Momentum is building to produce more spots in New York. As reported in this week’s lead story, Heads of Production has entered into a cooperative relationship with other sectors of the commercialmaking community to help generate more business for the Big Apple and thus aid in the recovery of the New York economy.
But the call isn’t just coming from New Yorkers. Wil Wilcox, director of broadcast production at J. Walter Thompson (JWT)/ Chicago, noted that an undisclosed client is set to shoot a four-spot package in New York (SHOOT, 10/12, p. 1). Originally, locations in Canada and Spain were being considered by JWT for that job.
"There’s a real desire to go to New York in light of recent events," related Wilcox. "We feel it’s important that we support New York City and the people we do business with there—the crews, the talent, the support service industry. The client is very much impressed with this effort and is totally behind it. We have had success overseas. But we felt that this was a project we could shoot just as well in New York and put something back into the community there."
Executive producer Gary Rose, newly elected president of the Association of Independent Commercial Producers’ West Coast chapter, noted that the company he’s partnered in, bicoastal Moxie Pictures, is also conscious of trying to help the New York economy, as are a couple of Chicago ad agencies with which the shop has been collaborating. One project, for a Chicago agency, was slated to shoot in New York when the terrorist attacks hit on Sept. 11. Plans then called for the job to be diverted to Toronto.
"But Mayor [Rudy] Giuliani came out and talked about the importance of getting back to normal, of coming to New York. The city began issuing film permits again, and we and the agency thought we should make an effort to keep the work in New York," related Rose. At press time, the shoot—directed by Moxie’s Pam Thomas—had just wrapped in New York with hardly a hitch. "Authorities stopped a visual effects truck to check it out and we lost about an hour and a half there," said Rose. "But overall, the project came together beautifully, and shooting in New York was a positive experience."
As SHOOT went to press, Thomas was about to embark on another New York shoot, also for a major Chicago agency. "Again, the client and the agency were at the forefront of bringing the job to New York," Rose stated. "There’s a sense of purpose in helping not only New York but the U.S. economy in whatever way we can."
With the resumption of production after the Sept. 11 tragedy, the city had at press time issued in excess of 40 permits for commercial shoots. Among the advertisers said to be lensing in New York have been BMW, Burger King, Crest, Heineken, Wrigley’s, Gatorade and Mountain Dew.
"We are probably not going to keep one hundred percent of the business here," acknowledged Nancy Axthelm, executive VP, director of broadcast production for Grey Advertising, New York, in reference to the aforementioned Heads of Production initiative. Axthelm, a mainstay member of Heads of Production, continued: "Production business was generally way down before Sept. 11th. But if we could bring back fifty percent, even twenty-five percent, of the work that was leaving here, that could make a big difference."
Axthelm observed, "By spearheading this in New York, we hope that it will radiate out to the rest of the U.S.—to keep more business in the country and to help strengthen the American economy."
