How Do Agency Folks View Director’s Cuts? Sr. VP/ECD Ian Barry Explains.

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At age 8, second generation ad wizard Ian Barry pitched his first advertising campaign, now he’s Senior VP/Executive Creative Director at Cramer Krasselt Phoenix. We chat about how his agency chooses directors, swap stories from the trenches and he explains what a “chemistry meeting” is. After nine years and dozens of spots with this funny

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Top 5 Tips From Casting Director Danielle Eskinazi.

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Do actors really need to wear the same outfit to the callback as their first audition? How much should you fawn over the director? Hey agency folks, why did you call everyone back? Casting is always crucial, so working with a deft casting director is a must. Danielle Eskinazi is one of the best. She

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What Does The Client Think? Ask Andy Baker.

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Andy Baker is SVP/Group Creative Director for the National Geographic Channels. Technically, he’s the client. He runs an in-house staff of highly creative people, so he’s also the agency. As a hands-on filmmaker, Andy shouts his mantra of collaboration from the mountain top. His must-read blog, the client blog offers insights for all. Listen as

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Crash Course In Latin Market Advertising With Marcos Cline-Márquez

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Marcos Cline Márquez is Executive Producer of Altered.LA, a commercial production company that services the U.S. Latin Market. What is that market? If 80% of Latinos in the U.S. speak English, why make ads in Spanish? In any language, AlteredLA is a collection of great storytellers. You’ll love Marcos’ advice for new directors. For a

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What Does A Grip Do? Nick “Soda Pop” Franchot Explains.

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My guest Nick Franchot is a second-generation Key Grip and one smart filmmaker. His experience ensures the shoot runs smoothly. So just what does the Key Grip do? Don’t Grips just lift the heavy stuff? And why does everyone keep calling Nick “Soda Pop”? Nick anticipates the DP’s needs, collaborates with the Gaffer, and supports

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Y&R Chief Creative Officer Jim Elliott Climbs The Volcano At 3am.

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Jim Elliott, Chief Creative Officer at Y&R NY, leads by being a hands-on creative. Never one to shy away from hard work, Jim once donned a boy scout uniform for a spot we did back in the day. Hear that story, what he learned from ad titan Jeff Goodby, and how respecting the process means

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Making Ads and Love with Directing Team Jacob Slade.

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Blissfully married and immensely talented, the directing duo Jacob Slade represents the perfect union of creativity and love. Besides being the cutest couple I’ve ever met, Enno Jacobsen and Kristina Slade have started directing together. Well, it’s about time! The two been collaborating on each other’s individual assignments since the day they met. Do they

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Co-Chief Creative Officer Bill Wright Explains Why Good Enough Sucks.

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Innovators Bill Wright and James Dawson-Hollis are Co-Chief Creative Officers at Ogilvy West. They’ve won wheel-burrows full of awards at Cannes, The One Show and every other major advertising show. This dynamic duo have more Gold Lions than anyone I’ve ever met. I chat with Bill in the editing room. He inspires us with his

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Super Bowl Spots Reviewed.

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Considered the Oscars© of Advertising, the Super Bowl allows our clients to strut their stuff, creatives to go big, and viewers to be entertained. For directors and agency folks, it’s a big deal. My sincere congrats to all that made it to the big game. Here are my thoughts on what we all enjoyed. Side

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How to shoot hidden camera Superbowl spots with Director Michael Addis.

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Comedy director Michael Addis is my hidden camera guru. He’s the go-to guy for successfully mining humor from an unsuspecting public.  I chatted with Michael the night before his shoot for a Superbowl spot. The thrill of the unknown, shooting without a net in New York City, is what he lives for. In this episode,

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