Your reel is your past, present and future. A director is chosen through a complicated, labyrinthine process. During the past few weeks, I’ve chatted on this subject with agency producers, executive producers, editors, colorists and other directors. From these conversations I’ve affirmed what many executive producers had already known, and have gained new insights into the process of screening and creating reels.
Every agency producer I have spoken with strives to match the reel with the creative. One producer explained: "I ask myself, ‘What is the creative about and what reels apply? … I look for shots that are memorable. Most of the time it’s easy to figure out how a particular director can enhance my spots. [And, of course,] the client also wants to know that the director can interpret the concept and sell the product."
Many producers like to present a wide range of reels. Intentionally, some are appropriate for the project; others are way off the mark. "This helps me and the creative team determine what they want and don’t want," one head of production told me. "It also opens our minds up to other possibilities. Even though a director may not be right for the project, I’ll find something on his reel that is important to notice and point that out." He added, "In some rare cases, that director was awarded the spot."
It’s the rep’s job to deliver the reel to the agency producer. Producers don’t dump reels in the offices of the creatives. They determine which reels will best support the creative, then present those reels and guide creative teams through the intense process of choosing the right director. As one executive producer stated, "Circumstances modify how an agency screens a reel. With criteria continually changing, making an educated decision is more important than ever." A producer at a large agency told me: "The story is the architect of the spot. Then we ask, ‘How does this director shoot? How did he light and how did he help sell the product?’ After we screen the reel, if there is a common feel-good, that reel makes the cut."
It seems that the single biggest challenge when looking at reels, according to some producers, is seeing past the concept and product. "Creatives and producers watch reels differently. Producers look for the potential; creatives like to see their proposed spot on the reel," said one head of production. Both figure, "If it’s a gag, let’s see how the director handled that gag on someone else’s dollar."
An executive producer and I agreed that in today’s market it’s important to appreciate the eclectic ability of the director and production company. Try to look past the finished reel and ask appropriate questions, such as, "How were problems solved and what execution was accomplished to get the end product?" or, "What about coverage, art direction, camera movement, lighting, casting and performance?"
Most agencies fall into the habit of working with the same directors, colorists and editors. There seem to be only a few ways for new talent to break into an agency. "If we had a bad experience with someone, or if we are low on money, or if the incumbent is not available, then we’ll look into alternative choices," said one agency producer. "I first go to my personal collection of reels. I’ll also ask other producers in the office for recommendations. … If a reel comes in that rocks my world, it gets placed aside; everything else gets tossed."
There are times when talent, experience and even the right reel are not enough to win the project. "I hate when reps call me after the job has been awarded, and question whether or not their director was good enough," a mid-sized agency producer told me. "Sometimes it has nothing to do with being good or talented. That particular director was just not the perfect fit. … It’s not always about being the best director with the most beautiful lighting and the best performan-ces." Although it’s hard not to take rejection personally, it does come with the territory. Even if the agency doesn’t choose you at this time, someone there sees the potential in your work. In most cases, he/she will remember the reel and throw you into the mix for the next job.
No one knows how the person at the other end of the monitor will react to your work. But one thing is certain: Good work is easily distinguished from bad. Good, well-crafted filmmaking elicits positive response. As a director I struggle to omit commercials that I feel do not express the type of work for which I wish to compete. Experience has taught me that perfection is not what you leave in, but what you take out.
One of the most challenging aspects of assembling a reel is establishing the order of spots. In some cases, the first spot on the reel can make or break the decision to bid that director for the project. One producer imagined "an extreme example": "Someone in the room, let’s say, hates yellow coffee cups—and the reel starts off with a yellow cup. We would stop right there and move on to the next reel."
Watching countless director reels has made it clear to me that everyone has his own ideas and strategy about how to assemble his body of work. Personally, I feel it’s more important to demonstrate your craft than to place some of the larger-name advertisers on your reel. Highlight your strongest concepts rather than your techniques. I look at my reel as one continuous work of art. In a brief conversation for this article with an editor, we both agreed that there is an overall sense of composition that demands attention. How does the last shot of the previous commercial land, and how does it feel when the first frame of the incoming commercial approaches? How does the audio affect the environment and lead into the next piece? Deciding the content and order of a reel is more of a psychological and subconscious process than a creative one. I ask myself, "How can I design a reel that best expresses my uniqueness? How can I provide a payoff by anticipating what the viewer wishes to see?"
During the process of researching and writing this article, I’ve come to realize that there is no right or wrong way to screen or assemble reels. Industry tastes, styles and demands are forever evolving. In creating a reel, seek out and find the very essence of your best work. Project that work in such an order that people understand what you are all about and how you can contribute to their creativity. Your reel should be a coherent whole that reflects your artistic vision. Only then will the soul of your reel come shining through.
I would like to thank those special people who shared their thoughts and ideas with me during the writing of this column.
