SHOOT’s afternoon Directors/Producers Forum and evening New Directors Showcase, both held at the DGA Theatre in NYC on Thursday, May 21, offered a wide range of observations and insights, as well as exposure for up-and-coming filmmaking talent coupled with reflections from accomplished directors.
Kicking off the Forum was a “Reality Check: The Democratization of Directing in 2015” panel discussion moderated by Bonnie Goldfarb, co-founder and EP of harvest films. Panelists were Bob Giraldi, director and owner, Giraldi Media; Mike Long, content creation director for Droga5; and Erin Li who earned a slot in this year’s New Directors Showcase.
In an era where affordable technology has turned assorted people–trained and untrained–into content creators, a strong idea and great execution of that idea remain paramount for storytelling that connects with an audience. So while technology and access have changed, the timeless value of story remains intact, a dual reality that underscores that the more things change, the more they remain the same. Goldfarb, marking her 30th year in production, and directors spanning the generations–the iconic Giraldi, the accomplished Long, and up-and-coming talent Li–offered their perspectives on a landscape marked by changes and constants.
Goldfarb showed notable pieces of work over the years–all great ideas yet representative of change in the ad biz. From 1997 she screened Nike’s lauded spoof of runners being ostracized–posing the question what if we treated runners like we treated skateboarders? From 2008, a video of a ballgirl making an unbelievable athletic catch of a foul ball during a baseball game played like a sports highlight yet was really a staged advertisement for Propel water. And from 2015 The Sisterhood of Motherhood video for Similac shows different factions of moms verbally jousting with each other in the park/playground–we had working career moms vs. yoga moms and stay-at-home dads, breast-feeding moms vs. formula moms. However the us vs. them, trash talking scenario takes a turn when a stroller carrying a baby gets loose and heads down an incline, bringing the parents together in what’s described as a “sisterhood of motherhood.”
The latter generated 8 million online hits. The Propel video–when YouTube was a mere three years old–generated a million hits, with the ballgirl being featured on newscasts. And the Nike skateboarding spot garnered no hits since it was prior to the Internet era but got major TV play and scored resounding victories on the industry awards show circuit. Again, while ideas were molded to a specific medium to some extent, they were all well conceived concepts and stories–marked by the more things change, the more they remain the same dynamic.
Similarly in-house agency production has had its ups and downs over the decades. Initial incarnations proved less than successful as the most talented directors generally were on the production house side of the fence, pointed out Giraldi. Now, however, agency in-house production is on the rebound as varied forms of content have emerged, often having to be realized within the constraints of tight budgets.
Giraldi himself is an example of a stellar filmmaker who first directed while on the agency side, at Della Femina Travisano & Partners. Serving as that New York shop’s co-creative director (with Steve Gordon) and head of TV production, Giraldi began to direct some of his own work there. He came over to Della Femina after a brilliant tenure as a creative at Y&R New York. In its heyday in TV, Y&R had creative talent that went on to leading directorial careers, with names such as Giraldi, Tardio, Dragoti, Rosetti, Eggers, Bianchi, Flint and Ulick.
Long came over to Droga5 in 2013 from the directorial roster of production company Epoch Films. The move marked a return to his agency roots as Long served at Saatchi & Saatchi London (then headed by David Droga) followed by stints at Publicis NY, and Saatchi & Saatchi NY. Long is now involved in developing the in-house operation at Droga5, bringing talent to bear on different projects. Still, for the lion's share of its jobs, Droga5 continues to tap into the production house community for top flight directors and expertise.
Long said that Droga5's in-house unit is far different from the stigmatized departments of yesteryear referenced by Giraldi. Long noted that the Droga5 unit, while not completely launched yet, is already active and can rival outside production companies. At the same time, he added that Droga5's unit does not compete against outside vendors in that the agency realizes it's important for creatives to work with production companies, tapping into their talent and resources.
For aspiring directors–who fashion bodies of work through up until now unprecedented affordable access to new technologies–there are thus potential gigs on the production house and agency sides of the industry fence. In fact, during the evening New Directors Showcase panel discussion, panelist Bennett McCarroll, EVP and director of broadcast production at Grey New York, noted that while aspiring directors understandably look to gain a production company affiliation, it might be worthwhile for them to consider opportunities on the agency side of the business. He said that Grey has four or five directors on staff and that in-house work volume is significant. McCarroll noted that a fellow panelist, SHOOT 2015 New Directors Showcase director Joseph Pernice, works at Deutsch NY as a producer who directs select projects in-house, and that opportunities are opening up for this brand of staff talent.
During this Democratization of Directing afternoon discussion, Showcase director Li affirmed that she’s ready, willing and able to take on all forms of work. For an up-and-coming director, Li brings a broad-based background to the table. She served as a co-producer on director Nick Broomfield’s Tales of the Grim Sleeper, an HBO feature documentary which delves into the “Grim Sleeper” murders in South Central L.A. from 1987-2007. As a director, Li earned inclusion into SHOOT’s 2015 New Directors Showcase for the trailer promoting Kepler X-17, her dystopian science fiction short film. Li was one of eight woman selected to participate in the American Film Institute’s Directing Workshop for Women on the basis of this film.
Giraldi himself is a mentor to new filmmaking talent through his teaching at the School of Visual Arts in New York. He cautioned, however, that the industry needs to be careful when it comes to anointing for example in-house agency talent as directors if they really aren’t up to the bar set in the marketplace. He said tongue only partially in cheek that next we could see clients as directors, a chilling prospect that elicited some nervous laughter from the DGA Theatre audience.
4K & Beyond
Darren Okada, ASC, gave Forum attendees a glimpse of what 4K and HDR (High Dynamic Range) can deliver, screening footage comprised of select clips he picked for the gathering. The acclaimed cinematographer showed images of a dolphin in a water tank as oceanographers/researchers looked to get the mammal to learn to swim freely within a confined space. High resolution cinematography of the dolphin in motion helps researchers to gain insight into how they can best facilitate a resumption of movement that’s more akin to maneuvering about in a natural habitat.
Okada’s 4K experience encompasses such films as Dolphin Tale 2 and Let’s Be Cops, the latter being a comedy out of 20th Century Fox. In an on-stage conversation titled “4K & Beyond” with SHOOT editor Robert Goldrich, Okada shared that for Let’s Be Cops he deployed Sony F55 and F65 digital cameras, explaining that they offered him the versatility he was seeking and that the two models complemented each other well. The DP added that the Fox studio wanted to finish in 4K for Let’s Be Cops. Often the impetus for 4K comes from the director and DP, said Okada, but this time around the studio was also an advocate. Fox’s realization that this was the right approach underscores the momentum that’s building for 4K shooting, he observed.
Interestingly Fox’s CTO predicted at last month’s NAB convention in Las Vegas that we are not far away from the norm for major features entailing an HDR grade. Okada said that HDR represents a vast improvement in color range in that black is a deep black and white is a pure white, which in turn sets off all the colors in the spectrum to be rendered in rich, gratifying tones. Okada experienced this first hand with his HDR test short titled Emma.
Okada had three yearlong terms as president of the American Society of Cinematographers and was a contributor to the Digital Cinema Initiatives (DCI) Specification from 2003-2006. He’s served for nine years on the Science and Technology Council of the Academy of Motion Picture Arts and Sciences.
Okada noted that 4K represents a viable alternative. 4K TV sets have only been on the market for a short time yet sales reflect an appetite for higher resolution content. Among the distributors of content, streaming video is pushing the market for UHD/4K forward with multiple Netflix and Amazon shows in 4K. Sports broadcasting is a killer app for UHD4K and broadcasters are also moving towards 4K. The industry is at the beginning of a wave of 4K content as well as ways to distribute and enjoy UltraHD, from game consoles and smartphones to TV sets and movie theater projection. As more companies release solutions to offer choices for a complete end-to-end workflow, 4K content figures to ramp up.
In addition to Dolphin Tale 2 and Let’s Be Cops, Okada’s feature filmography includes Mean Girls (Lindsay Lohan and Tina Fey), Just Like Heaven (starring Reese Witherspoon and Mark Ruffalo) and Ghosts of Girlfriends Past (Matthew McConaughey and Jennifer Garner), all collaborations with director Mark Waters. Among Okada’s other feature lensing credits are Baby Mama, Harold & Kumar Escape from Guantanamo Bay, American Reunion, Joe Somebody, Captain Ron, and Wild Hearts Can’t Be Broken.
Okada earned an ASC Award nomination for his work on the CBS miniseries In a Child’s Name. He also lensed the pilots for the popular series Dawson’s Creek, Switched at Birth and Wasteland. His TV endeavors additionally include shooting multiple episodes of such series as Franklin & Bash, and Castle.
In The Director’s Chair
Settling into this year’s “In The Director’s Chair” session at the Forum was director/writer J.C. Chandor whose filmography spans three lauded features, starting with Margin Call for which he earned a Best Original Screenplay Oscar nomination in 2012. That same year Margin Call scored Best First Feature distinction from both the New York Film Critics Circle Awards and the Independent Spirit Awards. Margin Call additionally won the Independent Spirit’s coveted Robert Altman Award, which is the Best Creative Ensemble honor encompassing its director, cast and casting directors. Chandor was also named Best Debut Director by the National Board of Review.
From that dialogue-intensive ensemble Wall Street drama, director/writer Chandor moved on to All Is Lost, centered on an inspired solo performance by Robert Redford. All Is Lost scored a Best Sound Editing Oscar nomination in 2014 as well as Spirit Award nominations for Best Feature, Director, Cinematography and Male Lead Actor.
Chandor’s most recent feature, A Most Violent Year, received assorted plaudits, including last December being named the Best Film of 2014 by the National Board of Review. A Most Violent Year also garnered Chandor an Independent Spirit Award nomination for Best Screenplay in 2015.
Interviewed on stage by SHOOT’s Goldrich, Chandor shared his career backstory, discussed his dual role of writer/director, how he landed Redford for All Is Lost, his first-time collaborations with cinematographer Bradford Young and editor Ron Patane on A Most Violent Year, and a new career chapter which saw him recently join Reset for commercials and branded content. Reset is the production company launched by managing director Dave Morrison and filmmaker David Fincher.
Chandor’s backstory offers a 180-degree turn to reality from the popular misnomer that he was an overnight success story based on the accolades earned by his debut feature, Margin Call. In fact, Chandor struggled to get firmly established over the years, making an initial splash in commercials and action sports films only to have a feature he invested much time and effort in fall through at the 11th hour just prior to when production was scheduled to begin. He eventually moved onto Margin Call, writing the script for what he described as a make-or-break project, acknowledging that if the film had not come to fruition, he likely would have abandoned filmmaking altogether in order to make a living to support his young family. Happily, the script came together as did a stellar ensemble cast (Kevin Spacey, Jeremy Irons, Paul Bettany, Zachary Quinto, Penn Badgley, Demi Moore) and Chandor finally found himself at the helm of what proved to be a career-making film.
Chandor related that the fact that he wrote Margin Call made it easier for him as a first-time director to collaborate confidently with cast and crew. He has served as writer/director on all three of his features, noting that he is open to taking on a feature project that he hasn’t penned.
Still, Chandor has exhibited a special writing talent as reflected in the range of his first two features, going from the dialogue-driven ensemble drama Margin Call to All Is Lost, a film with a virtual cast of one, Redford, whose character we come to know through what he was experiencing rather than the spoken word. Asked how he was able to score the coup of landing Redford, Chandor recalled that he went to the actor/director’s special session at the Sundance Film Festival. Packed with aspiring filmmakers, Sundance founder Redford’s talk–at least the first part of it–was out of earshot for Chandor who was on the far side of the room where the audio speaker wasn’t working. Chandor saw Redford in the distance sans sound. Then the audio speaker began working and it was then that Chandor experienced the power of Redford’s voice. After the talk, attendees crowded around Redford. Chandor wasn’t part of that flock but began to entertain the notion of Redford in The Old Man and the Sea-like lead of All Is Lost. Via CAA, Chandor got his script to Redford, asking him if he’d be interested in the part. Shortly thereafter, Chandor found himself flying to L.A. to meet Redford for lunch. Redford said he wanted to do the movie–just like that, said Chandor who was amazed to hear that in all the years at Sundance, from the thousands of filmmakers at the festival, Redford had never been asked to take on a role in a film–until Chandor broke the ice.
From All Is Lost, Chandor moved onto A Most Violent Year starring Oscar Isaac and Jessica Chastain. He took on two key new collaborators for that film–cinematographer Bradford Young and editor Ron Patane. When Pete Beaudreau–editor on Margin Call and All Is Lost–committed to cut The Gambler just prior to the emergence of A Most Violent Year, Chandor had to seek out another editor, connecting with Patane whose credits included teaming with Jim Helton to edit Blue Valentine. Chandor said he felt an affinity for Patane and liked the fact that he had worked closely with another editor. Chandor reasoned that this could translate well into Patane working with him in the cutting of A Most Violent Year. While he’s not constantly in the editing room, Chandor said he’s pretty “hands on” when it comes to editing his films. Patane wound up earning an Independent Spirit Award Best Editing nomination for A Most Violent Year.
As for his choice of cinematographer, Chandor said he developed a wonderful collaborative working relationship with DP Frank DeMarco on Margin Call and All Is Lost. But the director felt that he might not have been able to shoot A Most Violent Year the way he wanted if he again teamed with DeMarco. So Chandor was in the market for a cinematographer. Serendipitously while editing All Is Lost, Chandor found himself situated next to another edit room where he’d often see images on screen that looked like amazing paintings–akin to the painterly backdrops he envisioned for the characters, particularly that portrayed by Isaac, in A Most Violent Year. Those images in the adjacent edit room were from the movie Ain’t Them Bodies Saints shot by Bradford Young. Chandor sought out Young and they teamed brilliantly on A Most Violent Year. Young, incidentally, won the Cinematography Award for Drama at the 2013 Sundance Film Festival for both Ain’t Them Bodies Saints and Mother of George. Earlier this year, Young was nominated for the Independent Spirit Best Cinematography Award on the strength of Selma.
Meanwhile as alluded to earlier, Chandor has embarked on a new career chapter, joining the directorial roster of RESET for spots and branded content. Immersed in features the past six years, Chandor said he wanted to carve out a little more space for himself to write, reflect, enjoy life with his family while still being active as a director. He reasons that commercials and branded content represent a real opportunity to do just that while expanding as a director through creative challenges, visual storytelling, experimenting with different technical tools and narrative techniques, trying to do justice to concepts written by others, and getting the chance to work with other artists including different DPs and editors. He also said commercials afford him the opportunity to “make a little coin” as well.
Chandor said he found his earlier work in commercials and adventure sports projects invaluable. In fact, he observed that a lot of the visual storytelling and narrative point of view in All Is Lost came from his different explorations years ago going back to those spots and action/adventure sports work. Chandor quipped that he’s always been amazed that he was sought out for action/adventure/extreme sports fare given that he’s a self-described “wuss.”
As for why he gravitated to RESET for his planned re-entry into the ad arena, Chandor explained that he’s long been an admirer of Fincher, who was a huge draw. Chandor said he was also drawn to Morrison who reached out to him. Chandor said that before All Is Lost received any favorable reviews, Morrison saw the film and told Chandor that he admired the chances that the director had taken with the film. Chandor noted that he has always responded to people responding to my work for the right reasons. Morrison did just that, which confirmed for Chandor that RESET would be the right place for him to grow and take on commercials and branded projects.
Native intelligence
Jeffrey A. Greenbaum, managing partner of entertainment and advertising law firm Frankfurt Kurnit Klein & Selz (FKKS), presented “Blurred Lines: Native Advertising; Best Practices & When Things Go Wrong.” His session helped to define varied forms of native advertising from sponsored search and listings on the web to sponsored “editorial” content in physical and online publications (Huffington Post, BuzzFeed, et al), widgets (e.g., Outbrain), sponsored programming (broadcast, online), brand integration (Coors Cold Hard Facts segments on ESPN’s SportsCenter) and brand-financed feature films.
(Here's a portion of Greenbaum's presentation: fkks_nativeadvertising.ppt)
And while the weaving of native advertising into entertainment and informational content affords a host of marketing and communication opportunities, there are certain caveats to consider. For one, pointed out Greenbaum, the majority of consumers think native advertising is misleading. Furthermore, no matter how well conceived and executed, native advertising is still advertising, meaning that the rules governing advertising still apply in terms of transparency and potential legal liabilities.
Among the examples Greenbaum cited was the paparazzi photo of actress Katherine Heigl carrying a pair of full shopping bags from drugstore chain Duane Reade. Twittering the photo as part of regular social networking is fair game but not so when Duane Reade posts the pic on Twitter and Facebook. It comes down, said Greenbaum, to “messages, means and motives.” Duane Reade was trying to influence consumers by associating its brand with the star power of Heigl. She sued Duane Reade on the basis that the chain had violated the false advertising provision of the Lanham Act as well as NY civil rights statutes protecting use of likenesses for the purpose of trade. The matter was settled out of court with Duane Reade making a contribution to benefit the Jason Debus Heigl Foundation, a charity which combats the suffering inflicted on animals by human cruelty, indifference and ignorance.
Greenbaum also showed a video in which popcorn kernels are prompted to pop by being in proximity to cell phones that are on. While an alarming sight given the claims of harmful radiation emanating from phones, the video was a concocted fiction, the party behind it being Bluetooth. However, there was no disclosure of that fact–which is required of what amounts to advertising content, even if it doesn’t appear to be advertising content.
Similarly there was the Safety Mom who appeared on NBC’s Today as well as other shows as an expert introducing viewers to a series of products she recommends, often in playful banter with program hosts. What wasn’t disclosed, though, according to the FTC, was that the Safety Mom was a paid endorser for ADT security systems. Among the products she recommended was a child safety, home security service called ADT Pulse. Under an agreed-upon settlement with the FTC, ADT is prohibited from misrepresenting paid endorsements as independent reviews in the future.
“Consumers have a right to know that it’s advertising. It’s all about transparency,” said Greenbaum, noting that disclosures must be “clear and conspicuous.” This is essential, per the FTC, in a universe where bloggers are frequently paid endorsers–consumers need to know that.
Still when native advertising is on target, the connection with consumers can take on a whole new positive dimension. Greenbaum cited several examples, including DamNation, a film financed by high-end outdoor gear company Patagonia, a socially accountable brand that has become an outspoken advocate for environmental and corporate responsibility. Directed by Ben Knight and Travis Rummel, the film suggests that dams can do far more ecological harm than good, as the life and health of rivers needs to be preserved. Winner of last year’s SXSW Film Festival Audience Award in the Documentary Spotlight category, DamNation opened in limited theatrical release last year, has been screened for free (with DVDs for sale) at most of Patagonia’s retail outlets and by environmental organizations, and can be accessed on the streaming site Vimeo.
Greenbaum also cited the Tonight Show "Fallonventions" segment in which Jimmy Fallon showcases kids and their inventions. The GE-sponsored in-show integrations weave the GE brand into innovation and entertainment as part of the high-profile Tonight Show platform.
Just as different forms of native advertising are evolving, so potentially too, said Greenbaum, are methods of compensation for creating and/or producing this content. He noted that the traditional work for hire scenario for producers, for example, could give way to such alternatives as ownership, partial ownership and/or licensing. “It’s up for negotiation,” he affirmed.
Lead sponsors of the 2015 SHOOT Directors/Producers Forum and New Directors Showcase were harvest films, ONE at Optimus, Sony Electronics and the DGA. Silver sponsors were Company 3 and entertainment & advertising law firm Frankfurt Kurnit Klein & Selz (FKKS). Bronze sponsors were GARTNER and Palace Production Center.
SHOOT publisher and editorial director Roberta Griefer made a special point both before the Forum panels kicked off and in the evening before the New Directors Showcase screening to thank this lineup of sponsors for making the event possible, citing each sponsor and key executives. She also gave special thanks to Company 3 for hosting a breakfast and color correction workshop for Showcase directors that morning prior to the start of the Forum and to Palace Production Center for their help in compiling the Showcase Reel.
Editor’s note: See separate story for comprehensive coverage of SHOOT’s 2015 New Directors Showcase reel screening, and panel discussion moderated by SHOOT’s Griefer and featuring five of the Showcase directors along with feedback from Grey NY’s McCarroll, and Lisa Mehling, partner/exec producer at Chelsea Pictures. Click here to access the New Directors Showcase reel and Showcase director survey interviews. Click here for photos of the SHOOT New Directors Showcase "Meet the New Directors" panel and afterparty.
