www.shootonline.com Madhvani Directs Seb Edwards Gets “Man-Made Reckless And Machines” For Poignant For The Ambience Publicis British Army page 12 page 13 THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION September 26, 2008 $6.00 Jaume Collet-Serra Comes Aboard Alturas Flipping Noted director reunites with recently Pushing The hired executive producer Roger Hunt The Switch: at production company known for handling feature filmmakers for select Part II ad assignments. Though Collet-Ser- Envelope, Please A SHOOT Staff Report ra’s roots are in spots and videos, he NEW YORK—In our Aug. 15-Sept 11 has since diversified successfully into Agency Producers Reflect On Their Emmy-Honored Spots issue, SHOOT canvassed production, long form, his latest feature being the post and VFX professionals about the thriller Orphan. pending transition to digital television See page 4 (DTV), including HD. We also report- By Robert Goldrich ed in that edition on the Association of Getting In On The Ground National Advertisers’ (ANA) white pa- Floor Of Cutting Room LOS ANGELES—”The envelope, please.” During the Creative Arts per titled “The Digital TV Transition: Cut+Run New York alumni Chuck Emmy Awards ceremony held earlier this month at the Nokia Theatre Production Implications for Advertis- Willis, Susan Willis and Mike Douglas in Los Angeles, there was the obligatory hush over the capacity audi- ers.” The white paper was prepared by launch Cutting Room Films. Editor ence for a brief moment until the presenter read out that this year’s the ANA’s Production Management Chuck Willis and exec producer Susan primetime commercial Emmy was going to Bud Light’s “Swear Jar” Committee and reflected valuable in- Willis are cofounders of the new ven- out of DDB Chicago. put from assorted sources including ture while editor Douglas is a compa- The enthusiastic applause, though, greeting that announcement was such organizations as the National As- ny partner. Meanwhile Cut+Run, with not obligatory as the spot had been screened earlier for the industry sociation of Broadcasters, the Ameri- shops in Santa Monica and London, is crowd, eliciting laughter and an ovation. can Association of Advertising Agen- slated to soon unveil its plans for N.Y. Furthermore the commercial made history, pushing the Television cies, the Association of Independent See page 4 Academy’s figurative envelope by setting two precedents—becoming Commercial Producers (AICP), and Karley & Graham Visit the first web spot to be nominated for and then to win a primetime the Association of Independent Cre- Emmy Award. ative Editors (AICE). SHOOT’s cov- SHOOT’s Chat Room Actually the original plan—as reported in this week’s “Chat erage ran under the “Flipping The DDB Chicago associate creative direc- Room” with DDB Chicago associate creative directors Jason Karley Switch” banner, which was the first tors Jason Karley and Galen Graham, and Galen Graham, the writer and art director, respectively, on “Swear installment of a two-part series. the core writer/art director team on Jar”—was for the commercial to possibly air during the 2007 Now in the second part of our cov- the primetime Emmy Award-winning Super Bowl telecast. But CBS rejected “Swear erage, SHOOT looks to the technolo- Bud Light commercial “Swear Jar,” Jar” in script form, leading to it eventually gies side of the biz, gaining feedback discuss the spot’s detour from the gaining initial exposure on the Bud.TV web on DTV and HD from key players in Super Bowl to the viral world, the entertainment channel and then an ongoing the hardware and software sectors. genesis of the concept, the selection of viral life all its own. Sprinkled in for some big picture per- director David Shane for the job, and So ironically television’s highest honor, spective (see sidebar) are execs from ® ATAS/NATAS the joy of Emmy recognition. the Emmy, was bestowed upon a spot that leading organizations the AICP, the See page 14 AICE, the Hollywood Post Alliance Continued on page 8 (HPA) and the Production Equipment Rental Association (PERA). Hawaii Series: The Aloha Continued on page 18 State Of Production Incentives And Infrastructure The Women Boost Spots On The Islands. Dove Enters Feature Film Arena With See page 15 By Robert Goldrich ‘06 with the viral spot “Evolution” less has done breakthrough creative Booth Luce play. The remake has a LOS ANGELES—With the passage of and then last year with the viral film work that has garnered much public- cast that includes Meg Ryan, Annette nearly 70 years, the remake of direc- “Onslaught”—has made a name for ity as well as assorted industry honors, Bening, Eva Mendez, Debra Messing, tor George Cukor’s classic 1939 film itself by taking to task the unrealistic a centerpiece example being “Evolu- Jada-Pinkett-Smith, Candice Bergen, The Women—this time with Murphy fashion model-like beauty standards tion” winning the Grand Prix in both Bette Midler, Cloris Leachman, Carrie Brown creator Diane English writ- that are being imposed on women in the Film and Cyber competitions at Fisher and Lynn Whittfield. The film, ing and directing—was bound to have today’s society. the ‘07 Cannes Lions International a Picture House release produced by some contemporary spins. But one Praised by some for tackling un- Advertising Festival. Jagged Films, premiered nationwide that wouldn’t have been readily antici- healthy stereotypes and critized by Now Dove has taken its initiative to in theaters earlier this month (9/12). pated is the involvment of Unilever’s others for exploiting the issue for the theatrical feature realm with The Asked to discuss Dove’s role in the © Honolulu Film Office© Honolulu Film Dove brand, which—dating back to brand-building gain, Dove nonethe- Women, based on the famous Clare Continued on page 10 Powered By The SHOOTonline Publicity Wire Launched In February, BN Now Has Over 7,000 Opt-In Subscribers. The Latest Publicity News for the Advertising, Broadband, Filmmaking And Television Production And Postproduction Industries Founded with the mission of delivering timely new product and services information covering thewide range of companies, people, products and services involved in the Advertising, Broadband, Filmmaking and Television Production and Postproduction Industries. For all who are interested in knowing fi rst, sign up for your FREE subscription NOW! Go to www.SHOOTonline.com/go/subscribe Read & Find... New Products | New Services | New Research | People on the Move | Mergers & Acquisitions | New ScreenWork Your business side. Your creative side. Inspire both. Introducing Avid’s new editing lineup. An evolutionary system architecture that delivers what’s most important to you. Quality, performance and value. A new way of thinking. A new way of doing business. Take a closer look at Avid.com/Editors/Shoot. © 2008 Avid Technology, Inc. All rights reserved. Avid is a registered trademark of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries. Perspectives spot.com.mentary By Robert Goldrich THE LEADING PUBLICATION FOR COMMERCIAL, INTERACTIVE, & BRANDED CONTENT PRODUCTION Bill Melendez September 26, 2008 Volume 49 • Number 16 While a primetime and it struck me that his warmth, sweet- Melendez’s involvement even in- studios as United Productions of Amer- www.SHOOTonline.com commercial Emmy ness and decency were the same traits cluded his voice for the Snoopy char- ica (UPA) and Playhouse Pictures. And EDITORIAL nomination for that made Charles Schulz’s classic, trea- acter’s laughs and sobs. According to in 1959, he directed the first animation Publisher & Editorial Director Coca-Cola’s “It’s Mine” is hard to top, sured “Peanuts” cartoon strip so popu- Melendez’s obituary in the Los Angeles of the “Peanuts” characters for a series Roberta Griefer 203.227.1699 ext. 13 [email protected] praise of another kind certainly ranks lar and appealing. Times, the emergence of Melendez as of spots promoting the Ford Falcon. for me personally. In this case the praise Melendez, his studio partner Lee the voice of Snoopy sprung from for- Melendez’s accomplishments in Editor Robert Goldrich comes in the form of a thought that Mendelson and Schulz brought the tuitous circumstance. Schulz said that animation encompassed working at 323.960.8035 ext. 6681 [email protected] first crossed my mind upon seeing “It’s “Peanuts” characters to life on televi- Snoopy couldn’t talk. So Melendez ex- Walt Disney Studios, contributing to Contributors Mine” during this year’s Super Bowl— sion, helping to establish the format of perimented with making sounds that Pinnocchio, Bambi and Fantasia, as Christine Champagne that the spirit of the spot was Millie Takaki true to the classic Charlie Melendez’s warmth, sweetness and decency were the same traits that ADVERTISING Brown character as captured made the classic “Peanuts” cartoon strip so popular and appealing.. Sales Director, East/Midwest/Canada/Latin America Robert Alvarado in TV animation from the 203.227.1699 ext. 15 [email protected] great animator, director and producer the half-hour animated special of which suggested a voice and speeding them well as Mickey Mouse and Donald Sales Director, West Coast/International Jose Cuautemoc “Bill” Melendez. the Charlie Brown shows were a pio- up on audio tape. He had assumed a Duck shorts. Meridith Riley Melendez died on Sept. 1 at St. John’s neering staple. The very first “Peanuts” professional voice actor would do a He later animated Bugs Bunny, 323.960-8035 ext. 6685 [email protected] hospital in Santa Monica. He was 91. special, A Charlie Brown Christmas final recording. But time ran short Daffy Duck and other classic Warner Advertising Production I met Melendez once, back when he (originally sponsored by Coke), won and Melendez ended up serving as Bros.