By MILLIE TAKAKI
Usually it’s the doctor or the mother-to-be who takes charge in the delivery room during a particularly difficult childbirth. But in this case, it’s the newborn infant who ultimately gives direction as humorously depicted in "Born," a minute-and-a-half theatrical trailer (with a :30 TV version) promoting the Philadelphia Festival of World Cinema.
The piece shows a woman in labor, her mind seemingly going back and forth between reality and hallucination. For example, a football game blaring on the TV set in the delivery room becomes in her eyes a nature documentary about a wildebeest’s birth. Meanwhile, all those around the woman-her husband/coach, the doctor and nurse-offer encouragement and instruction, including advice as to how she should best pace her rhythmic Lamaze-type breathing. And then the miracle of childbirth occurs; a new life screaming at the top of its lungs is heard as the relieved parents rejoice. The twist comes when the doctor asks the father to do the honors-namely to snip the umbilical cord. The new dad freezes in panic, incredibly unsure of himself. A long silence is interrupted when the doctor asks, "Dad?" The new mom then says, "Honey," trying to elicit a response from her hubby. Then the camera pans to the newborn infant who commands his father to "Cut. Cut." A voiceover then chimes in, "Witness the birth of a born filmmaker at the Philadelphia Festival of World Cinema."
The :90 and :30 lift were conceived by newborn Goose, a Philadelphia ad agency specializing in gender-oriented marketing. The Goose team included creative director/copywriter Kelly Simmons and creative director/art director Renee Korus. Simmons, Korus and head of strategic planning Joyce Rivas teamed to form Goose in March. They are all alums of Earle Palmer Brown, Philadelphia.
The spots were directed by Greg Kohs of NFL Films, Mt. Laurel, N.J., and shot by DP Hank McElwee. Reflecting on "Born," Kohs observed: "We experience the mother’s point of view and reality is a bit ‘tweaked’ in the birthing suite. I thought the trailer used a clever metaphor to communicate its message. It was smart with a subtle sense of humor, not slapstick. I could relate."
NFL Films’ other artisans on the job included special effects supervisor/online editor John Heagy who animated the baby’s mouth for the punch-line lip sync, editor Pete Staman, producer Alan Brown, composer Dave Robidoux, audio mixer Tim Craven and colorist Chris Pepperman. The latter teamed with colorist Chris Ryan of Nice Shoes, New York.
The nonprofit Philadelphia Festival of World Cinema began April 29 and runs through May 9. It showcases 140 films from 43 countries. The :90 is being run in select movie theaters in Philadelphia, greater Pennsylvania, New York and Baltimore. The :30 is being televised in the same markets although CBS’ Philadelphia affiliate, KYW-3, reversed an earlier commitment to air the commercial, citing its graphic depiction of a woman in labor.
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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