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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Shooting On Fake Airplanes With Ghosts And Ted Haler.

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Chatting with Ted Haler of Aero Mock-Ups reveals many insights about respect. During prep, Ted offered nothing but solutions, so I knew he’d be a great guest.  We talked on the day before my Ogilvy 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.  He’s been busy shooting comedy spots, high fashion, luxury cars and Comedy Central’s The Jeselnik Offensive.  He claims comedy is harder to shoot than fashion. Who knew? Find out who’s a bigger diva: Oprah or Snoop Dog?  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.  Today Toby is a highly prolific copywriter at Doner in Detroit.  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.  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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