By ROBERT GOLDRICH
THIS WEEK’s FRONT PAGE represents an exercise in numbers. And in this case, exercise is crucial to your health. Our lead story reports on a study that measured the economic impact TV commercial production domestically has on equipment and stage rental companies throughout the U.S. The independent research estimated that this business amounted to some $194 million in ’98. The importance of gaining a handle on key segments of the commercialmaking biz has been clearly documented over the years in SHOOT; a recent example that comes to mind is the ITS-commissioned study that helped bring about sales tax reform on certain equipment bought by independent, California-based postproduction and visual effects houses (SHOOT, 1/29, p. 1).
Then just below our lead story is an article about Paradise Music & Entertainment’s agreement to purchase commercial production house Straw Dogs for stock that at press time was valued at $5.4 million. The development is a curious mix of what on the surface seems to be financial contradictions. On one hand, Paradise was anything but back in September when NASDAQ threatened to de-list the company because its net assessed value didn’t meet the required threshold. For its last fiscal year, Paradise showed a net loss of $2.9 million. And in the first six months of its current fiscal year, the operating loss was $1.3 million.
Nonetheless, Paradise has enough financial wherewithal through a package of restricted stock to buy Straw Dogs, a house which reported a pre-tax $1 million profit in ’98. And Paradise’s stock is on the rise, buoyed in part by an infusion of investment capital from The Cassandra Group that will total $10.1 million. Despite the aforementioned fiscal year losses, some financial analysts see a bullish, successful growth curve starting for Paradise. And Straw Dogs president/CEO Craig Rodgers contends that this will translate into Paradise being able to create and finance its own features. He also foresees Paradise being in a position to acquire other spot production companies.
"In today’s commercial production climate," assessed Rodgers, "you either have to be a mom-and-pop operation or one of the biggest and best."
Rodgers’ alluding to the viability of a smaller-sized boutique segues nicely to the page one story on Bravo Zulu, a company launched by exec. producer Ron Hacohen. Accessing some backroom and administrative services from bicoastal Gartner, Bravo Zulu, said Hacohen, will stay at a small, manageable size. It opens with director John Mastromonaco, formerly of Reactor Films.
And last but not least from our front-page collage is the formation of Silo, a partnership between Pam Tarr, president of Ace Entertainment and Squeak Pictures, and Rick Bieber, head of Rick Bieber Productions. For Tarr, this venture represents her bid to retain the smaller, entrepreneurial spirit of Ace and Squeak while having access to long-form and talent management opportunities often reserved for the bigger-size players. Such is the world of strategic alliances and convergent interests as well as convergent media.
This week’s front page, like all issues of SHOOT, in its own way represents a microcosm or cross-section of industry dynamics as companies sift through a mix of options-be they downsizing, linking with a production support service, entering into strategic alliances, acquiring or being acquired. Business has been slow for an extended stretch, a number of mid-sized production companies seem to be feeling the squeeze, and talk of a shakeout is prevalent. And that, of course, leads us to the biggest numbers game of all-the number of companies that will survive and hopefully flourish in a dramatically changing landscape.
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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