SHOOT‘s third annual New Directors Showcase–which will be marked by an evening screening and panel discussions slated for next week (5/19) at the DGA Theater in New York–offers a total of 21 helmers (including a two-man team) from diverse backgrounds.
Prominent in the mix, though, are ad agency artisans who have acted on their directorial aspirations, including:
- Harry Cocciolo–former executive creative director at See, San Francisco, and prior to that partner/creative director at Leagas Delaney, San Francisco, and a creative at Goodby, Silverstein & Partners, San Francisco–recently embarked on a directing career, signing with bicoastal Tool of North America (SHOOT, 3/25, p. 1). He earned inclusion in the SHOOT Showcase based on his San Francisco Zoo spot, “Tail,” out of BBDO West/San Francisco, and Blue Cross/Blue Shield of Wyoming’s “No Brakes” for Denver agency Cactus.
- Greg Popp just landed his first production house roost, joining the directorial roster of bicoastal Supply & Demand (see story, p. 1), after a lengthy tenure at DDB Chicago, most recently as senior VP/group executive producer. While at DDB, he directed Budweiser and Bud Light spots, several of which made the grade for the SHOOT Showcase.
- David Gray, who now directs via bicoastal/international Hungry Man, has an agency pedigree, which includes his serving as a creative at Goodby, Silverstein & Partners, San Francisco, and BBDO New York. His work for Starter out of agency Southpaw, and The Guardian for BMP DDB, London, helped him make his way into the Showcase.
- And Jeremy Arth, who is currently an associate producer at Young & Rubicam, Chicago. While at the agency, he has forayed into directing. He earned Showcase status on the strength of several projects, including local PSA work for Y&R, most notably “Spare Change” for the American Red Cross’ Chicago chapter.
Indeed, either former or current agency staffers constituted one of the largest segments from which the Showcase drew entrants–several who recently signed with production houses, and others who have yet to make the jump to the production company side of the fence. There was even an agency creative entrant (not picked for the Showcase) who’s helming spots under a nom de plume, while maintaining his day job at an ad shop.
MARANDI, STAAV
By sharp contrast, there were relatively few Showcase entries from women directors. This mirrors the limited number of female director submissions SHOOT receives on a weekly basis for its “The Best Work You May Never See” gallery, which draws a healthy flow of projects from aspiring helmers. This shortfall–while not part of a scientific survey–at least suggests that there’s much room for improvement in this area.
Nonetheless, two women helmers were among the Showcase honorees: Sara Marandi of bicoastal/international @radical.media for her work, including a teaser trailer for The Stepford Wives which was done while she was at bicoastal Imaginary Forces; and Yael Staav of Reginald Pike, Vancouver, B.C., and Toronto, for several commercials, most notably a campaign done on behalf of the ALS Society of Canada via BBDO Toronto. One of the ALS spots, “Hugging,” recently gained recognition in our “The Best Work You May Never See” gallery (SHOOT, 4/8, p. 11).
Web-based fare was also prominent among entrants, helping to propel three directors into the Showcase: Henry Littlechild of Outsider, London and Santa Monica; Wyatt Neumann of Never Stop, New York; and Brooklyn-based Joe Leih, who is seeking a stateside production affiliation. Leih recently secured representation in Canada via Sparks Productions, Toronto.
Leih’s mock PSA for marcandtom.com has created a stir throughout the ad biz for its originality and tongue-in-cheek comedy appeal. The piece was covered in SHOOT‘s iWork section earlier this year (1/21, p. 8 ).
Outsider’s Littlechild scored with several viral ads, including Ford Sportka’s “Bird” for Ogilvy & Mather, London. In the darkly humored, offbeat “Bird,” a pigeon swoops down to roost on a Ford Sportka; the car’s hood suddenly pops up, throwing our feathered friend to a surprisingly untimely end. The Sportka is then billed as the Ford Ka’s “evil twin.”
Neumann’s stock rose with his work for Rainier Beer out of Cole & Weber/Red Cell, Seattle. The Rainier Vision campaign recently won a Gold Cube honor in the inaugural hybrid category at the 84th annual Art Directors Club competition (SHOOT, 5/6, p. 1). The hybrid category recognizes content that communicates across a variety of platforms. The Rainier package included elements such as a cable access show, TV spots and Web executions that exhorted consumers to “Remember Rainier Beer.” Two of the Neumann-helmed Rainier ads are part of the SHOOT Showcase reel.
Another director with some Web color is Alan Poon of Biscuit Filmworks, Los Angeles. His Converse spec piece “Spin The Bottle” sprung out of that client’s Web-based Gallery contest seeking filmmakers to put their creative prowess to bear on shorts. The Converse Gallery was conceived by Butler, Shine, Stern & Partners, Sausalito, Calif. Also helping to earn Showcase inclusion for Poon was his short film, Tomorrow Will Be Better.
Among the Showcase helmers from outside the U.S. are Brett Wild of Picture Tree, Johannesburg; The Shammasian Brothers (Ludwig and Paul) from Godman, London; and the aforementioned U.K.-based Littlechild of Outsider, and Staav from Canada’s Reginald Pike. The Shammasians’ “Learn to Listen” for Bang & Olufsen is featured in this week’s “The Best Work You May Never See” gallery.
“BEST WORK”
Speaking of SHOOT‘s “Best Work” gallery, projects covered in that section wound up surfacing in the Showcase field of helmers. These spots included: Cocciolo’s “Tail” and “No Brakes”; Staav’s “Hugging”; the Los Angeles County Fair’s “Classroom,” directed by Chris Nelson of Little Minx@rsa, Los Angeles, a sister shop to bicoastal RSA USA and RSA Films, London; the American Lung Association’s “Odds” directed by Paul Santana; and Loyola Marymount University’s humorous “Static Cling” helmed by Michael Downing of Santa Monica-based harvest.
Downing has since attained a higher industry profile with this year’s Super Bowl telecast debut of his Bud Light spot “Sky Diver.” That piece rose from spec spot to Super Sunday status, rating number one in USA Today‘s Ad Meter, which ranks the popularity of each year’s crop of Super Bowl commercials (SHOOT, 3/11, p. 7).
Meanwhile the earlier alluded to “Odds” for the American Lung Association was a spec spot, directed by Santana who is one of several directors in the Showcase seeking a production house roost. Another prominent spec entry was Apple’s “iSpec,” a visual/design tour de force from director Joseph Kosinski, a savvy digital production artisan who just came aboard bicoastal Anonymous Content.
Another Showcase director to recently join a production house was Ben Weinstein, whose Sony PlayStation Major League Baseball game campaign–specifically the commercials “Chavez” and “Mr. Met” for TBWA/Chiat/Day, Los Angeles–earned him inclusion among the SHOOT ranks of up-and-coming helmers. Weinstein signed with Santa Monica-based Notorious 24:7, Santa Monica.
Matt Ogens, who is with bicoastal Headquarters, is another Showcase inductee. Ogens’ Wildaid spot “Defense” with pro basketball star Carmelo Anthony has generated quite an industry buzz.
The feature Napoleon Dynamite also played a role in this year’s Showcase. Jared Hess, the director of that surprise comedy hit film, helms commercials via bicoastal/international Moxie Pictures. His Showcase entries included Nike.com’s “Winner Take Steve” and McDonald’s “Ecstatic.”
And director Aaron Ruell, known for his portrayal of older brother “Kip” in Napoleon Dynamite, recently joined Area 51, Santa Monica, to helm spots and music videos. His first work via Area 51, a campaign for iSoldIt, out of Seattle agency Big Bang, helped him gain Showcase status. Also among Ruell’s directorial credits is the title sequence for Napoleon Dynamite.
