By ROBERT GOLDRICH
umn last week, the commercial production community is at a curious stage of development. On one hand, there’s increasing evidence of Wall Street interest in our industry (i.e.-Paradise Music & Entertainment’s acquisition of spot shop Straw Dogs-SHOOT, 5/7, p. 1), underscored by buzzwords like "convergent media" and "content creation." At the same time, the traditional commercialmaking business has generally been slow for an extended stretch, fueling what many feel will be a significant shakeout within production company ranks.
Nonetheless, for those that can adapt, there are some positive long-range prospects as reflected in four stories this week: The strategic alliance between Flying Tiger Films and Cendant, parent company to brands that include Avis Rent-A-Car, Century 21, Ramada Inn and Coldwell Banker (see page 1 story); the imminent completion of two major stage facilities-a second Silvercup complex in Long Island City, N.Y. (page 7), and Los Angeles Center Studios (page 8); and the improved outlook for soundstage construction at the Brooklyn Navy Yard (page 8).
Though the Flying Tiger-Cendant arrangement needs time to evolve in terms of how exactly the two firms will work with each other, the idea of a production company serving as a creative resource for a major advertiser-particularly in the new media arena-serves as food for thought. It showcases the opportunity and the need for spot houses to assume new roles and establish different relationships with clients.
Meanwhile, the three emerging stage facilities represent a bullish belief in the industry’s future and whatever changes are in store. Backers of the studio complexes feel that their significant investments are warranted given the demands of short- and long-form production. And those are demands that figure to increase over the long haul, with the emergence of new media triggering the need for content creation. The convergence of TV and the Internet, for example, could spawn new forms of advertising.
The Los Angeles Center Studios are slated to open in July, with six new 18,000 square foot sound stages. And by year’s end, the complex plans to build six more, some of them roughly twice the size of the originals.
Silvercup Studios East-slated for completion next month-will offer five new drive-on stages that are especially conducive to automobile shoots.
And if the Brooklyn Navy Yard project indeed comes to fruition, it would under current plans translate into a dozen soundstages on a 15-acre lot.
"We’ve looked in general at the economics of soundstages, and the economics look promising," said Michael Steed, senior VP for investments at Union Labor Life Insurance Co. which reportedly will provide some $50 million to $80 million in backing to the Navy Yard proposal.
Yet as investors look favorably upon the commercial production business, boding well for the long-range big picture, there’s the unsettling question of the short term and how many companies will actually be able to weather the storm and tap into future opportunities. As chronicled in SHOOT, bidding wars over directors, reduced markup and shrinking margins have left a significant number of production houses at risk, particularly when work drops off. And short of those companies with deep pockets to ride out tough times or others who’ve kept their overheads in check, there is plenty of vulnerability to go around. It’s the classic "Catch-22." Companies having to put so much energy into their survival that they have neither the time nor resources to plan for a changing, potentially lucrative future.
Director Jack Begert Joins Biscuit For His First Commercial Representation In U.S. & U.K.
Biscuit Filmworks has added filmmaker Jack Begert to its roster in the U.S. and U.K. This marks Begert’s first representation in advertising, building upon his acclaimed work in music video and film. He is best known for his striking aesthetic and surreal use of visual effects, displayed in his feature film debut Little Death, which won the NEXT Innovator Award at the 2024 Sundance Film Festival. The film stars David Schwimmer, Gaby Hoffman, Dominic Fike, and Talia Ryder, and was produced by Darren Aronofsky.
Miami-born and L.A.-based, the USC Film School graduate began his career in VFX and as an editor. Begert has worked with iconic musical artists including Kendrick Lamar, SZA, Flying Lotus, Childish Gambino, and Olivia Rodrigo, and has independently directed international campaigns for brands such as Apple, Converse, New Era, and Reebok.
Shawn Lacy, founding partner of Biscuit Filmworks, said of Begert, “We are such fans of his work--and of him as a creator, thinker, collaborator, and great guy.”
“My creative approach is often about trying to discover something unexpected in the filmmaking process,” said Begert. “Biscuit is a place where I can bring my own perspective to the work and still feel supported. That philosophy is clear from the talent they represent, and I’m excited to join their roster.”
“Jack’s work blew me away the moment I first saw it,” said Rupert Reynolds-Maclean, managing director at Biscuit Filmworks UK. “He is a modern young director who clearly cares deeply about both craft and the necessity for it in his storytelling. Everything always pushes the narrative forward. We’re looking forward to making great work together.”
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