There was a time, not long ago, when shooting in New York City was such a hassle that production companies and agencies took their business elsewhere. Now, with union problems a thing of the past and the city eager to facilitate production, business is booming. Among the beneficiaries are production services companies that are New York-based or that have an office in the Big Apple. Read on to see how three of these companies are faring in the production boon.
Johnson-Burnett
In an industry where everyone wants their credits acknowledged, Biff Johnson, president of bicoastal Johnson-Burnett, seemingly doesn’t. When asked about the company’s recent spotwork, he insists, "We don’t deserve credit."
Rather, Johnson explains, the credit belongs to the production companies and directors who are Johnson-Burnett’s clients. "We are just here to provide a seamless interface between them and their client," he says. Johnson-Burnett, which offers production and administrative support to the spot industry, has relationships with companies including the New York-based shops Sandbank Films and Pfeifer Van Dusen, as well as Barking Weasel Productions, Hollywood, and bicoastal A Pictures.
Johnson-Burnett has worked on a number of ads for those companies in recent months. The spots include "Diner" for Gas-X, directed by David Sandbank of Sandbank Films via Grey Healthcare, New York; "Late Night TV" for Tylenol, directed by John Alper of A Pictures for Saatchi & Saatchi, New York; and MCI’s "Skating," directed by Bruce Van Dusen of Pfeifer Van Dusen for Messner Vetere Berger McNamee Schmetterer/Euro RSCG, New York.
Johnson-Burnett also had a hand in the Cheerios spots "Questions" and "Grandma’s Visit," both directed by Stan Schofield of New York-based Schofield Films for Saatchi & Saatchi, New York, as well as Special K’s "Fads" for Leo Burnett Co., Chicago, also helmed by Schofield. Johnson notes that Schofield, in part, is responsible for Johnson-Burnett’s New York presence. "Right about 1988, Schofield left Sandbank and went out on his own," recalls Johnson. "At that time he came to us and we said, ‘We could do production services for you. Where do you want to be?’ He said, ‘New York. Do you have an office?’ And we said, ‘No, but we’ll get one!’"
Johnson-Burnett, which had run a Hollywood office since ’83, found a space, and the company’s New York operation was born. Shooting in New York was not easy at the time, but Johnson notes that things are much better now. "We’ve got a certain degree of union tranquility," he says, "and I think that helped a lot."
With spot production now increasing in New York, as well as the recent formation of a bicoastal entertainment division called Johnson-Burnett Entertainment Group, Johnson says, "We’re going to make another investment in New York. It’s a vibrant place."
a.k.a. films
When Kerrie King formed a.k.a. films, New York, in April of ’98, one of her first jobs was producing a promo directed by Christopher Misiano via Ogilvy & Mather, New York, for Jerry Seinfeld’s HBO special, Jerry Seinfeld Live on Broadway: I’m Telling You for the Last Time. "Everyone who works with stars knows it’s an extra pressure," says King. "But it’s a good pressure because it keeps everyone more disciplined to tell you the truth."
King has been in the commercialmaking business for more than 20 years. Her experience includes a four-year stint as executive producer at the now defunct Massey/King Productions, as well as working as a freelance stylist, assistant director and line producer. Through a.k.a. films, King relies on many of the skills she acquired over the years, handling everything from finding crews to casting for her clientele, which includes foreign directors, freelance helmers, as well as episodic TV directors who dabble in commercials. Oftentimes, King is a tour guide for many of her clients who aren’t totally familiar with New York. "I think New York is one of the easiest cities to shoot in," King says.
She says one of the most challenging shoots a.k.a. films has done thus far was the Buick spot called "Rose," directed by Frederic Planchon of Premiere Heure, Paris, via BBDO, New York. One vignette required ballerinas to dance underneath a crystal chandelier on Park Avenue and 47th Street. "We had to hang the chandelier from a crane and put a trampoline up for the ballerinas to jump on so they could get enough bounce," King recalls. "We shot that live. Most people think it was an effects shot."
Cooperation from the New York City Mayor’s Office of Film, Theatre and Broadcasting helped the complex shoot go smoothly. "The city breaks its back to help. The permitting department is fabulous, and everybody pulls through for everything you need done," King says.
When King worked on "Rhythms," for Verio out of Ryan Drossman & Partners, New York, the city even stepped in to help the crew find places to park their vehicles. It’s that type of assistance that has production companies and agencies eager to shoot in New York nowadays, King observes. "There is so much richness to New York. People are always calling up and asking me where to shoot. Everyone wants to be here now." ("Rhythms" was directed by Mark Sitley via a.k.a. films; he has since become the broadcast director at Fallon McElligott, Minneapolis.)
Beaucoup
ChapeAux
Beaucoup Chapeaux, founded in ’94 in Dallas, opened its New York office four years ago. But it was in ’99 that company president/founder Lisa Dee really sought to build the company’s name in New York. "We decided this office was not being built correctly, so we decided to refocus on New York," Dee says.
To give the company-which serves small agencies without in-house broadcast production departments-a boost, Dee came to New York last June to pursue more clients, and recently hired a new producer, Tasha Norman. (Dee splits her time 50/50 between the New York and Dallas offices.) "People are just finding out about us," Dee says. "It’s a lot of word of mouth."
Beaucoup Chapeaux recently began working with M&C Saatchi, New York. "That’s been very exciting for us," Dee says. Beaucoup Chapeaux helped M&C Saatchi produce the "Confessions" campaign for the Travel Channel. Directed by Nick Cassavetes of Creative Film Management, New York, the campaign shows people revealing the unnecessary purchases they’ve made in order to earn airline miles. It was shot in and around Central Park during Hurricane Floyd; "That made news because we were one of three companies working during the hurricane," Dee says.
Dee and her staff aren’t battling hurricanes on most shoots, and she says shooting in New York isn’t all that difficult. Jobs that once were taken to California for monetary reasons are remaining in New York. "There is less hesitation to shoot in New York because the bids are so comparable," Dee explains.
Beacoup Chapeaux recently wrapped up work on three client-direct MicroStrategy spots: "Eddie’s Plan," "Kathy’s Plan"-which is slated to air during the upcoming Super Bowl-and "Family Reunion." The ads were helmed by David van Eyssen and Ashley Beck of bicoastal The Moment, an arm of bicoastal The End. (Van Eyssen and Beck are in the process of switching representation to a new venture being launched by former principals in The End, Luke Thornton and Liz Silver.)
Dee hopes to continue building strong relationships with New York-based companies that serve her company, as well as current and potential clients. She is also eager to tap into the burgeoning Internet production market. "I can’t really go into it right now, but we have been talking with a specific Internet company. They’re going to launch next year, and I think it’s going to be huge," Dee says. "And I think we have to be part of it.""
