak, Gerald Giannone, SHOOT 5 Event guest & John 5 6 Noble, EP/Managing Director, ONE at Optimus 6 Laura Belsey, DGA director, Shadow Pictures, Lapo Melsi, New Director (unsigned), event guest 7 Lisa Masseur, EP, Radar Studios, Sam Macon, New Director, Radar, Jesse Jacobs, New Director (unsigned), Goldrich & Griefer, SHOOT, Áine Carey. 8 Ben Churchill & Wendy Lambert, Palace Digital Studios, 9 Joe Famiglietti, Figments, Roberta Griefer, SHOOT

Remaining Photos: Directors, producers, creatives & industry guests mingle at the after-party. Photos by Thos Robinson 7 8 9

18 SHOOT June 19, 2009 News

Ad Agency/Production Co. Insights At New Directors Showcase

Continued from page 1 Times” for artist Ishmael. team’s short film titled Dix); Sophie Taxi 2, Toronto). Intros, reception in it to get a $25,000 day rate, it’s not As a panelist, Carey reflected on les- Caretta of Identity, New York (Career- In total the ‘09 Showcase totaled Welcoming the audience to the happening. You have to be in it for the sons learned from her early crew days Builder.com spec spot); Gregg Casson 38 up-and-coming directors, filling Showcase Event with introductory re- right reasons in order to succeed.” getting the chance to observe direc- (Climate Change’s “Moving Day” spec 32 slots (27 individual directors, four marks were representatives from spon- tor James Gartner (of Santa Monica, PSA); Ishay Karni Eckhaus from Is- duos and one three-person team). sor the Directors Guild of America: Spec fare Calif.-headquartered GARTNER) and rael (Volvo S60’s “Cafe” for McCann Jean Frost, who’s assistant executive Goldfarb and Tilford both ex- his caring handling of actors. Carey is Erickson, Tel Aviv); the duo Fx & Mat Career progression director of the DGA’s Eastern office; pressed support for and receptiveness trained as both a director and actor of Nexus Productions, London (Royal In his remarks prior to moderating and accomplished feature, documen- to spec work as a means for a director (mentored by noted acting teacher Bank of Canada’s “Mr. Long Legs” the panel discussion, SHOOT editor tary and spot filmmaker Laura Belsey. to demonstrate his or her talent. William Esper, studying directing at for BBDO Toronto); Kim Gehrig of Robert Goldrich noted that career (Incidentally, one of Belsey’s NYU “Spec is very viable. I love good NYU and then acting and directing in Academy Films, London (Amnesty progression has already taken hold for students, Melzi, was included in this spec work. I’d rather see five good spec the Masters program at New Jersey’s International’s You Are Powerful short many of the Showcase directors. He year’s Showcase.) pieces than five poor real-world jobs,” Rutgers University). film for Mother, London) ; Robin Hays related that 11 directors were unsigned Belsey then introduced SHOOT related Tilford. Meanwhile Kerwin has established of Radke Film Group, Toronto (adidas at the time they were selected for the publisher and editorial director Ro- Tilford and Goldfarb noted that himself in the Cleveland market, ex- “Sneakerhead” spec spot); the Hoff- New Directors Showcase. berta Griefer who provided an over- they see value in different types of hibiting a mix of comedy and serious man Brothers (Matt and Mark) of har- Since then, several have garnered view of and historical perspective for spec fare ranging from projects con- work, among the latter being an Akron vest (Bud Light’s “Man Treats” spec affiliations, including Platt who came the Showcase, now in its seventh year ceived and directed by a young talent, Children’s Hospital campaign, includ- commercial); Paul Iannacchino, Jr., of aboard Hello! & Co; Maat and Loor- and its fifth at the DGA venue. to content that has been conceived by ing the spot profiling young cancer pa- Creative Bubble, New York (Head Ap- bach who signed with Lost Highway; Griefer thanked the event’s lead agency artisans and then directed by tient Nick (which was screened at the parel’s “Speed” viral produced by Czar, and Jasenovec (fresh off his feature sponsors—the Directors Guild of an aspiring helmer. Showcase event), out of advertising Hamburg, for agency A&S, Berlin); mockumentary Paper Heart which America, harvest, and One at Opti- The latter reflects a director’s abil- agency Marcus Thomas, Cleveland. Jesse Jacobs (Skittles’ “Mindbender” won a Screenwriting Award at Sun- mus—as well as silver sponsors Kodak ity to work with others, particularly (This piece of atypical advertising for spec commercial); Nick Jasenovec of dance). Jasenovec recently linked and Deluxe. ad agency creatives, and to be true to a hospital/healthcare client--a com- bicoastal Nonfiction Unlimited (the with Nonfiction for commercials and Griefer also acknowledged Palace their idea while the former shows and bination of human storytelling, docu- feature film and trailer Paper Heart); branded content. Digital Studios, South Norwalk, CT, provides a handle as to where a direc- mentary style and even a smattering Timothy Kendall of Rhythm + Hues, Furthermore, Zeytinoglu submit- which put together the New Direc- tor is coming from creatively. of humor-- was first featured last year Los Angeles (Minnesota Tourism’s ted to the Showcase competition a tors Showcase reel that was screened Directors who can showcase an in SHOOT’s “The Best Work You May “Office Boarding, produced by Drive Mini Cooper spec ad “Find Yourself” for the audience. The reel contained original voice will always be in de- Never See” gallery..) Thru, Minneapolis, for agency Clarity based on a concept from creatives at work from each Showcase director. mand, said Tilford. Anderson initially worked on the Coverdale Fury, Minneapolis); Kenny Taxi Canada. Goldrich noted that the Following the screening was the Yet at the same time, different fac- agency side and then as a rep. He re- of bicoastal/international O Positive spot has since been bought by Mini panel discussion, after which those tors come into play for an agency to called directing some quirky shorts (Boomerang GPS’ “Santa); Brandon Canada and became accessible online gathered for the event went down- take a leap of faith and award a job to which caught the eye of an ad agency Kraines of Stray Dog, Franklin, Tenn. via a click through banner. stairs for a reception honoring the a new director. creative director who was looking for (“Hands-Free” spec viral produced And the directing team of Bif, said Showcase directors. One such dynamic is production the same vibe in a real-world project by Stereo Lab Films/United Front Goldrich, saw their film Dix, a darkly Both this 6/19 print issue and its house affiliation, said Tilford and in the works. Films, Los Angeles); André Maat themed mix of live action and com- electronic counterpart version contain Goldfarb. Tilford commented that if a This helped put Anderson in the and Henk Loorbach of Lost Highway puter-generated effects, go on to earn a photo gallery with coverage of the new talent is with a production com- directorial fray and he recently signed Films, New York (Cult TV spec IDs); distinction as a Jury Award nominee at evening’s proceedings. pany that he has had a working rap- with ONE at Optimus. His clever Opti- Gonzalo “Gonzo” Llorente of Carbo SIGGRAPH’s ‘09 Computer Anima- To see the New Directors Showcase port with and confidence in, this track mus promo “Done” (also in our “Best Films, Santa Monica (Movistar’s “Not tion Festival to be held in New Orleans reel, log onto www.shootonline.com/ record of performance brings a com- Work You May Never See” gallery) was For Me” for agency Y2R, Buenos Ai- in August. go/newdirectorswebreel. fort level to his taking a chance with a screened for the capacity gathering at res); Sam Macon of Radar Studios, new director. the DGA Theater. Chicago (AirTran Airways’ “Gamer” And Katz is an accomplished fea- for Cramer-Krasselt, Chicago); Lapo Director panelists ture producer, having received Oscar Melzi (African-American Planning Joining Tilford and Goldfarb on nominations for Lost in Translation Commission’s “Paper Child”); Jason stage were five of the Showcase di- and In The Bedroom. He made his Moore who’s repped in the Midwest rectors who shared their individual directing debut with the acclaimed by Back Alley Films, Kansas City, MO backstories and strategies for getting HBO film Taking Chance (SHOOT, (U.S. Department of Transportation’s on the industry map: Alex Anderson 3/20) which debuted at the 2009 Sun- “Ryman” alternative media spec); of ONE at Optimus, Chicago; Áine dance Film Festival in January, and Otis of bicoastal The Artists Company Carey; Ross Katz of Thomas Winter then on HBO in February. (Brady Bill PSA “Bullets”); Aaron Platt Cooke (TWC), Santa Monica; Kevin Katz recently signed with TWC for of Hello! & Co, Los Angeles (The Glit- Kerwin of Authentic Films, Cleveland; commercials, noting that he’s eager to terati’s “Keep Me Up All Night” music CLICK HERE TO VIEW SPOT and Jonathan Newman of Serendipity direct spots given the varying creative video); The Purchase Brothers (Ian Films, London. challenges they pose. and David) who are repped stateside Taking Chance The panel represented a wide range He recollected his first on-the-job by bicoastal Anonymous Content and of entrees into the directorial chair. training, as a grip on Quentin Taran- in Canada by Sons and Daughters, To- Newman, who flew in from London tino’s Reservoir Dogs. Katz said that ronto (Escape From City 17, Half-Life for the Showcase Event, talked of the working on the Tarantino film and video game spec short); Doug Purver key role that digital online filmmak- seeing his passion for filmmaking pro- (Omar and His Sky Hook short); Shira- ing community site Filmaka played in vided an invaluable educational and Lee Shalit (Open Air short, produced helping to establish him in the mar- career experience. by Arcady Bay, New York); Mitch Strat- ket. Screened for the Showcase Event ten of bicoastal/international Hungry audience was an excerpt from New- Lineup Man (Toshiba’s “Time Sculpture” out man’s Ford Mustang short “Father’s In addition to the directors in the of Grey, London); Shawn Zeytinoglu Day,” which topped a global Filmaka panel discussion, the lineup of 2009 (Mini Cooper’s “Find Yourself” spec competition held in conjunction with SHOOT Showcase talent consisted commercial from Taxi Canada); and JWT Team Detroit. of: the helming trio Bif (Jules Janaud, Mark Zibert of Canadian production CLICK HERE TO VIEW SPOT A capacity Showcase turnout saw Fabrice le Nezet, Francois Roisin) of shop Sons and Daughters (Parkinson Carey’s music video “Better In These The Mill, London (screened was the Society Canada’s “Struggle” out of Mini Cooper’s “Find Yourself” 19 SHOOT June 19, 2009 News

AICP Show Reflects Evolving Nature Of Creative, Media, Strategy

Continued from page 1 son as well as via the documentary. “to the next level—a Next Award Show (AICP). “Sometimes it’s hard to figure Of the three Integrated Campaign 3.0...It isn’t enough anymore to just out when you’re watching the Show honorees, the Audience Award was put the work on the screen. reel what medium the stuff aired in or bestowed upon “Oasis Dig Out Your “You need,” continued Miller, “to gained exposure in originally.” Soul: In The Streets,” an initiative talk about it, explain it, put it into He cited as an example the Envi- from BBH New York. context in terms of case studies [from ronmental Defense Fund/Ad Council From the three honorees in the Vi- key creative/strategic contributors to spot “Polar Bears,” directed by Tim ral/Web Film category, the Audience Integrated Campaign honorees], and Godsall of Biscuit Filmworks, Los Award went to the aforementioned insights from judges not just into each Angeles, for Ogilvy New York, which “Polar Bears” from Ogilvy. piece of work but also into how one was honored in the Show’s PSA, Next The Audience Award winner project compares to others in the cat- Viral/Web Film and Agency Art Di- in the Experiential Next category egories. This is in line what the AICP rection (Ogilvy creative director/art was Nike+’s “Nike” Human Race Show offers beyond other competi- director Dustin Duke) categories. Jamie Barrett Matt Miller 10K” from R/GA and partner agen- tions—a learning experience.” “I’m not even sure the spot aired on Next 3.0 active space in general. cies Wieden+Kennedy, AKQA and A category-by-category breakdown television,” said Miller. “But it’s clearly Other changes were brought into Melcher Media. of 2009 AICP Show honorees (also a success, primarily on the Internet. play by AICP Show organizers, espe- Audience Choice Awards And taking the Audience Award in available on www.shootonline.com or The production value and overall look cially in the Next Awards, which went Apropos of an increasingly interac- the Website/Microsite category was aicp.com) begins on the bottom half of it are no different than one would from one category to four this year: In- tive advertising world, morning ses- General Electric’s “GE Ecomagina- of this page. see in any other well done broadcast tegrated Campaign; Viral/Web Film; sion attendees had their voice heard. tion,” with production by North King- The rundown spans the Technique public service announcement. The Experiential; and Website/Microsite. They got the chance to vote on the dom in Sweden for agency Goodby, categories (Visual Style; Performance/ craft and artistry are changing. You There was also an expanded edu- inaugural Audience Choice Awards, Silverstein & Partners. Dialogue or Monologue; Humor; Cin- can’t make an assumption anymore cational dimension in the AICP Show picking their top honoree in each Miller noted that the morning pre- ematography; Animation; Editorial; on the medium or media based on just morning (6/9) session on the Next Next category after seeing the work sentation, including the Audience Graphic Design; Visual Effects; Origi- looking at the work.” Awards, emceed by Jamie Barrett, and hearing the input of judges in per- Choice Awards, took the Next Awards nal Music; Sound Design; Musical Ar- Miller sees change and a status quo chair of the Next judging panel and rangement; Production; Production of sorts simultaneously when it comes partner/creative director at Goodby, Design); Concept categories (Agency to the economy’s impact. Silverstein & Partners, San Francisco. Art Direction; Copywriting); Specialty “Clearly work with more chal- Panel discussions featured different categories (Public Service Announce- lenged budgets is being done, prob- judges in each of the four Next cat- ment; Low Budget; Spec Spot; Student ably more so than before,” assessed egories, Panelists drilled down deeper Commercial); Overall Excellence cate- Miller.. “But the AICP Show also re- into the honored entries, providing gories (Advertising Excellence/Single; flects that large scale work isn’t totally rationale for and considerations that Advertising Excellence/Campaign; going away. There was big interesting went into their selections. Advertising Excellence/International; work honored in the AICP Show, es- Furthermore a documentary (di- and the four Next categories.. pecially from the likes of Nike which rected by Sorrel Ahlfeld who’s with A detailed tally of the big winners contained as high a production value Anonymous Content) was screened at the ‘09 AICP Show among produc- as we’ve ever had. There’s still a place containing the observations and as- tion companies, advertising agencies CLICK HERE TO VIEW SPOT for large-scale, creatively ambitious sessments of judges relative to each and directors appeared in the 6/12 work in broadcast.” Next category, the work and the inter- Environmental Defense Fund/Ad Council’s “Polar Bears” e.dition of SHOOT. 2009 AICP Show Honorees

Production Dir.: Paul Hunter Agency Art Dir.: Craig Allen Nike “Next Level” 2:00 Exec. Producer: Kerstin Emhoff Agency Copywriter: Eric Kallman Nike “Fate” :60 Unilever Rexona “Zoom” :60 Prod’n Company: Anonymous Content Dir. of Photography: Alex Barber Agency Producer: Sarah Shapiro Prod’n Company: Anonymous Content Prod’n Company: Prettybird Dir.: Guy Ritchie Advertising Agency: BBH London Editor: Gavin Cutler, Mackenzie Cutler Dir.: David Fincher Dir.: Paul Hunter Exec. Producer: Dave Morrison Agency Creative Dir.: Nick Kidney Exec. Producer: Jeff Baron Exec. Producer: Kerstin Emhoff Dir. of Photography: David Higgs Agency Art Dir.: James Hilson Cinematography Dir. of Photography: Emmanuel Lubezki Dir. of Photography: Don Davis Advertising Agency: 72andSunny Agency Producer: Olly Chapman Nike “Next Level” 2:00 Advertising Agency: Wieden + Kennedy Production Designer: Charles Infante Agency Creative Dir.: Bryan Rowles Visual Effects Company: The Mill Prod’n Company: Anonymous Content Agency Creative Dirs.: Jeff Williams, Alberto Ponte, Tyler Advertising Agency: Ponce Buenos Aires Agency Producer: Angelo Ferrugia Editor: Andy McGraw, Cut+Run Dir.: Guy Ritchie Whisand Agency Creative Dir.: Hernan Ibarra Editor: Robert Duffy, Spot Welders Exec. Producer: Dave Morrison Agency Art Dir.: Ryan O’Rourke Agency Producer: Jose Silva Nike “Chalk” :60 Dir. of Photography: David Higgs Agency Copywriter: Jason Bagley Editors: Paul Hunter, Derek Janniere, Prettybird Lexus “Lift Off” :30 Prod’n Company: Anonymous Content Advertising Agency: 72andSunny Agency Producer: Matt Hunnicutt Prod’n Company: MJZ Dir.: Mark Romanek Agency Creative Dir.: Bryan Rowles Editor: Angus Wall, Rock Paper Scissors Showtime Networks Dexter “Funhouse” :85 Dir.: Rupert Sanders Exec. Producer: Dave Morrison Editor: Robert Duffy, Spot Welders Prod’n Company: Stone Core Films, Inc. Exec. Producers: Eric Stern, David Zander Advertising Agency: Wieden + Kennedy Production Design Dir.: Norry Niven Advertising Agency: Team One Agency Creative Dirs.: Alberto Ponte, Tyler Whisnand, Jeff Volvo “Stormy Night” :90 Altoids “Promotion” :30 Exec. Producer: Elaine Sibert Group Creative Dirs.: Jon Pearce, Gavin Lester Williams Prod’n Company: Great Guns Prod’n Company: MJZ Production Designer: Loren Basulto Agency Creative Dir.: Chris Graves Editor: Robert Duffy, Spot Welders Dir.: Paul Shearer Dir.: Tom Kuntz Advertising Agency: Showtime Networks -in-house Agency Art Dir.: Kevin R. Smith Exec. Producer: Laura Gregory Exec. Producers: David Zander, Jeff Scruton Creative Dir.: Erik Friedman Agency Copywriter: Dave Horton Career Builder “Tips” 60 Dir. of Photography: Ben Davis Production Designer: Roger Swanborough Exec. Producer: Rachele Gonzalez Agency Producer: Jennifer Weinberg Prod’n Company: MJZ Advertising Agency: Nitro and Arnold Advertising Agency: Energy BBDO Art Dir.: Paul Brodie Editor: Dave Henegar, Butcher Editorial Dir.: Tom Kuntz Agency Creative Dirs.: Paul Shearer, Pete Favat Agency Creative Dirs.: Marty Orzio, Jim Hyman, Greg Braun Visual Effects: TOPIX Exec. Producers: David Zander, Jeff Scruton Agency Art Dir.: Paul Shearer Agency Art Dir.: Frank Dattalo Editor: Ray Burris Visual Style Advertising Agency: Wieden + Kennedy Portland Agency Producer: Bill Goodell Agency Copywriter: Mike Roe Audi “Gymnast” :60 Agency Exec. Creative Dirs.: Mark Fitzloff, Susan Hoffman Global Marketing Campaign Manager: Per Carleo Agency Producers: Bridgette Whisnant, Liz Zorek Humor Prod’n Company: Prettybird Agency Creative Dirs.: Jason Bagley, Danielle Flagg Editor: Jim Weedon, Final Cut Editorial Editor: Steve Gandolfi, Cut+Run LA Durex “Get It On” :30 20 SHOOT June 19, 2009 Prod’n Company: Superfad Hero: Pete Carboni Advertising Agency: Goodby, Silverstein & Partners Dir.: Robert Rugan Tailor: John John Briones Agency Creative Dirs.: Rick Condos, Hunter Hindeman Exec. Producer: Geraint Owen Three Reflections: Lonni Huges, Jorge Ramirez, Eck Stone Graphic Artists: Jeffrey Dates, Dave Barosin, Ted Kotsadtis, CLASSIFIEDS Dir. of Animation/Lighting: Mike Wharton Todd Akita To place classified ad simply email ad copy to: [email protected] Art Dir.: Andrew Stubbs Johnston Editorial Editors: Cass Vanini, Brett Goldberg, Brett Nicholetti, Psyop Your reply will contain price estimate and PDF proof of ad for your review. CG Animator: Dave Thomlison Nike “Fate” :60 Print classifieds run online for 30 days as FREE bonus with email Producer: Mike Tockman Prod’n Company: Anonymous Content Hewlett Packard “Fergie” :60 distribution on SHOOT >e.dition every Friday during 30 day period online. Advertising Agency: Fitzgerald+CO Dir.: David Fincher Prod’n Company: Motion Theory For further info/rates/deadlines go to www.shootonline.com/go/classified Agency Creative Dir.: Eddie Snyder Exec. Producer: Jeff Baron Dir.: Mathew Cullen Editor: Superfad Dir. of Photography: Emmanuel Lubezki Exec. Producer: Javier Jimenez EMPLOYMENT REAL ESTATE Advertising Agency: Wieden + Kennedy Art Dir.: Kaan Atilla Skittles “Piñata” :30 Agency Creative Dirs.: Jeff Williams, Alberto Ponte, Tyler Graphic Artists: Heidi Berg, Angela Zhu, John Dretzka, Juliet SALES EXECUTIVE Office Suites in TV/Film Prod’n Company: MJZ Whisnand Park, Leanne Dare, Mark Kulakoff, Max Keane, Jenny Ko, New York Post Production facil- Production Studio ity seeks an experienced Sales Dir.: Tom Kuntz Agency Art Dir.: Ryan O’Rourke Alex Hanson Executive to help expand our cur- 5 Furinished Suites, 1200 rent client base, particularly in Sq Ft, Conf Rooms, Midtown Exec. Producers: David Zander, Jeff Scruton Agency Copywriter: Jason Bagley Programmers: Keith Pasko, CJ Cenizal Manhattan Creative Arts Build- Advertising Agency: TBWA\Chiat\Day NY Agency Producer: Matt Hunnicutt Advertising Agency: Goodby, Silverstein & Partners our art division. Individual should have ad agency connections and ing, Long or short term $4000/ Agency Exec. Creative Dir.: Gerry Graf Editor/ Color Correction: Angus Wall, Rock Paper Scissors Agency Group Creative Dirs.: Steve Simpson, Rick Condos, knowledge of Commercial Test month, 1 Blk From Grand Cen- Agency Creative Dirs.: Ian Reichenthal, Scott Vitrone Hunter Hindman Production. tral, 24 hrs, Internet, Phones Agency Art Dir.: Craig Allen Nike “Wake Up Call” :60 Editor: Jason Webb, String Email resume to: ** Acesss to Large and Small [email protected] Sound Stages, Studios Agency Copywriter: Eric Kallman Prod’n Company: Park Pictures ** Agency Producers: Nathy Aviram, Laura Rosenshine Dir.: Lance Acord Animation Call Greg Cabrera POSITIONS WANTED: [email protected] Editor: Gavin Cutler, Mackenzie Cutler Exec. Producer: Mary Ann Marino Converse All Star “My Drive Thru” :60 New Directors Looking (212)450-1606 Advertising Agency: Wieden + Kennedy Prod’n Company: Psyop For Commercial Work Crest “Bulldozer” :45 Agency Creative Dirs.: Alberto Ponte, Jeff Williams, Mark Dirs.: Marie Hyon, Marco Spier Visit www.shootonline.com/go/ #1 Reason To Use The SHOOT Publicity Wire... Prod’n Company: Station Films Fitzloff, Susan Hoffman Exec. Producer: Lucia Grillo IT WORKS! newdirectorswebreel www.shootonline.com/go/publicitywire Dir.: Harold Einstein Agency Art Dirs.: Sean Donnell, Matt Murphy Art Dir.: Jon Saunders Exec. Producer: Tom Rossano Agency Copywriter: Antony Goldstein 3D Leads: Chris Bach, Pakorn Buppahavesa Advertising Agency: Saatchi & Saatchi Agency Producer: Shannon Worley Flame Artists: Jamie Scott, Dan Boujoulian Agency Creative Dirs.: Paul Venables, Erich Pfeifer Musical Arrangement Agency Creative Dir.: Gerry Graf Exec. Producers Editorial: Carol Lynn Weaver, Linda Carlson Advertising Agency: Anomaly, New York Composer: Nate Morgan, Elias Arts Discovery Channel “I Love The World” :60 Agency Art Dir.: Dan Lucey Editor: Kirk Baxter, Rock Paper Scissors Agency Creative Dir.: Mike Byrne Music Exec. Producer: Ann Haugen Prod’n Company: Outsider Agency Copywriter: Nathan Frank Editor: Cass Vanini, Psyop Music Exec. Creative Dir.: Jonathan Elias Dir.: James Rouse Agency Producers: Colin Pearsall, Maura Hurley National Basketball Association “Win” :60 Music Creative Dir.: Dave Gold Exec. Producer: Jeremy Barrett Editor: Ian Mackenzie, Mackenzie Cutler Prod’n Company: Bob Industries United Airlines “Sea Orchestra” :60 Editor: Doug Walker, Filmcore Advertising Agency: 72andSunny Dirs.: Dayton/Faris Prod’n Company: Duck Studios Agency Creative Dir.: Glenn Cole Performance/Dialogue Exec. Producer: T.K. Knowles Dirs./Animators: Shy the Sun Sound Design Musical Arrangers: Andrew Feltenstein, John Nau, Beacon Skittles “Piñata” :30 Advertising Agency: Goodby, Silverstein & Partners Exec. Producer: Mark Medernach Durex “Get It On” :30 Street Studios Prod’n Company: MJZ Agency Creative Dir.: Jamie Barrett Advertising Agency: Barrie D’Rozario Murphy Prod’n Company: Superfad Editor: Lucas Eskin, Mad River Post Dir.: Tom Kuntz Associate Creative Dirs.: Ari Weiss, Stefan Copiz Agency Creative Dirs.: Stuart D’Rozario, Bob Barrie Dir.: Robert Rugan Exec. Producers: David Zander, Jeff Scruton Agency Art Dirs.: Stefan Copiz, Jack Woodworth Agency Art Dir.: James Zucco Exec. Producer: Geraint Owen Pepsi “Refresh” :60 Advertising Agency: TBWA\Chiat\Day NY Agency Copywriters: Jamie Barrett, Ari Weiss, Craig Mangan Agency Copywriter: Phil Calvit Dir. of Animation/Lighting: Mike Wharton Prod’n Company: MJZ Agency Exec. Creative Dir.: Gerry Graf Agency Producer: Tod Puckett Agency Producers: Holly Stone, Jack Steinmann Art Dir.: Andrew Stubbs Johnston Dir.: Dante Ariola Agency Creative Dirs.: Ian Reichenthal, Scott Vitrone Visual Effects Artists: Geoff McAuliffe, Mandy Sorenson, Jimi CG Animator: Dave Thomlison Exec. Producers: David Zander, Jeff Scruton Agency Art Dir.: Craig Allen Simmons, Patrick Poulatian, Sean McLean , Miles Essmiller, Nike Producer: Mike Tockman Advertising Agency: TBWA\Chiat\Day Agency Copywriter: Eric Kallman Brickyard VFX “Sanders-Conversations from the Inside” 1:40 Advertising Agency: Fitzgerald+CO Agency Exec. Creative Dir.: Rob Schwartz Agency Producers: Nathy Aviram, Laura Rosenshine Editor: Kim Bica, Lost Planet Prod’n Company: Paranoid US Agency Creative Dir.: Eddie Snyder Agency Creative Dirs.: Brett Craig, Joe Shands Editor: Gavin Cutler, Mackenzie Cutler Dir.: Nieto Sound Designer: Joel Raabe, Gramercy Post, NYC Agency Art Dir.: Bill Hornstein Piñataman: Sean Donellan Visual Effects Exec. Producers: Claude Letessier, Cathleen O’Conor, Phillip Editors: Superfad Agency Copywriters: Brett Craig, Anthony DeCarolis, Eric Beater: Brandon: Keener Coca Cola “Heist” :60 Detchmendy Fahrenkopf Prod’n Company: Psyop, Los Angeles Producers: Anne Lifshitz, Guillaume Raffi, Romain Starpoli Audi “Gymnast” :60 Agency Producers: Anh-Thu Le, Mila Davis, Rob Saxon HSBC “Lumberjack” 1:40 Dirs.: Todd Mueller, Kylie Matulick Advertising Agency: Wieden+Kennedy Amsterdam Prod’n Company: Prettybird Musical Arranger: Will.I.Am, the Black Eyed Peas Prod’n Company: Gorgeous Exec. Producer: Neysa Horsburgh Agency Exec. Creative Dirs.: John Norman, Jeff Kling Dir.: Paul Hunter Editor: Andrea MacArthur, Peepshow NY Dir.: Vince Squibb Advertising Agency: Wieden + Kennedy Portland Agency Creative Dirs.: Mark Bernath, Eric Quennoy Exec. Producer: Kerstin Emhoff Exec. Producer: Spencer Dodd Agency Creative Dirs.: Hal Curtis, Sheena Brady Agency Art Dirs.: Anders Stake, Craig Williams Dir. of Photography: Alex Barber Public Service Announcement Dir. of Photography: Alwin Kuchler Visual Effects Supervisor/CG Lead: Andrew Romatz Agency Copywriter: Betsy Decker Advertising Agency: BBH London Environmental Defense Fund and Ad Council Production Designer: Chris Oddy Visual Effects Supervisor/Flame Artist: Thibault Debaveye Agency Producer: Cat Reynolds Agency Creative Dir.: Nick Kidney “Polar Bears” :60 Advertising Agency: JWT New York Editor: Brett Nicoletti, Psyop Animators: Nieto, Damien Martin Agency Art Dir.: James Hilson Prod’n Company: Biscuit Filmworks Agency Creative Dir.: Axel Chaldecott Editor: Nieto, Paranoid US Agency Producer: Olly Chapman Dir.: Tim Godsall Agency Art Dir.: Michael Ashley Comcast Powerboost “Rabbit” :60 Sound Designer: Tony Rapacciolli, Wave Recording Studios Exec. Producers: Shawn Lacy, Holly Vega Agency Copywriter: Dinesh Kapoor Prod’n Company: Biscuit Filmworks Original Music Editor: Andy McGraw, Cut + Run Advertising Agency: Ogilvy New York Editor: Paul Watts, The Quarry Dir.: Noam Murro American Express “Members Project” :60 Agency Group Creative Dirs.:Terry Finley, Chris Mitton Lumberjack: Sean Devine Exec. Producers: Shawn Lacy, Colleen O’Donnell Advertising Agency: Ogilvy New York Jordan Brand “Field Generals” :60 Agency Creative Dir.: David Apicella Protestor: Lada Darewych Advertising Agency: Goodby, Silverstein & Partners Agency Group Creative Dir.: Chris Mitton Prod’n Company: MJZ Associate Creative Dir./Art Dir.: Dustin Duke Agency Creative Dir.: Jamie Barrett Agency Creative Dir.: David Apicella Dir.: Rupert Sanders Associate Creative Dir./Copywriter: Jon Wagner Skittles “Tailor” :30 Visual Effects Artists: Andrew Jackson, Nick Ponzoni, Ben Agency Associate Creative Dir./Art Dir.: Dustin Duke Exec. Producers: David Zander, Eric Stern Agency Producer: Carrie Simon Prod’n Company: MJZ Walsh, Andreas Wanda, Michael Halford, Animal Logic Agency Associate Creative Dir./Copywriter:Jon Wagner Advertising Agency: Wieden+Kennedy New York Editor: Geoff Hounsell, Lost Planet Dir.: Tom Kuntz Visual Effects Creative Dir.: Bruce Carter Graphics Designer / Supervisor: Ryan Sears Exec. Creative Dirs.: Todd Waterbury, Kevin Proudfoot Exec. Producers: Jeff Scruton, David Zander Visual Effects Producer: Nerissa Kavanagh Composers: Human Agency Creative Dir.: Keith Cartwright ALS Society “Head and Shoulders” :60 Advertising Agency: TBWA\Chiat\Day Editor: Avi Oron, Bikini Edit Editor: Valerie Junge, Big Sky Edit Agency Art Dir.: Ricardo Viramontes Prod’n Company: Untitled Films Agency Exec. Creative Dir.: Gerry Graf Agency Copywriter: Andy Ferguson Dir.: John Mastromonaco Agency Creative Dirs.: Ian Reichenthal, Scott Vitrone Graphic Design Audi A4 “Living Room” :60 Agency Producer: Dan Blaney Exec. Producer: James Davis Agency Art Dir.: Craig Allen HP TouchSmart PC “Maestro” :60 Prod’n Company: Bob Industries Sound Designers: Bill Chesley, Henry Boy, Neil Smith, Spot Dir. of Photography: John Houtman Agency Copywriter: Eric Kallman Prod’n Company: Psyop, Los Angeles Dir.: Jason Smith Welders Advertising Agency: Lowe Roche Agency Producer: Nathy Aviram Dirs.: Todd Mueller, Kylie Matulick Exec. Producers: Chuck Ryant, John O’Grady & T.K. Knowles Editor: Neil Smith, Spot Welders Agency Creative Dir.: Christina Yu Editor: Gavin Cutler, Mackenzie Cutler Exec. Producers: Angela Bowen, Neysa Horsburgh Advertising Agency: Venables Bell & Partners Continued on page 22 June 19, 2009 SHOOT 21 News

2009 AICP Show Honorees, continued

Continued from page 21 Slim Jim “Champs” : 30 Advertising Agency: BBDO New York Agency Art Dir.: Ryan McNeill Dirs./Producers/Editors: Gregory Mitnick and Nat Livingston Agency Chief Creative Offi cers: David Lubars, Bill Bruce Shelly Townsend has come aboard bicoastal production Agency Copywriter: Rob Sturch Johnson Agency Creative Dirs.: Peter Kain, Gianfranco Arena house Skunk as executive producer where she reunites Agency Producer: Brie Gowans School: NYU Tisch School of the Arts, Graduate Film Agency Art Dir.: Alex Shulhafer with exec producer/managing director Matt Factor. She is Editor: Richard Unruh, Rooster Course: Directing: Television Commercials Agency Copywriter: Alexis Bello based at the company’s Hollywood offi ce, with Factor in Instructor: Laura Belsey Agency Exec. Producer: Amy Wertheimer New York. Townsend was formerly at such shops as Fools MTV Choose or Lose “Phone” :30 Music Producer: Loren Parkins and Horses, and Headquarters. She and Factor fi rst met Prod’n Company: Hungry Man Agency Art Direction Account Team: Kim Ryneska/Michelle Polansky in 1999 at the venerable Propaganda Films—she was an Dir.: Bryan Buckley Comcast Powerboost “Rabbit” :60 Editor: John Murray, Nomad exec producer while Factor headed up East Coast sales. Exec. Producers: Kevin Byrne, Cindy Becker, Dan Duffy Prod’n Company: Biscuit Filmworks There they helped build the careers of notable directors, and went on to collaborate later at bicoastal Anonymous Dir. of Photography: Eric Lindley Dir.: Noam Murro Advertising Excellence/International Content....Goodby, Silverstein & Partners, San Francisco, Advertising Agency: JWT NY Exec. Producers: Shawn Lacy, Colleen O’Donnell Cadbury Schweppes “Burst” : 90 has hired Zach Canfi eld, formerly global director of cre- Agency Chief Creative Officers: Ty Montague, Harvey Marco Advertising Agency: Goodby, Silverstein & Partners Prod’n Company: Exit Films ative recruiting at Wieden + Kennedy, as its director of talent. In this Agency Exec. Creative Dir.: Jeff Bitsack Agency Creative Dir.: Jamie Barrett Dir.: Garth Davis newly created role, Canfi eld will be fi nding new and emerging tal- Agency Producer: Owen Katz (JWTwo) Agency Group Creative Dir.: Chris Ford Exec. Producer: Karen Sproul ent for the whole agency, not just for the creative department.... Agency Art Dirs.: Hunter Fine, Sara Worthington, Armando Agency Group Creative Dir. /Copywriter: Mike McKay Advertising Agency: George Patterson Y&R, Melbourne FriendsWithYou, a team that is a recent addition to the director/ Flores Associate Creative Dir. / Art Dir.: Nick Spahr Agency Creative Dirs.: Ben Coulson, Paul Catmur designer roster of Los Angeles-based Paranoid U.S., has opened a Agency Copywriters: Scott Bell, Bee Reynolds Agency Exec. Producer: Tanya LeSieur Editor: Jack Hutchings, The Butchery new design studio in Miami and launched a portfolio website (www. Editor: Patrick Griffi n, Lost Planet, LA Editor: Avi Oron, Bikini Edit fwystudios.com) to showcase its work. FriendsWithYou founders/ Cadbury “Eyebrows” :60 chief creatives are Samuel Borkson and Arturo Sandoval III....Veter- Low Budget Environmental Defense Fund and Ad Council Prod’n Company: MJZ London an mixer Steve Bucino has joined Hypberbolic Audio, the N.Y. audio Durex “Get It On” :30 “Polar Bears” :60 Dir.: Tom Kuntz post house launched last year by co-owners Julian Rebolledo and Prod’n Company: Superfad Prod’n Company: Biscuit Filmworks Exec. Producer: Debbie Turner Sean Elias-Reyes. Bucino was most recently with Tonic, New York. His Dir.: Robert Rugan Dir.: Tim Godsall Dir. of Photography: Mattias Montero studio background also includes session work at Seattle’s Ironwood Studios, and two years at Water Music, where he engineered and Exec. Producer: Geraint Owen Exec. Producer: Shawn Lacy, Holly Vega Advertising Agency: Fallon UK produced numerous independent music projects, while honing his Dir. of Animation/Lighting: Mike Wharton Advertising Agency: Ogilvy New York Agency Exec. Creative Dir.: Richard Flintham skills working alongside legendary engineers, such as John Agnello, Art Dir.: Andrew Stubbs Johnston Agency Group Creative Dirs.: Terry Finley, Chris Mitton Agency Creative Dirs.: Chris Bovill, John Allison Michael Barbiero and Bob Marlette.... CG Animator: Dave Thomlison Agency Creative Dir.: David Apicella Agency Art Dir.: Nils-Petter Lovgren Producer: Mike Tockman Associate Creative Dir./Art Dir.: Dustin Duke Agency Producer: Olivia Chalk Advertising Agency: Fitzgerald+CO Associate Creative Dir./Copywriter: Jon Wagner Line Producer: Suza Horvat Agency Creative Dir.: Eddie Snyder Agency Producer: Carrie Simon Editor: Steve Gandolfi , Leo King, Cut + Run Editors: Superfad Editor: Geoff Hounsell, Lost Planet Know Your Limits / Anti Binge Drinking Vote2008 “Palin as President: A Heartbeat Away” United Airlines “Heart” :60 “Binge Girl” :40 :66 Prod’n Company: Duck Studios Prod’n Company: Gorgeous Prod’n Company: Biscuit Filmworks Dir.: Jamie Caliri Dir.: Vince Squibb Independent rep Becky Jungmann is now handling the Dir.: Clay Weiner Exec. Producer: Mark Medernach Exec. Producer: Spencer Dodd West Coast for bicoastal production house Skunk, which Exec. Producers: Shawn Lacy, Holly Vega Advertising Agency: Barrie D’Rozario Murphy Dir. of Photography: Alex Barber continues to be repped by Michael Arkin and Anna Triggs of Reprizent on the East Coast, and Rich Newman of Rich Dir. of Photography: Wyatt Troll Agency Creative Dirs.: Stuart D’Rozario, Bob Barrie Production Designer: Chris Oddy Newman Associates in the Midwest....Thornberg & For- Advertisting Agency: Goodby, Silverstein & Partners Agency Art Dir.: James Zucco Advertising Agency: VCCP ester, a New York-based design and production studio, Agency Creative Dir.: Jamie Barrett Agency Copywriter: Dan Mackaman Agency Creative Dir./Art Dir.: Mark Orbine has signed new spot deals with independent reps Nancy Jacobs who Agency Copywriters: Jamie Barrett, Craig Mangan, Rafi Kugler Agency Producers: Jack Steinmann, Holly Stone Agency Copywriters: Matt Gilbert, Dave Tokely is covering the East Coast and Midwest, and Susan Bennett who’s Agency Producer: Timothy Plain Editor: Paul Watts, The Quarry repping on the West Coast....The commercial and music video de- Visual Eff ects: A52 Visual Eff ects Copywriting partment of Beverly Hills-based Paradigm has added DPs Christo- Editors: Brad Waskewich, Spot Welders, Timothy Plain, Comcast Powerboost “Rabbit” :60 Advertising Excellence/ pher Pearson, Sergey Trofi mov, Emmanuel Kadosh, Simon Duggan, Goodby, Silverstein & Partners Prod’n Company: Biscuit Filmworks Single Commercial ACS, and Robert Fraisse.....Innovative Artists, Santa Monica, has Dir.: Noam Murro Skittles “Piñata” :30 signed DP Keith Dunkerley for all fi lm, TV, commercial and music Spec Spot Exec. Producers: Shawn Lacy, Colleen O’Donnell Prod’n Company: MJZ video work. He is repped by Innovative’s Robbyn Foxx and Jeff Ma- Tide “Have Fun” :37 Advertising Agency: Goodby, Silverstein & Partners Dir.: Tom Kuntz honey for spots....Orlando Management, Sherman Oaks, Calif., has Prod’n Company: Rabbit Agency Creative Dir.: Jamie Barrett Exec. Producers: David Zander, Jeff Scruton signed production designer Jeff Schoen for exclusive representa- Dirs.: Trevor McMahan, David Neham Agency Group Creative Dir.: Chris Ford Advertising Agency: TBWA\Chiat\Day NY tion....Jeff rey Feldman has joined the sales team of Burbank, Calif.- Exec. Producer: Douglas Howell Agency Group Creative Dir. / Copywriter: Mike McKay Agency Exec. Creative Dir.: Gerry Graf based Band Pro Film & Digital.... Editor: Logan Leffl efi nger, Final Cut LA Agency Associate Creative Dir. / Art Dir.: Nick Spahr Agency Creative Dirs.: Ian Reichenthal, Scott Vitrone Agency Exec. Producer: Tanya LeSieur Agency Art Dir.: Craig Allen Toyota Prius “Karma” :38 Editor: Avi Oron, Bikini Edit Agency Copywriter: Eric Kallman Prod’n Company: ORDER Agency Producers: Nathy Aviram, Laura Rosenshine Dir.: Paul Santana Crest “Lice” :45 Editor: Gavin Cutler, Mackenzie Cutler Exec. Producer: Charles Salice Prod’n Company: Station Films >June 19-28/Los Angeles: The Los Angeles Film Festival. Dir. of Photography: Greg Daniels Dir.: Harold Einstein Advertising Excellence/Campaign lafi lmfest.com Producer: Valerie Thomas Exec. Producer: Tom Rossano Crest “Bulldozer” :45, “Lice” :45, “Pre Nup” :45 Music Company: Yessian Music Advertising Agency: Saatchi & Saatchi Prod’n Company: Station Film >June 21-27/Cannes: Cannes Lions International Editor: Stewart Shevin, Mad River Post Agency Creative Dir.: Gerry Graf Dir.: Harold Einstein Advertising Festival. www.canneslions.com Agency Art Dir.: Dan Lucey Exec. Producer: Tom Rossano >July 22/Los Angeles, CA: AICP Show. [email protected] Student Commercial Agency Copywriter: Nathan Frank Advertising Agency: Saatchi & Saatchi NY >July 23-31/Hollywood, CA: LA shorts Fest. www. Apple iTunes “Lost” :30 Agency Producers: Colin Pearsall, Maura Hurley Agency Creative Dir.: Gerry Graf lashortsfest.com Dirs./Producers/Editors: Gregory Mitnick, Nat Livingston Editor: Ian Mackenzie, Mackenzie Cutler, NY Agency Art Dir.: Dan Lucey >July 31-August 6/Los Angeles, CA: ITV Fest. www. Johnson Agency Copywriter: Nathan Frank itvfest.org School: NYU Tisch School of the Arts, Graduate Film AMP Energy Drink “Walk of No Shame” :60 Agency Producers: Colin Pearsall, Maura Hurley >August 3-7/New Orleans: Siggraph. www.siggraph. Course: Directing: Television Commercials Prod’n Company: Biscuit Filmworks Editor: Ian Mackenzie, Mackenzie Cutler, NY org/s2009 Instructor: Laura Belsey Dir.: Tim Godsall >September 10-15/Amsterdam: IBC. www.ibc.org Exec. Producers: Shawn Lacy, Holly Vega Continued on page 23 22 SHOOT June 19, 2009 AICP Show Honorees

Continued from page 22 Technology: Nick Coronges, Thomas Chan, Michael Mosley, Vincent DiBartolo Next Integrated Campaign Digital Studio: Can Misirlioglu, Guy Helson, Vin Farrell, Mark NYC & Company, and Warner Brothers Records Voelpel “Oasis Dig Out Your Soul: In the Streets” Analytics/QA: Heidi Miller, Alberto Botero, Nauman Hafi z, Prod’n Company: HSI Productions Tim King Agency Production: James Kuo, Donald Oliver, Exec. Producer: Rebecca Skinner Jordana Reim Dirs.: The Malloys Dir. of Photography: Sam Levy Next Viral/ Web Film Advertising Agency: BBH New York Durex “Get It On” :30 Agency Chief Creative Offi cer: Kevin Roddy Prod’n Company: Superfad Agency Creative Dir.: Calle & Pelle Sjoenell Dir.: Robert Rugan CONGRATULATIONS Agency Producer: Julian Katz Exec. Producer: Geraint Owen Group Account Dir.: Chris Wollen Dir. of Animation/Lighting: Mike Wharton 2009 NEW DIRECTORS SHOWCASE FINALISTS Editor: Tim Wheeler Art Dir.: Andrew Stubbs Johnston, Superfad (In Alphabetical Order) CG Animator: Dave Thomlison NBA, TNT, ESPN/ABC “There Can Only Be One” Producer: Mike Tockman Alex Anderson Kevin Kerwin Prod’n Company: Bob Industries Advertising Agency: Fitzgerald+CO Exec. Producer: T.K. Knowles Agency Creative Dir.: Eddie Snyder Bif Brandon Kraines (Jules Janaud, Fabrice le Nezet, Dirs.: Dayton/Faris Editor: Superfad Francois Roisin) Advertising Agency: Goodby, Silverstein & Partners André Maat and Agency Creative Dirs.: Jamie Barrett, Ari Weiss, Stefan Copiz Environmental Defense Fund and Ad Council Sophie Caretta Henk Loorbach Art Dirs.: Jack Woodworth, Stefan Copiz “Polar Bears” :69 Áine Carey Gonzalo “Gonzo” Llorente Copywriters: Craig Mangan, Ari Weiss, Jamie Barrett Prod’n Company: Biscuit Filmworks Visual Eff ects: Brickyard Dir.: Tim Godsall Gregg Casson Sam Macon Visual Eff ects Supervisor: Geoff McAuliff e Exec. Producers: Shawn Lacy, Holly Vega shay Karni Eckhaus Lapo Melzi Editor: Geoff Hounsell, Lost Planet Advertising Agency: Ogilvy New York I Group Creative Dirs.: Terry Finley, Chris Mitton Fx & Mat Jason Moore Haagen Dazs “HD Loves HB” Agency Creative Dir.: David Apicella Prod’n Company for “Opera”: Psyop Associate Creative Dir./Senior Art Dir.: Dustin Duke Kim Gehrig Jonathan Newman Exec. Producer: Neysa Horsburgh Associate Creative Dir./ Senior Copywriter: Jon Wagner Robin Hays Otis Dirs.: Cedric Nicolas-Troyan, Laurent Ledru Senior Agency Producer: Carrie Simon Hoffman Brothers Aaron Platt Prod’n Company for “Disco” and “Krumpin”: Bob Industries Dir. of Broadcast Production: Patti McConnell (Matt and Mark) Exec. Producers: T.K. Knowles, Chuck Ryant, John O’Grady Editor: Geoff Hounsell, Lost Planet The Purchase Brothers Dir.: Trish Sie Paul Iannacchino, Jr. (David and Ian) Advertising Agency: Goodby, Silverstein & Partners Diesel “Diesel SFW XXX” 1:20 Jesse Jacobs Doug Purver Agency Creative Dir.: Jeff Goodby Prod’n Company: The Viral Factory Art Dirs.: Margaret Johnson, Tanner Shea, Tyler Magnusson Exec. Producer: Ed Robinson Nick Jasenovec Shira-Lee Shalit Copywriters: Jim Elliott, Brooks Jackson, Andrew Bancroft, Dir.: Keith Schofi eld Ross Katz Mitch Stratten Matt Rivitz Advertising Agency: The Viral Factory Editor: Patrick Griffi n, Lost Planet Editor: Rob Hill, Unit Post Production Timothy Kendall Shawn Zeytinoglu

Next Experiential Next Website/ Microsite Kenny Mark Zibert Chambers Hotel “Chambers Video Art Piece” General Electric “GE Ecomagination” Prod’n Company: Nydrle Prod’n Company: North Kingdom To view the SHOOT New Directors Showcase Reel and interviews with each new director go online to: Dir.: Peter Nydrle Exec. Producer: Jenny Gadd Exec. Producer: Garner Kinmond Advertising Agency: Goodby, Silverstein & Partners www.shootonline.com/go/newdirectorswebreel Advertising Agency: Barrie D’Rozario Murphy Dir.: Mike Geiger Agency Creative Dirs.: Stuart D’Rozario, Bob Barrie Agency Creative Dirs.: Jeff Goodby, Rich Silverstein, Christian Agency Art Dirs.: Bob Barrie, Brian Lambert Haas Agency Copywriter: Stuart D’Rozario Agency Art Dir.: Shane Fleming Agency Producer: Adele Amos Agency Copywriter: Larry Corwin Editor: Jonathan Del Gatto, Butcher Edit Agency Producers: Carey Head, Sosia Bert THANK YOU Lead Sponsors McDonald’s “The Lost Ring” Doritos “Hotel 626” Prod’n Company: PostPanic, Amsterdam Prod’n Company: B-Reel Dir.: Mischa Rozema Exec. Producer: Amanda Cox Exec. Producers: Ania Markham, Jules Tervoort Advertising Agency: Goodby, Silverstein & Partners Advertising Agency: AKQA Dir.: Mike Geiger Agency Creative Dirs.: Toria Emery, Edwin Veelo Agency Creative Dirs.: Hunter Hindman, Rick Condos, Marc Agency Producer: Nancy Cardillo Sobier, Hartley Rusen Music Company: Massive Music Sprint NOW Silver Sponsors Nike+ “Nike+ Human Race 10K” Prod’n Company: FaceFaceFace Advertising Agency: R/GA, Exec. Producer: Mike Kellogg Partner Agencies: Wieden+Kennedy, AKQA, Melcher Media Advertising Agency: Goodby, Silverstein & Partners Creative Direction: Robert Rasmussen, Natalie Lam, Wade Dir.: Mike Geiger Convay, Jill Nussbaum Agency Creative Dirs.: Christian Haas, Franklin Tipton Visual Design: Masha Ioveva, Cesar Marchetti, Adam Agency Art Dir.: Aaron Dietz Jesberger, Diego Aguilar Agency Copywriter: Mandy Dietz Copy: Jim Hord, Eissa Shively, Jared Elms, Steve Peck Agency Producers: Margaret McLaughlin, Tena Goy June 19, 2009 SHOOT 23