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SHOOT Digital PDF Version, June 19, 2009, Volume 50, Number 6

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SHOOT Digital PDF Version, June 19, 2009, Volume 50, Number 6 www.shootonline.com 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 RALEIGH FILM BUDAPEST PRODUCTION SERVICES FOR CENTRAL & EASTERN EUROPE The only thing missing... www.raleighfilm.eu is YOU. US: +1 323 960 FILM EU: +36 1 327 0590 A Raleigh Entertainment Company Raleigh_Print_Ad_10x2.4.indd 1 6/15/09 8:07 PM ©2009 Optimus. Perspectives 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.
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