Director Harry Cocciolo, BBDO West Elicit Empathy In Whimsical, Bittersweet :60
By Robert Goldrich
Having empathy for a person to the point where you’re not only rooting that she finds happiness, but also feeling like you should be right behind her in line to go to the zoo is part of the magical effect of this lyrical :60 (with a :30 version) directed by Harry Cocciolo for BBDO West/San Francisco. Titled “Tail,” this spot for the San Francisco Zoo marks the first for Cocciolo since he formally decided to jump from the agency creative side of the business into the directorial chair, joining bicoastal Tool of North America (see story, p. 1).
We all can relate to feeling isolated from others at given times in our lives. And this piece gently tugs at that heartstring through a girl, played by Hailey McCann, whom we see walking to school. In this case, it’s a physical oddity that sets her apart–she has a long fur tail that sticks out from under her skirt. A mailman sees her walking towards him and peels away, clearly freaked out by the sight. From the sweet girl’s facial expression and body language, we can see that she is sadly familiar with the postman’s reaction.
She then gets aboard a school bus only to have the door shut too soon and trap her tail. Though the scene has a dash of the comical, you at the same time shudder to think what a school bus full of kids have in store for this different girl. The bus driver opens the door to free the girl.
Next we’re taken to school. It’s lunchtime and a bunch of girls are sitting at a table, talking, having fun and socializing. Alas, in the background, our tailed schoolgirl has a large table for one. She sits alone, eating a sandwich. Later we see her on the playground. As other kids play and frolic, she is again alone, seated on a seesaw.
This tale of loneliness underscores how sometimes kids can be the cruelest of all, particularly when someone is different–so much for individuality. However, the tale takes a positive turn with a chance meeting as she walks home from school. She looks up to see another girl, who also has a tail. It turns out this new girl is standing in line with her dad in front of the San Francisco Zoo. A smile comes to the first girl’s faces, the veil of isolation is lifted, and she gets in line with her newfound friend.
A voiceover then asks, “Are you one of us?” The San Francisco Zoo logo comes up, accompanied by the tagline, “Join Zoomanity.”
The creative team from BBDO West consisted of executive creative director/copywriter Jim Lesser, art director Sakol Mongkolkasetarin, copywriter Neil Levy, supervising producer Rob Sondik and producer Chad Garber.
Cocciolo’s support team included Tool executive producer Jennifer Siegel, head of production Amy DeLossa, and producer Jeff Tanner. The DP was Mark Plummer.
“Though we see a girl with a tail, the story is about everyone,” related BBDO’s Lesser. “We’ve all felt like outcasts at one time or another until we meet someone likeminded, feel a sense of belonging, and find a place that’s right–This story required just the right touch from the director, and Harry [Cocciolo] immediately came to my mind.”
“Tail” is the San Francisco Zoo’s first television advertising, according to Lesser. The spot helps to relaunch the zoo, which has just completed an extensive renovation.
Ben Longland of Nomad Editing Company, Santa Monica, edited “Tail.” Susye Melega and Nicole Steele served as executive producer and producer, respectively, for Nomad. Online editor was Mark Everson of Teak Motion Visuals, San Francisco. Colorist was the mono-monikered Sparkle of Complete Post, Hollywood. Audio post engineers were Eric Eckstein and Joaby Deal of One Union Recording, San Francisco. Music composer was Paul Bessenbacher of Emoto, Santa Monica.
Review: Writer-Director Andrea Arnold’s “Bird”
"Is it too real for ya?" blares in the background of Andrea Arnold's latest film, "Bird," a 12-year-old Bailey (Nykiya Adams) rides with her shirtless, tattoo-covered dad, Bug (Barry Keoghan), on his electric scooter past scenes of poverty in working-class Kent.
The song's question — courtesy of the Irish post-punk band Fontains D.C. — is an acute one for "Bird." Arnold's films ( "American Honey," "Fish Tank") are rigorous in their gritty naturalism. Her fiction films — this is her first in eight years — tend toward bleak, hand-held verité in rough-and-tumble real-world locations. Her last film, "Cow," documented a mother cow separated from her calf on a dairy farm.
Arnold specializes in capturing souls, human and otherwise, in soulless environments. A dream of something more is tantalizing just out of reach. In "American Honey," peace comes to Star (Sasha Lane) only when she submerges underwater.
In "Bird," though, this sense of otherworldly possibility is made flesh, or at least feathery. After a confusing night, Bailey awakens in a field where she encounters a strange figure in a skirt ( Franz Rogowski ) who arrives, like Mary Poppins, with a gust a wind. His name, he says, is Bird. He has a soft sweetness that doesn't otherwise exist in Bailey's hardscrabble and chaotic life.
She's skeptical of him at first, but he keeps lurking about, hovering gull-like on rooftops. He cranes his neck now and again like he's watching out for Bailey. And he does watch out for her, helping Bailey through a hard coming of age: the abusive boyfriend (James Nelson-Joyce) of her mother (Jasmine Jobson); her half brother (Jason Buda) slipping into vigilante violence; her father marrying a new girlfriend.
The introduction of surrealism has... Read More