Move reunites him with company’s managing director Gary Rose
GO has signed director Bob Purman for U.S. commercial representation. The Wisconsin-born filmmaker has delivered his authentic documentary style to projects for such brands as Honda, CVS, Lay’s, Pedigree, Vonage and ACLU.
Purman’s move to GO marks a reunion with the company’s managing director Gary Rose; the two had worked together earlier at Moxie Pictures. Purman had a two-decade tenure with Moxie before now making the move to GO. He has earned numerous accolades for his documentary and commercial work, including a pair of Chicago Midwest Emmys for Directing and Cinematography of the TV film Hang Tough, two Best of Show Awards from the Milwaukee Advertising Club, a Telly Award, and multiple local ADDY Awards.
Purman said he’s looking forward to working with Rose again. “I really enjoyed my time collaborating with Gary at Moxie. He has great instincts and I like the way he runs a company.”
After arming himself with his first camera purchased from saved paper route money at age 11, Purman was hooked on visual storytelling. He entered the Minneapolis College of Art and Design in pursuit of a career in photojournalism and quickly migrated to moving pictures after his first film class. He built his commercial reel as a freelance director with RYP Filmworks and True North Productions and signed with Moxie Pictures in 1995. In his time with Moxie, Purman refined his approach to interviews, utilizing a skeleton crew to put his subjects at ease and capture the genuine moments between the responses. This nimble method, combined with a two-camera setup, has resulted in a journalistic viewpoint toward his interviewees that delivers a refreshing authenticity for branded projects and documentary films alike.
GO’s Rose assessed, “Bob’s filmmaking delivers warmth, sincerity, humor, and the emotions that truly encapsulate the essence of humanity. With each project, he brings a fresh cinematic style that reflects the nature of the story he is telling. His instinctive internal aesthetics, cinematic style, and understanding of what makes ‘real people’ tick makes him one of the finest filmmakers I have ever had the pleasure of working with.”
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More