Harry Cocciolo
San Francisco Zoological Society “Tail”
Agency: BBDO West, San Francisco
Production: Tool of North America, bicoastal
DP: Mark Plummer
Editorial: Nomad Editing Company, Santa Monica
Editor: Ben Longland
Blue Cross/Blue Shield of Wyoming “No Brakes”
Agency: Cactus, Denver
Production: Tool of North America
DP: James Whitaker
Editorial: The Whitehouse, London, New York, Chicago and Santa Monica
Editor: Kevin Zimmerman
Affiliation: Tool of North America, bicoastal
How did you get into directing? I studied advertising, design, and film at the Art Center College of Design, Pasadena, Calif. And I worked for years on the agency side as a writer and creative director at agencies like Goodby, Silverstein & Partners and Leagas-Delaney. Over the years, I directed small projects as the necessity arose, and I enjoyed that process. I wanted to do more of it. So I decided last year to focus on this side of our business.
Why do you want to direct commercials? Television and print start in the same place, with an idea. But the process is obviously, wildly different. With television you have more tools at your disposal. As it happened, I spent most of my agency life creating television work. Even when you are working with brands like got milk?, adidas, AT&T, and Budweiser, it is very difficult to communicate with real truth and humanity. To do it in thirty seconds is extremely difficult. But it is powerful when you make it happen. I enjoy that challenge.
What’s your most recent spot project? I just finished a campaign for Butler, Shine, Stern & Partners, Sausalito, Calif. It’s for Lucas Arts’ new Star Wars video game. We spent much of the time shooting Jedi lightsabers, among other things. It was a lot of fun to work within that mythology. ILM handled all the post effects work and we mixed at Skywalker Sound in Marin County. They were wonderful.
Do you have plans to work in other areas–e.g. shorts films or features or TV? Have you ever done any of that in the past? I am focused on commercial direction. I enjoy the process. But what gets me excited is a great idea, something interesting, with real relevance to people. It can be funny or moving or something else all together. And that isn’t limited to any one format or medium.
What do you think is the best part about being a director? I like that the job puts you in the middle of all areas of the production. If you want it, there is a place for you in every decision and discussion. If you’re the kind of person who enjoys the process, that’s a wonderful place to find yourself. The tough part is that the process is not always within one person’s ability to control. It takes on a life of its own. Every day offers new challenges. And somewhere, hidden among them, there are opportunities to make the thing great. Unfortunately they don’t always announce themselves. You have to keep your eyes open and tease them out. That can be stressful. But that’s what separates the good from the bad.
Who is (are) your mentor(s)? Working with Jeff Goodby and Rich Silverstein, among other things, showed me how high you can set your standards and still be successful.
Not counting your own work, what’s your favorite recent ad? Why? I quite liked the work done for Sprint last year [out of Publicis & Hal Riney, San Francisco]. The campaign with the kids who were being charged for their “macaroni minutes” overtime, etc. It isn’t flashy or even pretty. It looks the way the idea suggested it should look. Cell phone services and prices are incredibly confusing, uninteresting and difficult things to talk about. Just imagine the brief. To create something that speaks that truthfully, that simply, is remarkable.
