Let’s say you’re a brand manager, creative director or agency producer who’s just spent enough money to float a small country for two years by hiring (for only a few hours) the services of a celebrity spokesperson who’ll be promoting your product. However, before you step onto that soundstage, you have to ask yourself, “Am I truly ready for this experience? Have I prepared for every conceivable contingency?” As I mark my 30 years as a director in the “brands + celebrities” business, I’d like to take this opportunity to offer every brand manager “out there” a check list of critically important “Tips” you should really keep in mind, before you even shake the hand of your big superstar celebrity for the first time:
o Celebrities Aren’t There to Win Their Next Oscar: You may be the nicest person on the planet, and your brand the greatest thing since sliced bread. But you should always remember that your celebrity spokesperson is giving up his/her valuable time with family and friends, on the golf course, or during their limited hiatus, to stand on your set, interact with your product, and read copy that wouldn’t ordinarily be coming out of their mouth. They’re only there for one reason, and it’s not the craft service. So, you need to be on top of your game to service their needs. What are their mandates? How are they feeling that day? Do they require a special limo service, designer wardrobe, and the brand of bottled water you’re serving? Have your celebrity scheduled in and out of that soundstage as quickly, and efficiently, as possible.
o Maximize Your Celebrity’s Time on the Brand’s Behalf: You’ve only got your celebrity’s attention for a limited period of time, right? So make the most of it. Sure, you’ll be shooting that TV spot, but what about print? Can you piggyback stills before lunch? What about producing webisodes? Original interactive web content? Social media content? Viral messaging? Instead of schlepping your celebrity to five different stages for five different media shoots that week, why not compress the production of all of your materials into one time frame. And while I’m on this subject, don’t forget to NEGOTIATE IN ADVANCE for your celebrity’s participation in both traditional AND new media branding. If you haven’t, you might get hijacked after the fact. One important note, make sure your star doesn’t “Tweet” about your new campaign prematurely. This error could cause you great embarrassment or even your job.
o Never Assume: During my career, there have only been a few occasions where something unexpected DIDN’T happen. Your celebrity might be tired, irritable, cranky, or fighting a hangover. He or she might have to leave earlier than expected, and may also have arrived late. The star might be incapable–or unwilling–to perform the stunt expected of them, take a bite out of your sandwich product, jump over an alligator or deliver their world famous catchphrase or gesture. Never assume that Lance Armstrong will hop on his bike, or Michael Jordan will shoot a basket, or that Ray Charles’ piano is in tune. I once had an international client hire a World class Olympic sprinter for a spot in which he’d heroically sprint on a track. The problem? No one ever asked him in advance if he’d run for us–he wouldn’t.
A few years back, I worked with the late Rodney Dangerfield, who told me he’d only pull on his neck tie and deliver his infamous “I Don’t Get No Respect” catch-phrase ONCE. He did, and we got it the first take. But in the event that your celeb changes the rules of the game on set, be flexible, be creative, and be PREPARED with alternate copy, easier stunts, and lots of wardrobe!
o Know Your Talent “Today”: OK, so you’ve just hired the hot female pop star du jour for your campaign. Is she still a blonde this week? Is she bald? Has she gained 30 pounds? Is she looking anorexic? Research the most current “look” that your star is sporting, so he or she doesn’t arrive on your set in an unrecognizable state. I’ve recently had to ask two major stars if they wouldn’t mind shaving off their facial hair before we started to shoot. One did, removing his two week’s growth of “vacation beard.” The other, whose moustache was a recent addition to his “look,” refused, sending my client home feeling truly ripped off. It’s moments like these that can give celebrity endorsements a bad name.
Also on this topic: What kinds of food does your celebrity eat? Is she a vegan? Research your talent’s likes and dislikes. I once worked with the late, great Vincent Price, I learned that he loved Tootsie Rolls. When he arrived on our set, I had a huge bowl of all different sized Tootsie Rolls waiting for him in his dressing room. He was greatly appreciative, touched by that simple gesture, and was a pleasure to work with as a result.
o Personalize Celebrity Messages to your Biggest Customers and Sales People: What would be more exhilarating to your sales staff, as well as your major customers, to have your big star personally deliver a video “Atta-Boy” to each of them by name? Ray Charles was once gracious enough to shot messages like these for us at the end of the production of a TV campaign we produced. This “bonus shoot” didn’t take but a few minutes, and our client’s sales team and customers, each of whom received a personalized DVD, were stunned.
It isn’t difficult to generate a tremendous amount of goodwill in this way if your star is on board.
o Make Sure Everything on Set is Working: Sure, your celebrity is used to technical problems taking place on his “normal” set. But on your soundstage–while shooting your TV campaign — he might not be as forgiving. Check, double check, and check again your camera systems, monitors, lighting, audio recorders, etc. Have a contingency plan for every mechanical failure that could possibly happen. Also, ensure that your celebrity has seen the latest version of your copy BEFORE the shoot. There might be a phrase he’s uncomfortable delivering. Again, you only have a limited time frame here, don’t let a simple oversight sink your ship.
o Choose Your Battles: The director you’ve hired must not only be technically proficient, have a solid, creative eye, and be a collaborator with his brand manager/CD/agency producer client, but he/she must also have the ability to serve as a “Celebrity Wrangler.” The director needs to bond–instantly–with his subject. If Angela Lansbury “requests” that her key light and camera be situated in specific positions, allow her that suggestion and adjust accordingly. If your star won’t wear the famed T-shirt featuring your brand/client’s iconic logo, be prepared to have him wear something else. You need to keep peace on the set, while still delivering the best possible results for the brand. However, if the star makes other requests that are clearly inappropriate, off target, or even foolish, you must stand up to him/her and inform them that their input might not be in the best interest of the brand, in essence Pro Active Crisis Management.
o Know When Is Too Much: Your celebrity has done more than enough takes of the same chunk of dialogue. She’s tired and irritable. Her husband and kids are on set, visiting, and the little monsters are getting out of hand. Know when your celebrity is done for the day and avoid a train wreck. Celebrities are sensitive people with big egos. They don’t want to be harassed, criticized or overworked. Avoid focusing on other distractions (cast, efx, animals) that could have been resolved during pre-pro or rehearsals. Be aware of their feelings and disposition, and carefully “caress” them into a sense of security. They’ll give you and your brand their best, and they’ll leave the studio on good terms, and hopefully willing to return for future assignments.
o What Is the Celebrity Approval Process?: Is your star willing to view–and approve–the day’s shoot in an edit bay before day’s end? Or do his agent, manager, attorney, publicist, and wife all need to approve it as well? Clearly define this approval process before shooting begins. This will streamline your delivery process, and get the work on-air, in print, or online in the quickest possible manner. Personalities need to protect themselves from looking poorly, containment of this approval process will assure you of meeting your deadlines.
o Is Your Celebrity Approachable and PR Friendly?: We’ve worked with some of the most famous people in the world who, after a day’s work, would sign autographs and pose for photos with our clients, and members of our staff, and many that have NOT. We’ve also worked with much lesser known stars who will only talk to the director and brand manager on the set, and have “freaked out” when being addressed by a production “underling.” Find out well in advance from the celebrity’s manager or agent what the “approaching the star or not” parameters might be. Everyone’s different, and every star needs to be treated with the utmost respect and encouragement, regardless of their inflated ego, or painful insecurities.
o Don’t Be Afraid to Ask Questions: Assuming you’ve “bonded” with your star talent. Don’t be afraid to ask them questions about the day’s assignment. Do they need a break to make some calls? Are they hungry? Would they like to watch a quick replay on your HD monitor? Are they comfortable with their wardrobe and props? Is the air conditioning too cold? The more you can engage your star, the better the performance, the less tension on set, and the higher creative energy floating around the room. And believe it or not it’s not such a bad idea to compliment them on their latest achievements.
o When Working with Child Stars: Be sure to investigate the “best time of day” for them to deliver their best work. Child stars can be highly unpredictable, occasionally uncooperative, and easily distracted. If their parents are on set, build up a rapport with them as well, and enlist their aid. The end goal remains disseminating the best message on behalf of the brand, regardless of the fact that your kid star just drank way too much caffeinated soda.
Jay Silverman of Jay Silverman Productions, Hollywood, is a director whose credits span advertising campaigns for television, interactive, and print media. He has directed multi-media advertising projects for such clients as McDonald’s, Intel, Disney, Coors, Budweiser, GM, Coke, Pepsi, Frito-Lay, Visa, Gatorade, Greyhound, Petco, Carnation, A&W, Pepsi, and 24-Hour Fitness. Silverman has directed such celebrities as Ray Charles, Sen. Hillary Clinton, Denzel Washington, Michael Jordan, Aretha Franklin, Chris Rock, Jamie Foxx, Will Smith, Queen Latifah, Buzz Aldrin, LL Cool J, Spike Lee, Tyra Banks, Heidi Klum, Rodney Dangerfield, Angela Lansbury, and Martin Sheen. ***************
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