In this spec spot conceptualized, written and helmed by John Lindauer, tweezers open a small wooden box, revealing a tiny cannon. Through a magnifying glass, we can see not only the miniature weapon, but also its "ammo"—a flea, which settles into the cannon’s mouth before being shot from it. All of this delights the elderly man who’s operating the magnification lenses in his antique workshop, and is staging a variety of antics with his highly talented troupe of fleas.
As our flea wafts gracefully to earth, we get a broader view: "Circus Fleas Since 1844" is painted on the window, and two dogs—doubtlessly the birthplaces of the flea performers—sit patiently by an overflowing bathtub. Evidently still flea-stricken, the canines hope for relief in the form of a good, long soak.
The POV returns to the magnifier. Under it, several fleas balance on a unicycle, making their way across a tightrope in a precarious high-wire act. Another dives from a tall tower into a thimble containing water, making an impressive splash landing.
"Perfect," says the man, congratulating the daredevil flea, his voice full of pride. The camera pulls back to reveal a miniature cityscape with fleas hopping everywhere. "You are the finest students it has ever been my privilege to instruct," declares the man with immeasurable satisfaction. The fleas respond by using their bodies to spell out a message of appreciation for their teacher: "We’ll miss you, too."
His job finished, the man writes a note reading, "Attention: Circus." It’s enclosed in the precious envelope containing his prized pupils. A voiceover intervenes: "At the world’s smallest business, every decision is a big decision."
We see the trainer at a post office window, requesting "first-class" service. An uncaring postal worker pounds the envelope with a big rubber stamp. Tiny red blotches appear, spreading to spell "OR ELSE," as, simultaneously, the voiceover reinforces the message: "So, when it comes to delivery in the U.S., it’s DHL—or else!"
Director Lindauer—who recently joined bicoastal Believe Media (SHOOT, 1/12, p. 7)—worked closely with several shops, among them, Santa Monica-based Computer Café. These provided CGI flea animation as well as compositing services for the spec piece titled "Flea Circus."
The Computer Café contingent included animation director Taron Baysal, executive producer Jeff Barnes, effects producer Jonathan Stone, animator Steve Arguello, compositor David Ebner and shader/programmer Phillip Spoth, with additional animation and compositing by Domenic DiGiorgio.
Additional visual effects work was done by Thousand Oaks, Calif.-based Orbit Imaging, where effects artist Kevin Jackson was involved in some compositing and flea modeling. Also contributing to some key shots were effects artists Wayne England of Santa Monica-headquartered Spatial Harmonics and Michael Peterson of Click 3X Los Angeles, Santa Monica. Set creation was done by art directors Phil Notaro and Greg Sewell of Thunderstone, the Culver City-based model shop of visual effects studio Sony Pictures Imageworks.
Lindauer’s producer on the job was John Oetjen. DPs were Dave Drezwiecki and Vincent Toto. The editor was freelancer Marcela Moran. Colorist was John Zaik of Company 3, Santa Monica. Audio mixers were Chuck Kentis and David Palmer of Muse, Los Angeles.
The six-plus weeks that went into making "Flea Circus" were spread over nearly three years. The job was prepped and shot in 1998 while Lindauer was represented through now defunct Pavlov Productions. Lindauer got busy and two years passed before he and his colleagues resumed their spec endeavor. Last year’s strike by actors against the ad industry provided the needed window to finish the spot, which was added to Lindauer’s reel upon his joining Believe Media.
