Tag: directing.

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.

Ranger Jim circa 2005.
Ranger Jim circa 2005.

Hear that story, what he learned from ad titan Jeff Goodby, and how respecting the process means preserving the integrity of the idea.

We chat about the new landscape of advertising, and all the wondrous possibilities. He shares his thoughts on what makes a good conference call. You hear his passion for great advertising in his voice. Jim’s a funny man and this episode is a gem.

I love this spot from Jim and his Y&R team:

Click here: “Ranger Jim” to see an old Rainier Beer spot I directed, starring Mr. Elliott. More than just spots, Jim and his team (CD Guy Seese gets mad props) conceived a long form web film, social & grass roots components and interactive stuff – all in the pre-Facebook era. I believe Jim is part soothsayer.

Here’s another Rainier Beer we did. Damn old.

Rainier Beer Campfire from Matthew Ralston on Vimeo.

A nice archival press on Jim in Advertising Age.

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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 fight on set? How do they delegate the directorial responsibilities? What is roshambo? Listen, love and share.

Their personal passion project is “The True Tall Tales of Advertising.” Call them at 415-952-0995 and leave a story.

The two collaborated on one of my favorite spots, a classic with Maria Bamford for Target. For more click here.

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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 writing techniques, explains his work ethic, and shares wisdom learned while working alongside ad wizard Alex Bogusky from the his tenure at CP+B, and more. Back when I showed my boys the powerful “Truth” anti-smoking spots, I never knew I’d one day work with the man who named the campaign. Truly flattered to have Bill on the show.

Here’s the first spot I directed for them:

A look back: Adweek listed them “Top Creative Minds in Digital”.

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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 note: Bruno Mars kicked ass, so we should all stop making fun of the lil’ fella.

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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, we learn the terms used in hidden-camera production, how to run a clandestine shoot, and where to hide the cameras. Just how useful are GoPro’s and gimmicky eyeglass spy cameras? How does he cast the actors in on the gag?

Of course, we share stories about respecting the process. This is really valuable insight from one of my best friends.

Here’s how they invited people to the Super Bowl.

Watch this Addis-helmed hidden-camera spot for Toshiba.


 

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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 of respecting the process. I guessed he’d been an actor. You’ll recognize him as the grizzly “Tow Truck Driver” from “Strange Days”.

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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 talk: Angénieux zoom lenses, Kubrick primes and custom-made Russian lenses. We talk RED Camera vs. Arri Alexa vs. 5D. Jordan has mastered them all, so hear his opinion.  With 35mm film going bye-bye, how does that effect the cinematographer’s control of the look?  Jordan tells how he maintains influence.

We end the chat with Jordan stressing the importance of respecting both the process & everyone’s role on set.  Especially you young filmmakers! Listen up, whippersnappers.

Watch this trippy music video Jordan shot for Snoop Lion and Miley Cirus. How much of this is in-camera? Did Miley behave? Can we call him Snoop Dog again please? Answers revealed in the podcast.

Click here for more of Jordan’s work.  Please rate us on the iTunes.  I’ve also started a Facebook page, so comment.

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 “respect the process” is his mantra. You’ll also hear about the time I met Eddie Van Halen in an elevator.

Here is the Krylon spot we shot last year.

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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 the cutting room, and the pros and cons of editing in the nude.

Click on Bill’s name above to see his fine work. His spot for Secret Deodorant with all the top supermodels is most arousing, because it is well edited. (It’s the ninth on the reel, so watch them all.)

Here’s the trailer for the documentary “Sign Painters” that Bill cut. Quite a different task than editing commercials. Hear why.

SIGN PAINTERS (OFFICIAL TRAILER) from samuel j macon on Vimeo.

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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.  Sadly, I can only remembered three, and so I made up two more of my own. Enjoy and let me know if this helps.

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This is a project comedian Eric Foley and I did for fun. 9 spots by lunch, then we called it a day. 4 spots will play continuously after the ad.

“Harold’s Bad Day” – a short film we made for Slamdance, written by RJ Buckley. Great fun, great cast. Exactly 11 minutes.

Harold’s Bad Day from RJ Buckley on Vimeo.