I magine that the networks are kind of freaking out about Nielsen’s intent to start monitoring advertising ratings, not just the program components,” observed John Leverence, VP, awards, for the Academy of Television Arts and Sciences (ATAS). “Especially since the cost of advertising would no longer be pinned to how many people are watching American Idol but how many are watching the commercials when American Idol takes a break.”
In this regard, the 2006 field of nominated commercials for ATAS’ primetime Emmy (covered in SHOOT’s 7/7 and 7/14 editions) takes on particular relevance, according to Leverence. The spot nominees are: FedEx’s “Stick” directed by Traktor of Partizan for BBDO New York; Budweiser’s “Clydesdale American Dream” helmed by Joe Pytka of PYTKA for DDB Chicago; Ameriquest’s “Concert” directed by Craig Gillespie of MJZ for DDB Los Angeles; and Hallmark’s “Required Reading” directed by David Harner of and for Leo Burnett USA, Chicago. (Harner now directs commercials via The Institute for the Development of Enhanced Perceptual Awareness.)
Leverence notes that these Emmy nominated spots each parallel a different entertainment TV program genre. Hallmark’s “Required Reading” is a classic case in point–a two-minute-and-45-second tug-at-the-heartstrings commercial with narrative sensibilities akin to the Hallmark special movie or miniseries presentation it sponsors.
“Required Reading” tells the story of Ed, an adult who walks somewhat hesitatingly into a classroom for reading lessons. The teacher starts him with a children’s book, the title of which he can’t read. Subsequent lessons show the man slowly yet steadily making progress until he can read on his own. We then see him at home where he opens a box containing greeting cards he’s received over the years. He reads the first one: “Papa means love. I now this is true. I know it because my papa is you. Happy Father’s Day, Papa.” It is signed, “Love, Jenny.”
“A viewer buys into the Hallmark show and he or she is never going to have to leave that genre for those two hours. You don’t step out of the program and into the commercial void when there’s a break,” observed Leverence. “There’s no interruption in the type of entertainment you have committed yourself to–which in that sense is an interesting twist on product placement. You’re not putting the Hallmark card on the table in the movie. But you have the Hallmark feel as part of the commercial which is an extension of the movie or miniseries. It’s a seamless transition across that former chasm between program and commercial.”
Similarly, Leverence parallels the storyline, tone and tenor of Budweiser’s “Clydesdale American Dream” to those of a telefilm (a youth striving for excellence, with his parents helping behind the scenes), Ameriquest’s “Concert” to those of a sitcom (replete with misunderstood situations and sexual innuendo generating laughs), and FedEx’s “Stick” to those of well done sketch comedy (instead of “Stick,” it should be titled “Schtick,” quipped the ATAS VP).
“The nominated commercials this year were almost kind of a program bridge–there wasn’t a distinct separation between program and commercials,” related Leverence. “The commercials carried a high entertainment value, almost standing on the shoulders of the program they were sponsoring.” Such an approach, he conjectured, could make the Nielsen shift in audience measurement a moot point in that viewer drop-off, if any, would likely be minimal when spots are so well crafted and engaging.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More