A man carrying a bagful of groceries sees a dog further down the sidewalk urinating on the side of a building. The canine then scampers across the street to do the same on a parked motorcycle.
The guy is in panic mode upon the latter sight but thinks quickly to avoid a tinkling disaster, grabbing a piece of raw steak from his grocery bag and throwing it towards the dog. Predictably the dog goes for the beef and the motorcycle is spared a dousing.
The twist then comes when the man gets aboard another bike altogether. Turns out the original motorcycle wasn’t even his.
A supered explanation appears on screen, which reads, “Every Yamaha feels like yours.”
Harold Einstein of bicoastal/international Station Film directed “Dog,” part of a two-spot campaign produced by Station and Milan-based H Films for Italian agency 1861 United.
Einstein’s support team included exec producer Stella Orsini and producer Federica Dordoni. The DP was Ramsey Nickell.
The 1861 creative team included executive creative directors Roberto Battaglia and Pino Rozzi, copywriters Francesco Poletti and Luca Beato, and art directors Serena Di Bruno and Aureliano Fontana.
Editor was Chuck Willis of Cutting Room, New York. Susan Willis exec produced for Cutting Room with Michael Ramirez serving as assistant editor. Jun Mizumachi was the sound designer.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More