Firehouse Films has signed British comedy director Alan Blake and action/CGI director Michael Scott.
"Toys have always been our core business, but now we’re looking to market ourselves as a more well-rounded facility and we’re expanding in all directions," said Firehouse Films president/executive producer Phil Mohtares. The Mamaroneck, N.Y.-based company also represents toy/kid director John Sturner and toy/tabletop director David Griffiths.
Blake is no stranger to the commercial industry. At the age of 17, he started as an in-house film editor in London at now defunct Caroline Films. Later he headed to Roger Cherrill Editing (also since closed), where he cut for such notable directors as Alan Parker and Adrian Lyne. Lyne eventually asked Blake to join Jennie & Co., London, as its in-house editor in ’73 and Blake agreed under the condition that he could learn how to direct. In ’76 he started directing his first commercials. Among his helming credits were "Snag" for DuPont Stainmaster via BBDO New York, and a spot for Pizza Hut entitled "Delivery" through Chiat/Day, Los Angeles (now TBWA/Chiat/Day). Blake was eventually made a partner at Jennie & Co. and was represented in the States when it opened a New York office in the late ’80s (Jennie & Co. closed in ’93.)
Blake left Jennie & Co. in ’88 to form Blake & Co., London. Although the company’s work was primarily in the U.K., Blake did direct a few U.S. spots, including Carl’s Jr. "Rice Cakes," via Della Femina McNamee, Los Angeles. While still working at Blake & Co., he was briefly represented stateside by bicoastal Crossroads Films in ’90-’91, and moved to the U.S. in ’94, where he began freelancing in the U.S. while maintaining Blake & Co. in Europe. In late ’96, Blake signed with The Sussan Group, New York, but due to a busy spot directing schedule with Blake & Co., the contract was terminated after a year. Blake & Co. closed two years ago and now Blake is represented in Europe by Production International, London.
"Basically for the past couple of years, I have been working in London, reinventing my style and evolving," related Blake, who mixes satire with dry humor in his work. His most recent spots produced in London are for clients like Vicks Cough Syrup and Flash Cleanser.
Rookie
In sharp contrast to Blake’s long directorial career is newcomer Scott. Firehouse represents his first affiliation with a commercial production company. Scott graduated from Art Center College of Design, Pasadena, in ’95 where he studied illustration. He related that while in school, he was writing extensively and began to see an association between art and writing in film. "I saw the movie Blade Runner [directed by Ridley Scott] and said to myself ‘Oh my God, every shot is like a painting,’ " remembered Michael Scott (no relation to Ridley). From there he began examining Ridley Scott’s work and got hooked on film.
Michael Scott’s work includes an untitled spec PSA he directed for Mothers Against Drunk Driving (MADD), a testament to his surreal and sometimes gothic vision. In an eerie and dream-like sequence, Scott illustrates a slow-motion car crash where the driver is thrown through the front windshield. Perhaps one of the most disturbing shots is a close-up of the driver’s hand dripping blood. Four months ago he approached Tina Pasco, head director of MADD’s Los Angeles chapter, with the piece and she agreed to use it. The PSA is set to air in October during the Halloween season.
Scott has also directed a 20-minute science fiction piece entitled Refraction, for which he built an elaborate set and cut a trailer. He also shot an untitled Campbell’s Soup spec spot that was totally CG, as well as "Blood Drive," another spec PSA for the American Red Cross. Scott is currently shooting a spec spot for Pepsi called "Race Dogs," featuring self-made models and miniatures.
Additionally, Firehouse has purchased Maya software to facilitate Scott’s effects-heavy work. Firehouse Films is represented worldwide by Colin Giles of Giles & Associates, New York.
