Beacon Street's music and sound design for Jif strikes a responsive chord
By A SHOOT Staff Report
LOS ANGELES --A woman runs for her life as a rural community is under siege. Amidst the onslaught of a cataclysmic extraterrestrial invasion, she spots refuge–a bunker in which townsfolk have taken cover. A man motions to her to join them and she safely arrives, going underground to a haven from the destruction above.
What a relief–until some of the food provisions are revealed, including jar upon jar of generic peanut butter. The woman then scurries away, back to the danger above–but it’s worth the risk, underscoring just how far a person might well go for the fresh-roasted peanut taste of Jif.
Titled “Bunker,” this cinematic-style comedy commercial is part of “That Jif’ing Good” campaign directed by Wayne McClammy of production house Hungry Man for agency Publicis New York. Music and sound design from Venice, Calif.-based Beacon Street Studios helps to adroitly tell the story–to such great effect that the work has been selected as the #1 entry in this quarter’s SHOOT Top Ten Tracks Chart.
The Beacon Street ensemble included composers Andrew Feltenstein, John Nau and Danny Dunlap, sound designer Rommel Molina and EP Leslie DiLullo.
Audio post mixer was Steve Perski of Harbor Picture Company, Santa Monica.
Sound feedback
Molina discussed his approach to “Bunker,” relating, “With sound design you’re always looking to enhance the story of the film. In this case, the film opens up in a visceral, post-apocalyptic world, so we wanted to make the soundscape feel as threatening as possible. That includes spaceships, wind, her breathing, fire, et cetera. Making the film sound like a cinematic sci-fi thriller ultimately helps the joke feel more surprising.”
Relative to the music, Feltenstein shared, “In terms of music, we just need to play it as seriously as possible but we wanted the music to be as unfamiliar as the situation.”
As for how music and sound design came together, Molina said, “For me, getting drafts from the music department early in the process is immensely helpful. It allows me to understand the instrumentation that will be used in the film, and to create sounds that are compatible both harmonically and texturally. Additionally, it’s always good to know which moments are being punctuated by music, so that I am aware of which gaps need to be filled by my sound bed. It’s a bit like a game of Tetris, and the outcome is hopefully a pretty well threaded soundtrack.”
Feltenstein quipped, “Yes, Rommel is lucky we are in the room next door. All kidding aside, its a luxury to work side by side on jobs like these. It really allows us to work synchronistically.”
Relative to his biggest takeaway or lessons learned from the “Bunker” experience, Molina observed, “These projects are always a reminder that you have to choose sounds that are best suited for the film, even if they are not what you had in mind initially. Gotta be a team player!”
Feltenstein’s takeaway was more tongue-in-cheek, though for him undeniably true. “In Wayne we trust,” he affirmed, alluding to the comedic sensibilities of director McClammy.
The Publicis NY contingent on “Bunker” for Jif and its parent The J.M. Smucker Company included chief creative officer Andy Bird, executive creative director Erica Roberts, associate creative director/copy Alan Wilson, associate creative director/art Peter Defries, EVP/director of integrated production Jenny Read, executive producer Lauren Schneidmuller, sr. producer Jordan Valdes and designer Zachary Collopy.
Christjan Jordan of Union Editorial cut “Bunker.”
Click here to see the full quarterly Top Ten Tracks Chart.
After 20 Years of Acting, Megan Park Finds Her Groove In The Director’s Chair On “My Old Ass”
Megan Park feels a little bad that her movie is making so many people cry. It's not just a single tear either — more like full body sobs.
She didn't set out to make a tearjerker with "My Old Ass," now streaming on Prime Video. She just wanted to tell a story about a young woman in conversation with her older self. The film is quite funny (the dialogue between 18-year-old and almost 40-year-old Elliott happens because of a mushroom trip that includes a Justin Bieber cover), but it packs an emotional punch, too.
Writing, Park said, is often her way of working through things. When she put pen to paper on "My Old Ass," she was a new mom and staying in her childhood bedroom during the pandemic. One night, she and her whole nuclear family slept under the same roof. She didn't know it then, but it would be the last time, and she started wondering what it would be like to have known that.
In the film, older Elliott ( Aubrey Plaza ) advises younger Elliott ( Maisy Stella ) to not be so eager to leave her provincial town, her younger brothers and her parents and to slow down and appreciate things as they are. She also tells her to stay away from a guy named Chad who she meets the next day and discovers that, unfortunately, he's quite cute.
At 38, Park is just getting started as a filmmaker. Her first, "The Fallout," in which Jenna Ortega plays a teen in the aftermath of a school shooting, had one of those pandemic releases that didn't even feel real. But it did get the attention of Margot Robbie 's production company LuckyChap Entertainment, who reached out to Park to see what other ideas she had brewing.
"They were very instrumental in encouraging me to go with it," Park said. "They're just really even-keeled, good people, which makes... Read More