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 Oscarsยฉ 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. ย 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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Shooting On Fake Airplanes With Ghosts And Ted Haler.

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Chatting with Ted Halerย ofย Aero Mock-Upsย reveals many insights about respect. During prep, Tedย offered nothing but solutions, so I knew he’d be a great guest. ย We talked on the day before myย Ogilvyย shoot about world peace, movies versus commercials, and the ghost of Stan Laurel. Ted is a wise soul who reminds me humility is a huge part

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Cinematographer Jordan Levy Beseeches Young Filmmakers to Respect The Process.

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My friend Jordan Levy is a great cinematographer, always in demand. ย He’s been busy shooting comedy spots, high fashion, luxury cars and Comedy Central’s The Jeselnik Offensive. ย He claims comedy is harder to shoot than fashion. Who knew? Find out who’s a bigger diva: Oprah or Snoop Dog? ย This episode settles into a very technical

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Ad Agency Insights from Copywriter Toby Nunez.

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Toby Nunez shares his journey from starving artist (while working on the Ford assembly line making windshield wiper motors) to his first agency gig as an art director. ย Today Toby is a highly prolific copywriter at Doner in Detroit. ย He still cranks out some pretty twisted artwork on his personal site. Toby tells me that

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Editor Bill Marmor Puts the Puzzle Together Perfectly.

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Working with a great editor, like Bill Marmor, ensures your footage will be fully realized into a great spot. Bill explains his process for editing commercials. ย We discuss how he finds those magic moments and why he did not like “The Secret Life of Walter Mitty”, which I loved. We also chat about objectivity in

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Top 5 Steps to Make Your Dream Project a Reality.

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This episode will surely invigorate your creative juices! My 5 easy steps get your passion project off the couch and onto the screen. Enough already! I was lucky to have a mentor in Al Burton, a crazy, genius producer that taught me his “10 Steps to Success” in show business. ย Sadly, I can only remembered

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It’s Always Sunny in Philadelphia Director Richie Keen Gives Us The Lowdown.

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Richie Keen directs hit sitcoms, most recently “New Girl” & “Mixology”. He makes hilarious sketches. (See:ย Funny Or Dieย shorts,ย  “Important Things with Dimitri Martin”). And he’s shot commercials in the former Soviet Union. If it makes him laugh on the page, he’s usually game. ย And after directing multiple episodes ofย “It’s Always Sunny In Philadelphia”, it seems

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Director Keith Schofield. Brilliantly bizarre.

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His spots are meticulously executed, while his music videos are wonderfully bizarre. Director Keith Schofield won the prestigious Gold Lion at Cannes and helped define “viral video”. I love that he posts his treatments on his website for all to see, which indirectly influenced me to start this podcast. Hear why… Oh yeah. I need

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