Over the years when I heard the words “Grammy Hall,” two things came to mind. In the 1978 Oscar-winning best picture Annie Hall, Diane Keaton–playing the title role–tells Woody Allen (Alvy Singer) that the necktie she’s wearing was a gift from her Grammy Hall. The sound of the name Grammy Hall prompts Allen to ask Annie if she grew up in a Norman Rockwell painting.
More to the industry point, the other more obvious Grammy Hall reference for me would be to the National Academy Of Recording Arts and Sciences’ (NARAS) Grammy Hall of Fame in which music of lasting quality and/or historical significance resides.
But what I didn’t think of when hearing “Grammy Hall” was commercials–that is, until the recent passing of legendary ad man Hal Riney prompted some research which opened my eyes. It was Riney who while at BBDO San Francisco hired up-and-coming songwriters Paul Williams and Roger Nichols to compose a theme for Crocker Bank. The song, “We’ve Only Just Begun,” went on to become a number one hit by The Carpenters. Williams reflected on that experience and Riney in our last installment of this column (5/9).
“We’ve Only Just Begun” was inducted into the Grammy Hall of Fame in 1998. And while that to some might be a bit of interesting trivia, it carries particular relevance today as the Association of Music Producers (AMP) plans to petition NARAS for the creation of two Grammy Award categories honoring commercials–one for best original score, the other for best original song.
While AMP’s Grammy campaign (SHOOT, 4/18) is just getting underway and could face a long, hard road to its desired destination, Lyle Greenfield, recently elected AMP’s national board president, thinks the timing of such a lobbying effort is ideal in that commercial music is becoming more widely regarded as mainstream entertainment–so much so that major recording artists are embracing the ad discipline, and original music that strikes a responsive chord with audiences is regularly making spots standard fare on YouTube. (Greenfield is president/creative director of New York-headquartered Bang Music.)
Though I’m not much on awards shows–much less the need for yet another award–this industry lobbying effort is worthwhile because it promotes wider spread recognition of advertising music’s artistry and its creative artists. In many respects, Grammy Award recognition of commercials would be akin to the Directors Guild of America’s decision to recognize commercials with the establishment of a DGA Awards category in 1979. Today the DGA Award is arguably the most coveted honor for commercial directors.
So we’re jumping on the AMP bandwagon for Grammy recognition before there’s that large a bandwagon–but we’re confident there will be. As we sift through music for spots and branded content from week to week–not just for our regular coverage but also for SHOOT‘s quarterly Top Ten Tracks Charts–it’s clear that this music when done at its best is a most deserving art form that advances storytelling, message, emotional tone and ultimately is integral to connecting meaningfully with an audience.
“Se7en” Turns 30, Gets A Special Restoration From David Fincher For Its Re-Release
For David Fincher, seeing “Se7en” in 4K was an experience he can only describe as harrowing. That or a high school reunion.
“There are definitely moments that you go, ‘What was I thinking?’ Or ‘Why did I let this person have that hairdo’?” Fincher said in a recent interview with The Associated Press.
He’s OK with the film being a product of its time in most respects. But some things just could not stand in high-definition resolution.
“It was a little decrepit, to be honest,” said Fincher. “We needed to resuscitate it. There are things you can see in 4K HDR that you cannot see on a film print.”
Ever the perfectionist, he and a team got to work on a new restoration of the film for its 30th anniversary re-release. This weekend the restored “Se7en” will play on IMAX screens for the first time in the U.S. and Canada, and on Jan. 7, the 4K UHD home video version will be available as well.
The dark crime thriller written by Andrew Kevin Walker and starring Brad Pitt and Morgan Freeman as a pair of detectives looking for a serial killer was somewhat of a career-reviver for Fincher, whose directorial debut “Alien 3” had not gone well. “Se7en” was not a sure thing: It was made for only $34 million (and only got that when Fincher managed to persuade studio execs to give up $3 million more). But it went on to earn more than $327 million, not accounting for inflation, and continues to influence the genre.
Fincher has over the years overseen several restorations of the film (including one for laser disc) but decided this needed to be the last. It’s why he insisted on an 8K scan that they could derive the 4K from. He wanted to ensure that it wouldn’t have to be repeated when screens get more... Read More