Many of the spots honored at the AICP Show earlier this week were covered as Top Spots or featured in SHOOT during the past year. While this largely high-profile work—such as BMW of North America’s Web-based shorts, Volkswagen’s "Squares," Nike’s "Streaker" and Saturn’s "Sheet Metal"—received richly deserved recognition, it’s the lesser known commercials that offer SHOOT a special form of gratification because many of them were first covered in our "The Best Work You May Never See" gallery.
For example, a spec spot category honoree, Beer Nuts’ "Pulled Over" was part of the SHOOT gallery. The piece was directed by Rent Sidon of bicoastal Public Domain (SHOOT, 8/2/02, p. 11).
In the public service announcement category, a spot for the Children’s National Medical Center, "Hose," scored at the AICP Show. The PSA was directed by Neil Tardio Jr., who at the time was with Los Angeles-headquartered A Band Apart. He has since joined bicoastal Go Film. Agency was Earle Palmer Brown, Bethesda, Md. "Hose" made SHOOT’s gallery nearly a year ago (6/21/02, p. 11)
Guinness’ "Lava," honored in the AICP Show’s advertising excellence/international category, made "The Best Work You May Never See" in September (SHOOT, 9/27/02, p. 11). "Lava" was directed by Rupert Sanders via Outsider, London, for AMV/BBDO, London. (Sanders is repped in the U.S. by Omaha Pictures, Santa Monica.)
Two of the three AICP Show honorees in the low budget category also earned distinction in "The Best Work You May Never See": Accuserv’s "Paper Tray," directed by Steve Burrows of Backyard Productions, Venice, Calif., and Chicago, for Eisner Underground, Baltimore (SHOOT, 3/28, p. 17); and Suburban Auto Group’s "Trunk Monkey," directed by Derek Barnes via Hidden City, Portland, Ore., for agency R. West, Portland (SHOOT, 2/14, p. 11).
Barnes, whose full-time job is that of copywriter at Wieden+ Kennedy, Portland, was one of the helmers chosen for SHOOT’s New Directors Showcase, which segues nicely to director David Preizler of bicoastal Person Films. Preizler helmed "Aquaman" for Speedo, which was honored in the AICP Show’s student commercial category. He also served as art director/copywriter on the spot while a student at Art Center College of Design, Pasadena, Calif. (Timothy Kendall and Chad Rocco, the respective directors behind the other two AICP Show student commercial honorees, were just signed by IPS Productions, Valley Village, Calif.—see story, p. 7).
Preizler was among the field of 20 selected for SHOOT’s New Directors Showcase. To see Preizler and Barnes go on to garner honors at the AICP Show further validates their inclusion in our showcase of young talent.
And when the other aforementioned spots first made "The Best Work You May Never See" gallery, the likelihood was that they wouldn’t gain widespread exposure or much additional recognition, particularly the PSA, spec and low budget fare. For this work to go on to be honored by the prestigious AICP Show and become part of what has come to be known as "America’s Reel" is particularly satisfying to SHOOT. We’re glad to be proven wrong that these spots—designated as being "The Best Work You May Never See"—will indeed be seen by industry audiences throughout the U.S. and worldwide when America’s Reel goes on its road tour for screenings at museums and cultural institutions domestically and internationally. The AICP Show-honored commercials also become part of the permanent collection in the archives of the Film and Television Department of the Museum of Modern Art, New York.
