From in-person to now online communication–that’s the transition that will ensure that dialogue among commercial producers from around the world continues year-round so that issues can be addressed and notes compared on a real-time basis. This plan crystallized and gained approval at the third annual World Producers Summit held by the Association of Independent Commercial Producers (AICP) and the Commercial Film Producers of Europe (CFP-E) last month during the International Advertising Festival in Cannes.
The Cannes session brought together 89 commercial filmmakers from 28 countries. The participants, all significant stakeholders in production houses, exchanged ideas and considered issues they have in common. But just as, if not more, importantly, they agreed to continue their discussion using an online international bulletin board.
AICP president/CEO Matt Miller dubbed the dynamic as a World Producers E-Summit. “Our intent is to always have a channel open so that producers from around the world can engage in meaningful dialogue and exchanges about their concerns and industry issues,” he said.
For example, the subject of WPP-owned production shop Plush was discussed at length during the half-day Cannes summit, according to Miller and CFP-E president Francois Chilot. It’s a topic that figures to generate plenty of follow-up online. Plush competes with independent producers, yet relies primarily on directorial talent from production companies around the world. This is in sharp contrast to generally failed agency in-house production entities of the past, which recruited their own exclusive lineups of staff directors.
World Producers Summit participants expressed concern over the precedent being set by Plush and the impact such a business model could have on the production process and the ability of independents to compete fairly. Most of that impact has been felt Down Under. But a number of producers outside Australia said they had interactions with Plush, demonstrating the reach such entities could have. Most contended that their experience was negative and counterproductive for the advertiser.
As exemplified in Plush, what goes on in one corner of the world has the potential to impact the business at large in today’s global marketplace. Thus, reasoned the AICP and the CFP-E, it’s imperative for producers around the world to update each other, compare notes and share concerns and ideas on a regular basis–not just at an annual face-to-face gathering, which will continue at Cannes.
The online discussion board is being hosted at AICPtalk.com. The hybrid blog/chat room/bulletin board had been put through its test paces prior to the World Producers Summit. The board facilitated exchanges among producers who offered input as to what issues and developments were of particular concern to them, helping to set the agenda for last month’s in-person Summit.
Other points of discussion during the recently concluded Summit included the possibility of establishing global guidelines relative to basic business practices and expectations, and the ways in which production companies work. Though nothing concrete emerged out of initial dialogue on that topic, Miller said the clear consensus was that eventually putting such guidelines in place would be “a good idea.”
Also discussed during the Summit–and what could emerge as blogging fuel–was production companies sharing bad business practices they have encountered in the marketplace. “As production houses, clients and advertisers start to work more globally, this sharing of experiences and information could prove valuable,” assessed Miller.
Craig Henighan Sounds Off On “Deadpool & Wolverine”
Hollywood lore has it that character actor Edmund Gwenn--while on his deathbed--quipped, “Dying is easy, comedy is hard.”
The second part of that darkly witty utterance remains all too true today as Craig Henighan--a Best Achievement in Sound Mixing Oscar nominee in 2019 for Roma--can attest in that he had to grapple with the sonic of being comic for this year’s box office hit, Deadpool & Wolverine (20th Century Studios/Marvel Studios).
The degree of inherent difficulty was ramped up even further because Deadpool & Wolverine had to seamlessly bring together high action-adventure exploits with moments and dialogue that tickled the funny bone. There’s a mesh of humorous banter--a staple of the franchise--along with major spectacle replete with explosions, fights, an impactful score and off-the-wall musical numbers.
Henighan explained that among the prime challenges for him from a sound perspective was having to make sure every joke landed within the construct of a superhero film. The tendency for a tentpole movie of this variety, he noted, is to gravitate towards big, loud audio spanning music, dialogue and sound effects. But the unique comedic element of Deadpool & Wolverine necessitated that re-recording mixer and supervising sound editor Henighan strike a delicate balance. “You need to get out of the way for the comedy,” he related. The jokes in a superhero film become “a real dance” as Henighan had to establish a rhythm that did justice to both the comedy and the action as the narrative moves back and forth between them--and sometimes the funny and the high energy, high decibel superhero dynamic unfold simultaneously in a scene or sequence. The “sonic fabric” has to... Read More