This spec spot takes us back to the early 20th Century. A car of the time period is seen puttering along the road. In the background are the San Francisco Bay, the Pacific Ocean and the water passage that connects them–the Golden Gate Strait.
A boat is seen making its way through the water. Back then the body of water was just that–with no bridge to span it.
We are then taken on a journey forward through time, primarily during the four years (1933-’37) when the Golden Gate Bridge was constructed. In one scene, we see a construction worker in the foreground as the bridge starts to build itself before our eyes. Finally the bridge is seen spanning the Strait’s vast reaches, connecting San Francisco to Marin County. To this day the bridge still ranks as one of the construction marvels of all time.
A voiceover relates that the Golden Gate Bridge was originally just a dream. “But with the right strategies and the right resources,” says the voiceover, “dreams begin to take shape. And the bridge–that many said could not be built–was.”
The black-and-white construction footage then turns to full color as we see the Golden Gate Bridge today in its full splendor. The voiceover continues, “Bank of America was there–celebrating 150 years of lending for projects big and small.” A Bank of America logo serves as the spot’s end tag, with a supered message echoing the voiceover reference to the financial institution’s 150-year history of lending.
Titled “Golden Gate,” this spec ad was directed by David Dozoretz, who also served as hybrid writer/art director on the job. Dozoretz runs a Los Angeles-based pre-visualization shop, Persistence of Vision, and recently completed pre-vis on Mission Impossible 3 and X-Men 3. On the side he has directed some spec work to further his aspiration to get into commercial helming.
Dozoretz’s background includes working at Industrial Light+Magic (ILM), San Rafael, Calif. (now in San Francisco) where he helped to develop the pre-vis pipeline for the Star Wars films.
For “Golden Gate” Dozoretz deployed such tools as the Maxon Cinema 4D for 3D modeling and animation, and Apple Shake for compositing. The work was done largely on Mac G5s.
The spec job entailed considerable planning and meticulously executed effects. For example, for the opening shot, a background plate was captured in HD. Visual effects work included replacement of the current San Francisco skyline with a digital version circa the 1930s, sky replacement, a digital ocean and boat, and removal of the present day Golden Gate Bridge and the road’s rail guard.
Among other touches were the creation of a digital crane, an animated trellis and north and south towers for a subsequent scene as the construction of the bridge unfolds before our eyes.
Additional credit goes to DP Ron Fricke, producer Ted Gagliano and CG artists Kevin Aguirre, Chad Hoeftig, Shane Cook and Hunter Kuhnert.
Robert Eggers and Willem Dafoe Reunite For “Nosferatu”
When Willem Dafoe enjoys working with a filmmaker, he'll often jump at the chance to do it again.
The list of directors with whom the 69-year-old has worked with more than once is extensive, including Wes Anderson,Yorgos Lanthimos,Paul Schrader,Lars von Trier and, now for a third time, Robert Eggers. "If it's good, you come back," Dafoe said plainly.
The pair spoke about Eggers' adaptation of "Nosferatu" that hits theaters Wednesday, some of the challenges they faced making "The Lighthouse" — their first project together released in 2019 — and the unique relationship that exists between actors and directors.
The interview has been edited for clarity and brevity.
Q: Willem, I read that you called Robert after you saw "The Witch." What did you say?
DAFOE: I want to meet you and I want to know who this filmmaker is.
Q: What is it about him that keeps bringing you back?
DAFOE: Well, if it's good, you come back. When I saw "The Witch," I thought, "Wow, this is a film about a period that I'm not particularly knowledgeable about, but I enter it so easily. This is relevant. It's rooted. It's my story. I'm with these people."
That's quite an incredible trick because a lot of period films, they're always pointing to themselves. They're always sending messages. They're always showing. This had a kind of energy and the kind of physicality and sensuality that I thought, "Who does this? I gotta see this guy." And then I had a wonderful experience in "The Lighthouse" and I played a part that was really fun in "The Northman." So, when he wants to do this passion project and offers me this beautiful role of Professor Von Franz, I say,... Read More