I magine that the networks are kind of freaking out about Nielsen’s intent to start monitoring advertising ratings, not just the program components,” observed John Leverence, VP, awards, for the Academy of Television Arts and Sciences (ATAS). “Especially since the cost of advertising would no longer be pinned to how many people are watching American Idol but how many are watching the commercials when American Idol takes a break.”
In this regard, the 2006 field of nominated commercials for ATAS’ primetime Emmy (covered in SHOOT’s 7/7 and 7/14 editions) takes on particular relevance, according to Leverence. The spot nominees are: FedEx’s “Stick” directed by Traktor of Partizan for BBDO New York; Budweiser’s “Clydesdale American Dream” helmed by Joe Pytka of PYTKA for DDB Chicago; Ameriquest’s “Concert” directed by Craig Gillespie of MJZ for DDB Los Angeles; and Hallmark’s “Required Reading” directed by David Harner of and for Leo Burnett USA, Chicago. (Harner now directs commercials via The Institute for the Development of Enhanced Perceptual Awareness.)
Leverence notes that these Emmy nominated spots each parallel a different entertainment TV program genre. Hallmark’s “Required Reading” is a classic case in point–a two-minute-and-45-second tug-at-the-heartstrings commercial with narrative sensibilities akin to the Hallmark special movie or miniseries presentation it sponsors.
“Required Reading” tells the story of Ed, an adult who walks somewhat hesitatingly into a classroom for reading lessons. The teacher starts him with a children’s book, the title of which he can’t read. Subsequent lessons show the man slowly yet steadily making progress until he can read on his own. We then see him at home where he opens a box containing greeting cards he’s received over the years. He reads the first one: “Papa means love. I now this is true. I know it because my papa is you. Happy Father’s Day, Papa.” It is signed, “Love, Jenny.”
“A viewer buys into the Hallmark show and he or she is never going to have to leave that genre for those two hours. You don’t step out of the program and into the commercial void when there’s a break,” observed Leverence. “There’s no interruption in the type of entertainment you have committed yourself to–which in that sense is an interesting twist on product placement. You’re not putting the Hallmark card on the table in the movie. But you have the Hallmark feel as part of the commercial which is an extension of the movie or miniseries. It’s a seamless transition across that former chasm between program and commercial.”
Similarly, Leverence parallels the storyline, tone and tenor of Budweiser’s “Clydesdale American Dream” to those of a telefilm (a youth striving for excellence, with his parents helping behind the scenes), Ameriquest’s “Concert” to those of a sitcom (replete with misunderstood situations and sexual innuendo generating laughs), and FedEx’s “Stick” to those of well done sketch comedy (instead of “Stick,” it should be titled “Schtick,” quipped the ATAS VP).
“The nominated commercials this year were almost kind of a program bridge–there wasn’t a distinct separation between program and commercials,” related Leverence. “The commercials carried a high entertainment value, almost standing on the shoulders of the program they were sponsoring.” Such an approach, he conjectured, could make the Nielsen shift in audience measurement a moot point in that viewer drop-off, if any, would likely be minimal when spots are so well crafted and engaging.
Where The Buffalo Roam Signs Director Geordie Stephens For Spots and Branded Content
Production company Where The Buffalo Roam (WTBR) has signed director Geordie Stephens for U.S. representation spanning commercials and branded content. Stephens is known for his subtle performance-driven comedic style, emphasizing art direction, production design, and cinematography. Previously represented by Tool of North America, Bullitt and FANCY, Stephens has a commercial portfolio which includes such global brands as Mini Cooper, HP, Toyota, Bud Light, and Burger King. A former agency creative, Stephens transitioned to the director’s chair following a lengthy career on the agency side as a creative at Butler, Shine & Stern and CP+B Miami, among other shops.
PJ Koll, WTBR co-founder and executive producer, said of Stephens, “His expertise and talent perfectly complement our creative strengths, enhancing our ability to deliver at the highest level. We feel incredibly fortunate to have him join the herd.”
“When I met Tim [WTBR exec producer Pries] and PJ, we immediately hit it off,” added Stephens. “They’re super sharp, funny, and good people who have assembled a very interesting mix of talent with different skills. As a director, I’m always looking for simple human truths that everyone can relate to in a humorous and smart way. The Buffalo team specializes in the small wink, so they get my sense of humor and will give me the platform to keep pushing great work forward.”
During his advertising career, Stephens spearheaded campaigns for IKEA, Truth, Virgin Atlantic, Burger King, Sprite, and Volkswagen. His work also won top prizes at the Cannes Lions and Clios and has been honored by numerous One Show and AICP awards.
Raised in an artistic community in California’s Marin County by his writer-mother and... Read More