Jeremy Arth
American Red Cross of Chicago “Spare Change”
Agency: Young & Rubicam, Chicago
DP: Marc Menet
Editorial: Optimus, Chicago
Editor: Dana Phillips
Affiliation: associate producer, Young & Rubicam, Chicago
How did you get into directing? Not to sound tragically cliché, I used to make movies in my basement when I was a kid. However, I had no idea one could actually make a living by doing that. After a stint as a pre-med major, I switched schools and started maxing out my credit cards on different projects. My reel and my debt have been growing side by side ever since.
Why do you want to direct commercials? It would be a thrill to always be working on something new. That’s one of the great things about advertising. Each project is an intense, focused burst of creativity on a tight turn-around, but you are in constant collaboration with other creative people and I really dig that vibe.
What’s your most recent spot project? I recently finished a PSA for the American Red Cross of Chicago. It was a great concept but we literally had no money. So it became an enormous opportunity for me, both as a producer and a director, and yielded a really smart, solid and exciting spot. Right now, I am working on a couple hilarious spec spots developed by creatives here in Chicago.
Do you have plans to work in other areas–e.g. shorts films or features or TV? Have you ever done any of that in the past? Unabashedly, yes, I want to direct anything I can get my hands on. Each medium brings its own challenges and I really want to experience everything–everything except porn. And even then, I’d do a call.
What do you think is the best part about being a director? I think the best part of directing would be getting paid to do what I’m doing with my free time already.
What’s the worst part? Is there a worst part?
Who is (are) your mentor(s)? I look up to anyone taller than me.
Not counting your own work, what’s your favorite recent ad? Why? I really like the work for Honda, whether it is Malcolm Venville’s “Impact” or “Waste” or Nick Gordon’s “Yume No Chikara.” They have strong but simple concepts that are executed brilliantly, with enough breathing room to let the visuals develop the story.
