What was the biggest challenge posed to you by a recent project? Or share insights to a recent project you deem notable. Briefly describe the project, why it was particularly noteworthy or what valuable lesson(s) you learned from it.
I have a love/hate relationship with director’s treatments, but recently they’ve gotten out of hand. I love diving into the written words (I write mine) and the handful of visual references (I pay for those) are crucial to explain the director’s vision, inform the bidding process, and help all craftspeople in production. But the expectation for memes, gifs and photos of Paul Rudd is a waste of time. “Casting is crucial…” Yup, we all know that.
Recently, an agency team asked for a follow-up call to go over a treatment. When “What part can I clarify?” is answered with “Just take us through all of it” — that means no one read it. Once I politely asked, “Did you have a chance to read it?” and was met with blank stares until the CD confessed “Honestly, I only had time to skim it.” The team was sheepishly silent. Why not just hold up flash cards?
Bullet points and scrap should tell you who you vibe with, assuming you loved the reel and connected over the initial zoom. I’d bet a shiny nickel that if agencies had to pay the few grand to cover the cost we spend supporting the cottage industry of treatments, more people would read them. And they would not bid more than three directors.
Some agency teams read every word and why wouldn’t you? Your spot is super important and you need to trust whomever you bring onboard.
Are you involved in virtual production or experimenting with AI, AR or other emerging disciplines or new technologies? Have you engaged in any real-world projects on these fronts? If so, relative to experimental and/or actual projects, briefly tell us about the work & what you’ve taken away from the experience.
Our director/DP Ben Brady held a virtual tech scout using AR before shooting “Connection” for Cava de Pro Tequila at Void Studios. Rather than scout an empty soundstage, he walked everyone through the virtual set with the lighting plan and camera placements. It’s like operating with a scalpel versus a machete. It’s also reduces the carbon footprint of production. “Connection” Cava de Oro: https://simian.me/ab06u
I’ve shot a dozen spots on three different LED stages, and in each case we shot our plates for the wall. Haven’t used Unreal Engine environments yet because of the specificity the scripts called for. “Staycation” needed a hotel room with a view of a Toyota dealer. Thunder Studios worked better than scouting for an Embassy Suites across from a dealership. https://simian.me/8kev6
“Fix it in prep” has never been more appropriate. I’d hate to have a crew stand around when a client asks to make the CG ocean waves more dramatic. A green/blue screen is going to be faster and more budget-friendly if you don’t have enough work to do on the wall. And will AI rotoscoping soon make both tools obsolete?
Does your company have plans for any major diversification and/or expansion/investment in technology and talent this year and if so, what? How will this investment or diversification add value to what you can offer to clients? If instead you have already realized any actual expansion, made such an investment and/or diversified significantly recently, share those developments with us along with what they mean to your staff and clients.
We’re solely focused on producing commercials.
Gender pay disparity, sexual misconduct and the need for diversity & inclusion are issues that have started to be dealt with meaningfully. While the industry has made strides to address these issues, there’s still a long way to go. What policies do you have in place or plan to implement or step up in order to make progress on any or all of these fronts?
True Gent sponsors the Filmmaker Diversity Award – sending qualified filmmakers from under represented populations to Commercial Directing Bootcamp in Los Angeles for free. Past recipients have gone on to get signed and helm big campaigns for major brands. Several have been featured in the SHOOT New Directors Showcase.
We have a shadow director on every shoot. We’re openly biased towards BIPOC, female and LGBTQ filmmakers. A recent example, director Geneva Faye shadowed on my RAM Trucks with Sapient. As a Latina & LGBTQ filmmaker building her reel, this exposure to an automotive client while learning real-world, director-agency protocol was enlightening and confidence building.
My personal aim as founder of both True Gent and Commercial Directing Film School is to foster and develop talent based on merit and need. I want to be a resource for True Gent, ad agencies and yes, other production companies. Rising tides lift all ships.
