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    2019 Year End Survey – John McAdorey

    By SHOOT StaffUpdated:No Comments491 Views
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    3) Generation Lockdown was the most important work I did in 2019. My brother is a lacrosse coach at Marjorie Stoneman Douglass in Parkland so I jumped at the opportunity to partner with MFOL. The producers at Hungry Man and I spent six months researching companies that would allow us to shoot our drill in their workspace…and while the awards and accolades are great the most important reward from that project is that it started so many conversations about what our children are learning every day at school.

    4) Definitely getting a sense that there are more entertainment style jobs coming our way…which is a great and exciting challenge for the producers on my team. One of our deliverables for Super Bowl 2019 was a half hour documentary that ran on CBS Sports and the NFL Network – after doing so many digital executions it was fun to have the opportunity to do a feature length execution.

    5) Across all of our Verizon production platforms we are consistently learning to be more ergonomic and nimble. This will continue into 2020 as we producers will continue to be charged with leading the ways to efficient production solutions to accommodate tighter timelines and budgets. My production team is continuously keeping up with trends and learning how to problem solve in real time so we can keep ambitious programs on track creatively and financially.

    6) Every year I challenge myself to do something impossible. From running marathons, to a small part in a big movie, there always needs to be a goal personally and professionally. For 2020 we have a few big hills to conquer.

    John McAdorey
    Director Of Verizon Production
    McCann



    Does “Hundreds of Beavers” Reflect A New Path Forward In Cinema?

    Monday, November 25, 2024

    Hard as it may be to believe, changing the future of cinema was not on Mike Cheslik's mind when he was making "Hundreds of Beavers." Cheslik was in the Northwoods of Wisconsin with a crew of four, sometimes six, standing in snow and making his friend, Ryland Tews, fall down funny.

    "When we were shooting, I kept thinking: It would be so stupid if this got mythologized," says Cheslik.

    And yet, "Hundreds of Beavers" has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik's film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.

    "Hundreds of Beavers" is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.

    No one would call "Hundreds of Beavers" expensive looking, but it's far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck's snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and "Naked Gun."

    At a time when independent filmmaking is more challenged than ever, "Hundreds of Beavers" has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.

    After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, "Hundreds of Beavers" has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.)... Read More

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