By ROBERT GOLDRICH
key gathering, the event still managed to speak volumes. On Feb. 23, the Directors Guild of America (DGA) held an evening reception at its Hollywood quarters, honoring nominees in one of its annual award show categories. In Hollywood, such receptions are hardly out of the ordinary-be they for Oscar- or Emmy-nominated artists, Writers Guild of America honorees, finalists for SAG Awards or virtually any other high-profile entertainment industry competition.
However, this time around, the DGA get-together over wine and hors doeuvres took on a special significance; it wasnt the annual, well-publicized reception held for feature or TV program nominees. Instead, for the first time, the DGA put on a pre-awards reception for spotmakers who were nominated for the Best Commercial Director of 1998 honor. While all the nominees werent able to attend-for instance, Kinka Usher of House of Usher Films, Santa Monica, was in the last days of principal photography on his feature debut, Universals The Mystery Men-those who did turn out valued the occasion and found it gratifying.
For example, Chris Riess-who teamed with co-director/ wife Amy Hill to earn a coveted spot nomination- viewed the reception as wonderful recognition for the commercial discipline. I feel honored to be nominated and its extra special this year since this is the first time the DGA has held this kind of a reception for our industry, said Riess who co-helms spots with Hill via Tony K., West Hollywood and London. (As earlier reported, the field of nominees this year consists of: Hill and Riess; Usher; Peter Darley Miller of Stiefel & Company, Hollywood; Rocky Morton of Morton Jankel Zander, Los Angeles; and Tarsem of bicoastal/international@radical.media.)
A DGA spokesman said the Guild hopes to make the commercial reception an annual event. He added that the timing of last weeks gathering also carries some extra historical weight in that the first DGA spot recipient, Robert Lieberman-then of now defunct Harmony Pictures-was honored as Best Commercial Director of 1979, some 20 years ago. Lieberman, currently with The Lieberman Company in association with bicoastal Straw Dogs, went on to win the award again in 1996 when he was named the DGAs Best Commercial Director of 95.
The significance of the event wasnt lost on commercial industry stalwarts. Association of Independent Commercial Producers president Matt Miller came in from New York for the reception as did AICP vice chairman Alfred Califano, partner/exec. producer at bicoastal OneSuch Films. Also among those on hand were AICP chairman Alex Blum, partner/ exec. producer at bicoastal Headquarters, past AICP chairman Frank Scherma, partner/exec. producer at @radical.media, and AICP/West president Pam Tarr, principal/exec. producer at Ace Entertainment, Los Angeles.
This DGA recognition is wonderful, said Miller who noted that commercial directors represent a significant segment of the Guilds total membership. Theres a greater realization of the importance of the commercial industry and the DGA has been looking to reach out more to us.
And such heightened realization can only help. During last months Locations 99 show in Los Angeles-the annual event put on by the Association of Film Commissioners International- film commissioners and state development agencies were talking up the importance of commercial productions economic impact. Spot biz considerations also figure in the growing movement to launch a federal film commission (SHOOT, 2/26, p. 1). And even the film industry legislation proposed by California Assemblywoman Sheila Kuehl (D-Santa Monica) has tried to take commercialmaking into account (see separate story, page 1); perhaps in part prompted by testimony from AICP/ West VP Brian Donnelly, exec. producer of OneSuch, during a Kuehl-chaired, fact-finding public hearing on runaway production (SHOOT, 12/18/98, p. 7). Like the DGA reception-with little blaring fanfare-the spot biz has been gaining recognition in community, governmental and other industry sectors.
Damon Wayans and Damon Wayans Jr. Explore Generations,ย Old School vs. New School, In “Poppa’s House”
Boundaries between work and family don't just blur in the new CBS sitcom "Poppa's House" starring father-and-son comedy duo Damon Wayans and Damon Wayans Jr. They shatter.
"It's wonderful to come to work every day and see him and some of his kids and my sister and my brother and nieces and nephews. They all work on this show. They all contribute," says the senior Wayans. "I don't think there are words to express how joyful I am."
Wayans plays the titular Poppa, a curmudgeonly radio DJ who's more than comfortable doing it his way, while Wayans Jr. plays his son, Damon, a budding filmmaker who's stuck in a job he hates.
"My character, Pop, is just an old school guy who's kind of stuck in his ways," says Wayans, who starred in "In Living Color" and "My Wife and Kids."
Pop yearns for the days when a handshake was a binding contract and Michael Jordan didn't complain if he got fouled on the court. Pop laughs at the younger generation's participation trophies.
"It's old school versus new school and them teaching each other lessons from both sides," says Wayans Jr., who played Coach in the Fox sitcom "New Girl."
"They (the characters) bring the best out in each other and they're resistant initially. But then throughout the episode they have revelations and these revelations help them become better people," he adds.
The two have worked together before โ dad made an appearance on son's "Happy Endings" and "Happy Together," while son was a writer and guest star on dad's "My Wife and Kids." But this is the first time they have headlined a series together.
The half-hour comedy โ premiering Monday and co-starring Essence Atkins and Tetona Jackson โ smartly leaves places in the script where father and son can let... Read More