The old adage is that radio is a visual medium. Hearkening back to the olden days when radio was the undisputed entertainment king, dramas and comedies had listeners visualizing what they were hearing–from Jack Benny’s Maxwell roadster to the look of Martians in Orson Welles’ fabled War of the Worlds presentation.
Fast-forward to today and director Nick Piper of Venice-based Backyard found the inspiration to visualize when he heard a clever radio ad from the Partnership for a Drug-Free America (PDFA). One morning while driving to set for a TV spot shoot, Piper heard the PDFA radio commercial, which was in the format of a teach-yourself-language course with offbeat teenage lingo being mouthed to illustrate how hard it can be for parents to understand their kids.
“It was a clever idea that amused, moved and inspired me,” recalled Piper. “I felt here was a way to make a really important point using the comedy of the situation rather than having to revert to heavy-handed imagery of strung-out kids.”
Piper sought out the people responsible for the radio ad and enlisted their support to translate it into a TV commercial. He shared his vision with PDFA creative director Doria Steedman, and the radio spot’s writer, Tim Dillingham of McCann-Erickson, New York. Dillingham helped by emailing Piper some helpful Web sites about teen lingo. As it turned out, a TV spot had already been done based on the radio ad. But Piper noted that it was “nothing like what I had in mind.”
The art of persuasion continues as Piper successfully convinces Backyard to help finance the project, which shows a father trying to immerse himself in teen lingo but to not much avail. However, Dad finds another way to connect with his child.
Piper then recruits DP Bojan Bazelli, striking a responsive chord in that the noted cinematographer (Mr. And Mrs. Smith, The Ring) has a 13-year-old son. Then Piper gets his producer Danielle Lovett on board. Piper lands the kid he wants to feature in the spot, but is grappling with the lead adult, who will portray the father. In a bit of serendipity, Piper and his wife see a friend’s husband in an improvisation show. Piper is struck by how perfect the performer, Joel Murray, would be for the role of the dad. Murray (the younger brother of Bill Murray) agrees to do the spot.
The finished product, “Teen Lingo,” shows the dedicated father in his tool shed earnestly trying to learn teen phrases using a Berlitz-type language instruction tape and accompanying handbook. The scenario of him trying to repeat and grasp such phrases as “homie was flossin’ his grip of cheddha” plays out in an amusing and heartfelt manner. Becoming increasingly frustrated with this teen jargon, the Dad spots his son outside shooting some hoops and decides that a round of basketball to discuss the dangers of drugs in plain-speak is more realistic than being hip to trendy vocabulary. A voiceover observes, “You may not understand your kids, but your kids understand you. Talk to them about drugs.” And for those parents who need help in communicating to their children, they can access drugfree.org.
For Piper, there was still one more major hurdle to clear: gaining approval of the finished spot from the PDFA Creative Committee, chaired by Allen Rosenshine, chairman of BBDO Worldwide. During his birthday dinner, Piper received a phone call from Steedman informing him that the Creative Committee gave a thumbs-up to “Teen Lingo” for air. “It was the perfect birthday present,” said Piper.
The Backyard contingent on “Teen Lingo” included executive producers Blair Stribley and Eriks Krumins, and producer Lovett.
David Gioiella of Northern Lights Post, New York, served as editor and sound designer. Arthur Tremeau exec produced for Northern Lights. Assistant editors were Michael Novello and Scott Rankin. Online editor/visual effects artist was Ross Shain of Mr. Wonderful, New York. Colorist was Dave Hussey of Company 3, Santa Monica. Audio post mixer was Pat Christensen of Sound Lounge, New York.
Directors Amy+Pilar and Jose Antonio Prat Join Reform School
Boutique content production company Reform has added comedy directing duo Amy+Pilar (Amy York Rubin and Pilar Boehm) and award-winning multicultural director Jose Antonio Prat to its roster for U.S. representation spanning commercials and branded entertainment.
Partners in both life and art, Amy+Pilar are know for their sharp wit and comedic timing. Their synchronicity is evident in a body of work across TV, film and commercials. Prior to joining Reform School, Amy+Pilar had been repped in the ad market by production company Knucklehead.
Amy has directed high-profile comedy sketches featuring stars like Amy Schumer, Kate McKinnon, and Sarah Silverman. On the episodic front, Amy has helmed for series such as Fresh Off the Boat, Casual, Superstore and Angie Tribeca--as well as the pilot for the hit Netflix comedy Dead to Me.
Before joining forces with Amy behind the camera, Pilar was a psychotherapist, a background that informs her ability to create fascinating characters and stage irresistible, nuanced performances. Amy and Pilar’s shared passion for comedy brought them together. Their collaboration began with a Synchrony Bank campaign, starring cult-comedy favorite Maribeth Monroe (Workaholics), and they went on to direct the pilot of the Hulu series Love, Victor. Amy+Pilar’s ad fare also includes spots for Uber’s “Go-Get” campaign and “Shift,” starring Martin Starr.
“We have been fans of Amy and Pilar for a long time,” said Ryan Ennis, executive director at Reform School. “They excel at capturing comedic performances and dialogue. Coming from the TV and L.A. comedy scenes, they’ve built a strong following and collaborated with some of our favorite funny people.... Read More