On one hand it was a leap of faith. On the other, “What did we have to lose?” That was the self-assessment of agency creative Scott M. Kaplan in discussing the decision by him and colleague Gianfranco Arena to turn a concept for spec use over to aspiring director Matt Fischman, who studied film at the University of Southern California.
Kaplan, a creative director at BBDO New York, recalled that Fischman approached the agency looking for good creative scripts. Kaplan and BBDO associate creative director Arena had a sports-oriented concept sitting around that they liked quite a bit but was unlikely to get produced.
“I never saw his reel, but he sounded good over the phone,” said Kaplan of Fischman. “Once Matt saw the concept, he wanted to do it and clearly understood what we had in mind. In terms of letting him direct it, my thinking was, ‘Alright, what’s the worst that could happen?’…Matt’s thinking was he could go to grad school, take out loans and pay for that–or better yet pay to gain real experience. He basically funded much of the project.
The finished spot has an underground kind of feel as the camera takes us somewhere we aren’t supposed to be–a makeshift arena in which a cockfight or perhaps a dog fight is in the offing with rabid fans gambling on the outcome. It’s a seedy scenario to be sure, with guys hustling one another, trying to turn a buck, profiting from the repugnant pitting of two animals against each other.
Sure enough, two men, each holding a cage, walk to opposite sides of a large pit, into which the combatants will be unleashed to raise hell, fighting we presume to the death. However, we cannot see into the cages.
Finally as the crowd noise builds in anticipation, the men open the cages and pull out their warriors. Turns out they’re not roosters or snarling canines but miniature men–one a Yankees fan, the other a Red Sox booster. Even the casual sports follower realizes these guys are mortal enemies given the intensity of the team rivalry.
An end tag carries the ESPN logo with a promo listing a day and time for the upcoming telecast of a Yankees/Bosox game. (Kaplan noted that several sports channel sponsors could have been used to tag the spec piece; ESPN was chosen because of its universal recognition.)
Kaplan–who served as copywriter on the spot, titled “Cockfight,” while Arena was art director–said that favors were called in to produce the job within budget constraints. Final Cut, New York, and The Mill, New York, worked on the job, often during nights and down time. Ashley Kreamer, whom Kaplan described as a great assistant editor moving into cutting, served as editor via Final Cut. Audio mixing and sound design were done by Terressa Tate, also at Final Cut. The Mill ensemble of talent included visual effects artist Jeff Robins, effects producer Carrie Van Den Bussche, post producer Rana Martin and colorist Tom Poole.
Fischman and DP Jas Shelton delivered a level of filmmaking that far surpassed Kaplan’s expectations of spec fare. “Often it’s a lock down shoot or dialogue–spec isn’t as ambitious as this and the quality of film Matt delivered was terrific. It was very un-spec. He’s a talented guy who’s very smart and savvy about getting his reel together.”
Indeed “Cockfight” has started to garner Fischman attention from several production houses. “I’m looking for a company who believes in me and will invest in my reel,” related Fischman whose strategy for spec work has simply been to ask creatives behind commercials he likes if they have any concepts for him.
He first did this about a year ago, directing a spec piece based on a concept he solicited from noted creative Court Crandall of Ground Zero, Los Angeles. What led Fischman initially to BBDO was the work of executive creative director Eric Silver who then turned Fischman onto Kaplan.
“I found out Scott had done some Nextel work I loved, including that spot in which people at a construction site work like an ant colony [“The Build,” which Kaplan was a copywriter on while at TBWA/Chiat/Day, New York],” said Fischman. “He told me about this ‘Cockfight’ concept and I immediately wanted to do it.”
Review: Director Jon M. Chu’s “Wicked”
It's the ultimate celebrity redemption tour, two decades in the making. In the annals of pop culture, few characters have undergone an image makeover quite like the Wicked Witch of the West.
Oh, she may have been vengeful and scary in "The Wizard of Oz." But something changed — like, REALLY changed — on the way from the yellow brick road to the Great White Way. Since 2003, crowds have packed nightly into "Wicked" at Broadway's Gershwin Theatre to cheer as the green-skinned, misunderstood Elphaba rises up on her broomstick to belt "Defying Gravity," that enduring girl-power anthem.
How many people have seen "Wicked"? Rudimentary math suggests more than 15 million on Broadway alone. And now we have "Wicked" the movie, director Jon M. Chu's lavish, faithful, impeccably crafted (and nearly three-hour) ode to this origin story of Elphaba and her (eventual) bestie — Glinda, the very good and very blonde. Welcome to Hollywood, ladies.
Before we get to what this movie does well (Those big numbers! Those costumes!), just a couple thornier issues to ponder. Will this "Wicked," powered by a soulful Cynthia Erivo (owner of one of the best singing voices on the planet) and a sprightly, comedic, hair-tossing Ariana Grande, turn even musical theater haters into lovers?
Tricky question. Some people just don't buy into the musical thing, and they should be allowed to live freely amongst us. But if people breaking into song delights rather than flummoxes you, if elaborate dance numbers in village squares and fantastical nightclubs and emerald-hued cities make perfect sense to you, and especially if you already love "Wicked," well then, you will likely love this film. If it feels like they made the best "Wicked" movie money could buy — well, it's... Read More