While spec spots have launched the careers of numerous directors-and in some cases, helped to change marketplace perceptions of already established commercialmakers-the nature of that work, when initiated and solicited by ad agencies and/or clients, has been cause for concern in the production company community (see lead story, p. 1).
Some production houses contend that if they’re going to invest in spec fare for their directors anyway, why not do so with an Anheuser-Busch assignment that theoretically has a better chance of airing and gaining exposure for a new directorial hopeful?
However, opponents allege that it’s inequitable for production companies to carry all the risk and financial responsibility on such spec work without having some real reward on the back end. Presently, even if, for example, a major advertiser solicits and adopts a finished spec piece, there’s no guarantee that the production house will even be fully reimbursed for its costs, according to the AICP. This has prompted suggestions as to possible meaningful forms of compensation. For instance, in exchange for a client picking up a spec spot, the production house could be awarded an agreed upon amount of paid work for that advertiser over the next year or two. Or it’s been proposed that the production house should be able to retain ownership of a spec spot. Then if that client or another advertiser wants to run the piece, the production house could perhaps sell or lease it to the interested party.
Taking this notion of just compensation from the hypothetical to the real world is Chuck Jessen who directs via Jessen Productions which recently opened in Venice, Calif, while maintaining its long standing San Francisco office. Jessen first established himself on the agency side some 17 years ago as an account executive and supervisor. He then made the transition to the creative end as a writer at Young & Rubicam, San Francisco, and a creative group head at DDB Needham San Francisco. In ’92 he launched San Francisco-based Jessen Advertising. But when he began to direct select spots for his clients-a byproduct of the hands-on philosophy at his small fledgling shop-his career path took a detour.
The turning point came in December ’95 when Jessen directed "Sledgehammer" for Marin County, Calif.-based Blake’s Auto Body. (Blake’s now has three Northern California locations.) The commercial shows a woman smashing a car with a sledgehammer. She enjoys a catharsis of sorts, believing that she’s dismantling the beloved automobile of an ex-lover. But revenge is short-lived with the realization that the car belongs to someone else.
The comedic piece went on to gain recognition in numerous ’96 awards shows, making the short list at Cannes, being named a Clio finalist, receiving a District ADDY citation of excellence, as well as a Silver award at the London International Advertising Awards, and winning the local one-market category in the International Broadcasting Awards (IBA) competition.
"Sledgehammer" was born out of body work Jessen was having done on his car at Blake’s which up until then had been airing a fairly uninspired, typical come-on-in commercial on local cable outlets. Jessen suggested to the body shop proprietor that a more entertaining spot could be done. Jessen took much of the up-front risk in terms of creating and producing "Sledgehammer." Blake’s offered some financial support and embraced the spot, airing it to rave reviews and great public response-and all the while, Jessen retained the right to license the commercial to other clients. He began licensing the piece to auto body shops in other U.S. markets. And slowly, he built a syndication network for "Sledgehammer."
"I thought the concept was sound, enabling body shops to get a high quality production for a fraction of what it would cost them to produce it themselves," related Jessen. "But the idea didn’t have a lot of success right away until I got smarter about how to market it." He advertised in body shop trade publications, went to trade shows and got "Sledgehammer" into the hands of local entrepreneurs. "
He would up syndicating "Sledgehammer" in some 40 markets. Then he created, produced and directed his second auto body shop spot, "Falling Star," in May ’97. The ad went on to become a ’98 Clio finalist in the automotive products category. Then came "Snowplow" which won local and regional district ADDYs, earned Clio finalist status in the local campaign category, and was just named an IBA finalist. And his latest, "Wrong Turn," continues in the humorous, kudo-garnering tradition, having made "The Best Work You May Never See" gallery (SHOOT, 3/26, p. 17), and copping a pair of Silver Telly Awards.
"Wrong Turn" opens on a station wagon carrying a vacationing family of four, lost on a desert road. Not listening to his wife who says they should continue to go straight, the dad confidently makes an abrupt right turn, not realizing he has entered a weapons-testing zone. After fighter jet planes bomb the road, the station wagon limps back over the hill, smoldering and badly damaged-the family now with blackened faces and tattered clothes. Choosing to ignore his blunder as well as his angry spouse and kids, the father begins whistling to the tune of "If you’re happy and you know it, clap your hands." Just as the car’s bumper falls off, a voiceover asks, "Need a body shop?"
Jessen has successfully syndicated all four spots. At press time, he had recouped about 70% of his costs on "Wrong Turn" by licensing the ad to several select markets. He projects that this most recent job will turn a healthy profit. And at this juncture, he’s established credibility in the body shop market, resulting in more pre-sales based on his storyboard. Jessen’s work appeals to those local body shops that are looking to stand out from their competition and are willing to pay anywhere from four to 10 times what they’re used to paying for a typical retail spot that would often be produced by a local cable station crew.
The syndication business has in turn enabled Jessen to broaden his directorial horizon. It funded his new space in Venice where he figures to be based most of the time. He reasoned that he needed a strong Southern California presence to pursue an independent feature he has in the works as well as other spot opportunities. He’s been in talks with several production houses about possibly representing him in the commercial arena. Like the auto body fare, his other commercials-including a PSA to save the Headwaters Forest of unprotected ancient Redwoods in Northern California, and comedy spots for Harper Collins Publishing, and U.S. DenTech-showcase an ability to generate high caliber advertising within the confines of tight budgets.
Jessen credits the syndication biz with providing firm financial footing that’s enabled him to be selective in his spot and long-form opportunities. "There were up-front costs and risks but I knew I was at least working toward realizing some potential compensation on the back end," he related. That’s why Jessen finds the spec quandary involving a major advertiser like Anheuser-Busch difficult to fathom, particularly when he has successfully gotten small independent businesses to agree to offer monetary remuneration.
"People deserve a return based on what they invest and the risks they take on," he observed. "It’s only fair. There’s got to be a paradigm that works for both parties. Otherwise the system is set up for abuse."
