The Directors Guild of America (DGA) will announce the winner of the honor for best commercial director of 2005 at a ceremony on Jan. 28. The field of nominees consists of some of the most talented helmers working in the spot world. And along with their talent and dedication to their craft, these directors have worked with some of the top artisans in the field, including stellar editors.
This week, SHOOT surveyed the cutters behind the work that led to each director’s DGA nomination. Craig Gillespie of bicoastal/international MJZ earned his nod based on four spots: Ameriquest Mortgage’s “Mini Mart” and “Surprise Dinner,” out of DDB Direct, Los Angeles, and Altoids’ “People of Pain” and “Fable of the Fruit Bat,” out of Leo Burnett USA, Chicago. Haines Hall of bicoastal Spot Welders cut the Ameriquest work, while Paul Martinez of bicoastal Lost Planet cut the Altoids spots.
Spike Jonze of MJZ was nominated on the strength of adidas’ “Hello Tomorrow,” out of TBWA/Chiat/Day, San Francisco, and cut by Hall; Miller’s “Penguin,” out of Young & Rubicam, Chicago, and edited by Stephen Berger, then of Spot Welders (he recently shifted to bicoastal Final Cut); and the Gap’s “Pardon Our Dust,” out of Crispin Porter + Bogusky, Miami, and edited by Final Cut’s Eric Zumbrunnen.
MJZ partner/director Rocky Morton was nominated for Bell South’s “Kung Fu Clowns” and “Dance Fight Plumbers” out of West Wayne, Atlanta, and edited by Gavin Cutler of MacKenzie Cutler, New York; and CBS’ “Take Your Work Home,” out of The Martin Agency, Richmond, Va., and cut by the mono-monikered Katz of bicoastal Cosmo Street; and Cheese Nips’ “Office,” out of JWT, New York, and cut by Jason MacDonald, then of Mad River Post–he has since joined Cosmo Street.
Noam Murro of Biscuit Filmworks, Los Angeles, was nominated for Hummer H3’s “Monster,” out of Modernista!, Boston; Nike’s “Run Barefoot” via Wieden + Kennedy, Portland, Ore.; and Orange’s “Black Out,” from Mother, London. Avi Oron of Bikini Edit cut all three spots.
Rupert Sanders of MJZ was singled out for adidas’ “Made To Perfection,” out of TBWA/Chiat/Day (the spot was done via now defunct Omaha Pictures), and “Joy” for Xbox, out of McCann Erickson, San Francisco. Neil Smith, who works via the London office of The Whitehouse cut both ads. (The Whitehouse also has shops in New York, Chicago, and Santa Monica.)
Stephen Berger
Editor
Final Cut, bicoastal
Why and how did you get into editing?
Why? Because I was intrigued by it, believed I could do it and, in pursuing it, discovered that I really enjoy it. The how is a little more complicated, but to make a long story short, after several years of working on the post facility side of things, I began assisting Eric Zumbrunnen at Spot Welders in June of 2000. Because of how busy and generous he was (and still is), working with him led to many opportunities to cut. It was in taking advantage of those opportunities that I discovered how much I enjoy it.
What do you think of Miller’s “Penguins” leading to a DGA nomination for Spike Jonze?
I’m thrilled. He clearly deserves it and it’s an honor to have been a participant in a project that may help lead to the award.
Do you frequently work with him?
I’ve had the good fortune of getting to edit with/for him several times. The first time was to cut the Torrance Rises documentary for his Director’s Series DVD. Other projects included a short film and spots for Volvo’s “Mystery Of Dalaro” project, music videos for the Yeah Yeah Yeahs and Ludacris and, of course, this Miller project. From the very first project–even though I was just starting to try and build an editing career–he was extremely collaborative and trusting, which is something that helped me gain confidence early on. There’s an inherent humanity to his work that’s very appealing and, obviously, he’s incredibly and creatively talented and insightful.
How did you get involved in this particular project?
Eric Zumbrunnen was originally going to cut the whole project, but the pre-production editing wound up being more involved than anticipated–conflicting with a project Eric was finishing–and I was free to jump in. It turned out the pre-production editing was so vital to the project that Eric and Spike agreed it would be best if I saw it through. The whole campaign consisted of six, three- to five-minute Internet films (one for each of six animals) and a spot for each. I cut the six films and Eric and I each cut three spots from the films.
Are you happy with the end product?
Very happy. I’ll try to avoid clichés here, but it’s just so different from anything that’s currently being done commercially. There’s naturalness to the dialogue and, especially in the films, one gets to know the nuances and charms of each character pretty well. Plus the whole campaign is very funny.
Do you think he’ll win the honor?
No way to know, but he deserves to win.
What’s your most recent spot project?
Ironically, the most recent was a combo spot of the six animals from the Miller campaign. Before that was a spot for Toyota Hybrid Synergy Drive.
What outside projects–e.g., shorts films or features or TV–have you completed in the past year?
I edited an MTV special for the movie Murderball–kind of a Jackass meets Murderball piece (the Jackass guys liked the movie so much they wanted to help promote it). I also cut some short films for the “Life On Board” campaign for Volvo, which won a Titanium Lion at the Cannes International Advertising Festival, a Yeah Yeah Yeahs concert DVD, a Beck concert and another Volvo short film for their new C70. I think that’s it in terms of recent projects.
What’s the best part about being an editor?
For me it’s the feeling of putting the pieces together and having them work–having them flow. Getting to tell a story and hopefully, no matter what I’m working on, getting to bring out the feeling and the humanity in it. My most favorite thing may well be the air guitarist’s visceral thrill I get when, during work on a music video or concert, I get to make a particularly dynamic cut during a particularly dynamic musical moment (for me it’s probably the next best thing to actually playing the music). Getting to do creative work is right up there as well.
What’s the worst part?
Waiting.
Do you have an all-time favorite ad you cut?
The Miller stuff is so good, so unique. There’s no way it could have been scripted or acted the way it happened. Definitely my favorite.
If you could have worked on any spot airing now, which would it be and why?
I’m almost embarrassed to say that I haven’t had any kind of broadcast TV in my home for over 10 years so I don’t really know what’s on. I do read the trades and watch reels online so I have an awareness of the highlighted work being done. Out of what I’ve seen–even though it’s a few months old now–I’d have to say the Bacardi “No Bad Dancing” spot because it looks like it was a blast to cut.
Gavin Cutler
Partner/editor
MacKenzie Cutler, New York
Why and how did you get into editing?
I went through a film/art program in college that taught me to despise “the industry.” I got a job in commercials editing as soon as I graduated.
What do you think of Bell South’s “Kung Fu Clowns” and “Dance Fight Plumbers” leading to a DGA nomination for Rocky Morton? Do you frequently work with him?
Naturally I think it’s great for Rocky and I hope he annihilates the competition. Unless, of course, I worked on some of the other projects being considered in which case I would just say something vague about the fickle nature of award shows. Rocky and I have collaborated on a number of projects. He is smart and fun to work and play with. We seem to share a certain understanding of the dark side.
How did you get involved in this particular project? Are you happy with the end product?
I suppose I was considered for the project because of my relationship with Rocky and Bobby Pearce (writer). But my official answer is because I am the greatest editor in history.
I was fairly happy with the end product. The client was quite nervous so there was a lot of soothing and petting from the agency to keep things on track. That seems to be the norm though since there is so much fear in advertising that if you are not seriously pushing people out of their comfort zone, you are not doing your job.
What’s your most recent spot project?
FedEx Super Bowl that I can’t talk about and a very cinematic spot for Staples shot by that madman Thierry Poiraud.
What outside projects–e.g., shorts films or features or TV– have you completed in the past year?
I did a first cut of a feature shot by Bruce Van Dusen. Someday I will pursue more long-format work but for the moment I am still having fun bound by 30 seconds.
What’s the best part about being an editor?
I love the creative balance between working alone and collaborating. The first cut is a very solitary effort filled with internal turmoil and agony, which I love. The ensuing collaboration I try to fill with as many laughs as humanly possible. It helps to work with great people. And not to have to deal with all the politics.
What’s the worst part?
I’ll tell you in five years.
Do you have an all-time favorite ad you cut?
Why of course the one I did for that genius Rocky Morton.
If you could have worked on any spot airing now, which would it be and why?
Why wasn’t I considered for “Grrr”? Bastards.
Haines Hall
Editor
Spot Welders, bicoastal
Why and how did you get into editing?
In the early 90’s I was hired by Propaganda Films, first as a runner and then working in the tape vault/dub room. When I was offered the job in the vault, it became this decision for me between production and postproduction. Post seemed to fit me well as I was the only person at Propaganda who knew how to set the clock on the VCR. It was a busy time for them, with directors like David Fincher and Mark Romanek making commercials and music videos like we’d never seen before. In the vault, we would watch these clips over and over. They had Calloway (tape based linear) editing bays in-house. All of these amazing editors were cutting for those directors–Jim Haygood, Robert Duffy, Scott Chestnut, John Murray, Tom Muldoon, Michael Heldman and others. It was like “on the job training” for me. I would go in to the bays at night and “re-edit” their clips just for myself. Then I began cutting directors reels, which led me to my first music videos that I edited for Paul Rachman, a great editor turned director. A couple of years later, directors like Spike Jonze, Mike Mills and Doug Aitken came along and I started working regularly for them as a freelance editor. All of these directors taught me loads about editing.
What do you think of Ameriquest Mortgage’s “Mini Mart” and “Surprise Dinner” leading to a DGA nomination for Craig Gillespie and adidas’ “Hello Tomorrow” getting the nod for Spike Jonze? Do you frequently work with both directors? How did you get involved in these particular projects? Are you happy with the end product?
I think the Ameriquest campaign is a really smart one. The spots are really quiet and they almost don’t need sound to work. Especially “Surprise Dinner.” For that spot to cut through all the clamor of the Super Bowl means it must be working. Craig is a great director. He gives you lots of coverage and options. You can tell that he comes up with great ideas/adlibs during the shoot. This was the first time I worked with Craig. Currently we are finishing another round of Ameriquest spots for the Super Bowl following the same format that are equally as funny and effective.
The adidas spot just seemed to be entirely new territory for advertising. It’s one of those spots that you can watch over and over without getting bored. When Spike does an ad, he brings so much of himself to the whole project, right from the beginning. I have worked with Spike since those early days at Propaganda/Satellite. He always brings something unique and different. I am very proud of both of these projects.
What’s your most recent spot project? What outside projects–e.g., shorts films or features or TV–have you completed in the past year?
Along with the Ameriquest campaign for this year’s Super Bowl, I have just finished a couple of spots with Stacy Wall for Nike (“LeBrons”), and Dish Network. In 2005 The film Thumbsucker, directed by Mike Mills was released. I co-edited that film with Angus Wall. I am also working on a really interesting documentary about donated bicycles shipped to Ghana to help communities with transportation issues. Earlier in 2005 I edited a multiple screen video installation for Doug Aitken. I have done several of these over the years. These installations are always challenging in that we have none of the usual “rules” for traditional narrative projects. The “story” is often told on multiple screens simultaneously. And the architecture of the installation is often developed as we edit so that the two work together.
What’s the best part about being an editor?
All the glamour and the hot girls.
What’s the worst part?
All the glamour and the hot girls.
Do you have an all-time favorite ad you cut?
That is a really hard question. I can’t say I have a favorite but Dewey Nicks directed a spot for Ameritrade called “Let’s Light This Candle” a few years back that was really fun to cut. The main actor was genius and ad-libbed his way through most of the takes.
If you could have worked on any spot airing now, which would it be and why?
I don’t know who did it but I really like the Lexus ad that works as a split screen until the end when the split becomes one full image of the car. I can watch that one over and over.
Katz
Editor
Cosmo Street, bicoastal
Why and how did you get into editing?
I started to edit because I needed to survive and it was the only option I had at the time. When I first arrived to L.A., I was broke, without a job, could not speak English and did not have a work permit. I had a few silly jobs and one of them was teaching to play the piano to kids. The mother of a student was a costume designer and asked me if I could help her find music for a reel. One thing leading to another I ended up re-cutting the whole thing with two 3/4-inch decks and a lot of luck. She showed her reel around, and next thing you know, I am the new guy who cuts reels in town. From reels to music video and then onto commercials, here I am.
What do you think of CBS’ “Take Your Work Home” for CSI leading to a DGA nomination for Rocky Morton?
Without a doubt this spot crystallizes Rocky’s humor, amazing sense of story telling and mastery of camera work.
Do you frequently work with him?
Yes. I have been working with Rocky for several years.
How did you get involved in this particular project?
Because Rocky suggested to the agency that I work with them.
Are you happy with the end product?
I am extremely proud of the result. The :60 is very cinematic and intriguing. I am surprised that the spot aired the way Rocky conceived it–I thought the subject matter would have been too shocking for our censors. I was so sure it would not air that I made a bet with the agency that if they play the 60: on TV, I’d wear a dress to work–well, I looked great in violet!
Do you think he’ll win the honor?
He is one of the very best. I don’t see why he would not get this honor.
What’s your most recent spot project?
Coke, UPS, Chevy–
What outside projects–e.g., shorts films or features or TV– have you completed in the past year?
A feature called Greener Mountains, directed by Lee Shallot Chemal.
What’s the best part about being an editor?
The glory.
What’s the worst part?
Paparazzi.
Do you have an all-time favorite ad you cut?
The first one I ever cut. It was such an achievement at the time. It’s like your first love–how can you ever forget?
If you could have worked on any spot airing now, which would it be and why?
I wish you could ask me the question again after the Super-Bowl.
Jason MacDonald
Editor
Cosmo Street, bicoastal
Why and how did you get into editing?
My mother told me I lacked direction. She was right.
What do you think of Cheese Nips “Office” leading to a DGA nomination for Rocky Morton?
I think it is very well deserved. The spot turned out great. All of his spots turn out great.
Do you frequently work with him?
First time, and hopefully not the last.
How did you get involved in this particular project?
Through the agency, JWT.
Are you happy with the end product?
Very. It turned out to be very funny, and Rocky’s timing was perfect.
Do you think he’ll win the honor?
That’s a very tough question. He’s up against some great talent, but he’s a great talent, so it’s hard to say. I wish him the best of luck.
What’s your most recent spot project?
Radio Shack with Kevin Thomas. Avis with Matt Aselton. Nationwide with Kinka Usher.
What outside projects–e.g., shorts films or features or TV– have you completed in the past year?
I made a home movie with my girlfriend.
What’s the best part about being an editor?
If you must work, may as well do something that’s fun. I think editing funny spots is fun.
What’s the worst part?
It is work after all.
Do you have an all-time favorite ad you cut?
Target with Heidi Klum and Darth Vader. It’s one shot.
If you could have worked on any spot airing now, which would it be and why?
“Ernie the Kletpo.” It’s brilliant. So funny, I can watch it over and over again.
Paul Martinez
Editor
Lost Planet, bicoastal
Why and how did you get into editing?
My interest in photography led me to study film in college where after cutting my first student project I decided I wanted spend the rest of my life in a dark room. My first job in the industry was as a production assistant at Lorimar Television. I used to come in before work and hang out with a couple editors who had been in TV and movie editorial for 50 years, and watch them work on the last years of Dallas. I got a break as an apprentice editor, and went on to work as an assistant on various motion pictures–Braveheart, The Horse Whisperer, U Turn. I would eventually work with Hank Corwin, who gave me the opportunity to enter the madness of commercial editing.
What do you think of Altoids “People of Pain” and “Fable of the Fruit Bat” leading to a DGA nomination for Craig Gillespie? Do you Frequently work with him? How did you get involved in this particular project? Are you happy with the end product? Do you think he’ll win the honor?
This is the second package that I had cut with the Altoids team. I had just previously finished another package for Toyota that Craig had directed and was fortunate to be able to work with what I like to call an editor’s director. Craig’s shoots are so well thought out, and he completely understands the best way, editorially, to tell a story. In short, his film cuts like butter–make that butter with a hot cleaver.
I love the sepia look of the film that Craig decided on and the old documentary-style music that is reminiscent of the Mutual of Omaha’s Wild Kingdom where Marlin Perkins’ assistant Jim would be in some ridiculously dangerous situation while this melancholy scratchy music played in the background. I must say that “Fruit Bat” only has one edit in it (like some of my best work) because Craig had amazingly nailed the performance, camera move, practical rigging and product display in two shots. I still laugh when I see these spots. I mean, after all what can be more funny then a guy getting kicked in the nuts? Except maybe two guys getting kicked in the nuts.
What’s your most recent spot project?
A Goldfrap video, “Ride A White Horse,” lensed by director Diane Martel.
What if any outside projects have you completed in the past year?
I do quite a few music videos with Diane Martel. The most memorable one of late was for Franz Ferdinand where they make a mockery of an installation art exhibit (a must see for you art lovers). I also edited Everything In This Country Must, a short film that was directed by Gary McKendry and nominated for an Academy Award last year.
What’s the best part about being an editor?
Having the ability to emotionally connect with a viewer by how you edit a story. And being able to collaborate with creative people.
What’s the worst part?
Missing the opportunity to connect with a viewer by how you edit a story. And not being home enough.
Do you have an all time favorite cut?
I have more than one favorite, and I edit many different genres that are hard to compare. The Altoids stuff is always a favorite. Most recently the Ali G spots for TNT were a favorite because working with Sacha Baron Cohen (Ali G) and all the guys from Spike/DDB was a great collaborative experience. And I think that Sacha is truly a comedic genius. I also like the cut on the Adidas MLS spot “Night Practice.” That was a great collaboration with Kinka Usher and the gang from TBWA/Chiat/Day, San Francisco and 180. Also, anytime I work with Chuck McBride, I usually take away something creatively that I can use in my storytelling as an editor. He is amazing editorially and that MLS spot was no exception. Not to mention I get more material for my Chuck impression.
If you could work on any spot airing now what would it be?
There are two spots for Vans that I recently saw, one titled “AM,” one titled “PM.” The film and the edit were very raw unlike most spots you see. I thought that the edit was great however so I don’t think I could have improved it.
Avi Oron
Owner/editor
Bikini Edit, New York
Why and how did you get into editing?
The Israeli Air Force didn’t accept me because I didn’t have perfect 20/20 vision, so I decided to take up editing.
What do you think of Nike’s “Barefoot Runner,” Hummer H3’s “Monsters” and Orange’s “Black Out” leading to a DGA nomination for Noam Murro?
Nike’s “Barefoot”: in a remake there’s always a risk that you are going to make yourself look bad. On this visual spot the added value comes from the subtlety of the execution both in the shoot and post. The end of course has a nice creative twist.
Hummer’s “Monster”: the challenge on a very complex effects spot was to keep the biggest assets of the spot: the storytelling, the humanity and emotion of the monsters–and to use the visual effects in a very nonchalant way to be the background for the story.
Orange’s “Black Out”: the story of the 2003 New York blackout. With nine hours of dailies from multiple cameras with hundreds of heroes of extremely well shot film. The challenge was to tell the real story of the blackout in only 60 seconds. We were lucky, I guess.
Do you frequently work with him?
Noam and myself go way back working together–I work on almost every job of his.
How did you get involved in these particular projects? Are you happy with the end products?
We are very fortunate to be involved in high-creative boards that come from the agency. Our job is to guard it. Most of the time we are very lucky and very happy with the end results.
Do you think he’ll win the honor?
I don’t know who will win. What I know is that he is extremely talented.
What’s your most recent spot project?
Adidas and Disney with TBWA/Chiat/Day, San Francisco, and American Express with Ogilvy & Mather, New York.
What outside projects–e.g., shorts films or features or TV–have you completed in the past year?
We’ve been approached for some feature work, but as of now we are still waiting for the right one.
What’s the best part about being an editor?
The challenge of finding different ways to make any spot an interesting one. I believe in presenting different versions to the agency as a result of finding unplanned found footage that sparks new ideas.
What’s the worst part?
Client revisions (we all love those, don’t we?).
Do you have an all-time favorite ad you cut?
Got Milk’s “Birthday”
If you could have worked on any spot airing now, which would it be and why?
Spots for Volkswagen, Burger King and Intel–I think they have great creative ideas with enormous potential and opportunity in the editorial execution.
Neil Smith
Editor
Whitehouse, London
Why and how did you get into editing?
I started, like most people in this profession, by being a runner at an editing company. Making tea, stacking toilet rolls and getting people sushi lunches. Then moving up to be an assistant editor, when I had proved my self to be not too annoying. It was a bit like an old fashioned apprenticeship, learning a craft on the job from someone who in turn had learnt their craft in a similar way. To be honest, it is also a bit of a test to see how much stamina and staying power you have–a test to see if you can put up with long hours and demanding clients, later on in life.
I got into editing because I love making things in a dark room all by myself. Have done since I was a child. I would spend hours making little models inside shoeboxes upstairs in my bedroom, then taking them downstairs to show my usually completely disinterested parents. I also have a theater background studying drama at University. I had never really wanted to be an actor, I only did it because people said I was good at it, and there weren’t many things people used to say that to me about. I acted right up to the point when I realized I wasn’t nearly as pushy or talented to make it. Editing seemed to be a good use of my instinctive dramatic sympathies combined with a patience and love of crafting things. There is something very intimate and involving about editing, the way you can dramatically affect a narrative in the space of a few minutes, with a few changes of shots or music or picture order. It is a strange mix of interpreting others’ visions and adding your own. You can’t define where the boundaries are–you just have to trust your instinct. I also love the range of it as well. From subtle, almost infinitesimal nuanced changes to huge dramatic ‘swap the front with the end’ ones. The depressing bit is when you see a truly wonderful idea ruined by either politics that have nothing to do with making the best spot or endless petty changes that take away the initial delight and freshness.
What do you think of adidas’ “Made To Perfection” and Xbox’s “Joy” leading to a DGA nomination for Rupert Sanders? Do you frequently work with him? Do you think he’ll win the honor?
I am obviously delighted for Rupert, although being from London, I confess I don’t really understand what it signifies. Rupert and I have worked together for years, both starting out at roughly the same time. Our two careers have pretty much grown in sync. It is very rewarding when you develop creative partnerships. The lack of tension encourages honesty and adventurousness. Because trust is there you can be very free creatively. Free to try things, which may turn out to be rubbish without worrying about being misinterpreted as a fool. To be honest you must take this approach whatever the relationship, but it is more comfortable when the lines of communication are well established.
How did you get involved in this particular project? Are you happy with the end product?
I got involved with both spots because Rupert very kindly asked me to, and the agencies very kindly didn’t object. Sometimes American creative teams are a little wary if the U.K director wants to involve his regular U.K editor. I guess the fear is that they won’t have any control in the edit room, but really the control should lie with whoever has the best idea, from whatever quarter it comes. It is a collaborative medium after all. Ultimate control will always rest with the client because they foot the bill. However, we all know really the final say will be with the audience.
I think they both nominated spots work for different reasons. Xbox is epic in feel and has a quite curious ending, in that it doesn’t attempt to answer any questions. The world the kid enters just is–there is no attempt to formulate a logic behind what he does or why things are happening. I really like that about it. What he encounters is quite anarchic really and he and the spot are entirely comfortable with that.
Adidas is simpler in a way. The narrative unfolds and the pleasure is in the cinematic telling of the story. It is quite refreshing to see a basketball-based commercial that doesn’t feel the need to do a skills demonstration.
If you could have worked on any spot airing now, which would it be and why?
There seems to have been a bit of an upswing in creativity this last year, with a number of really brillian
