Akin to an E! tell-all documentary on the pitfalls of celebrity, this commercial throws us into a TV show titled The Real Scoop (TRS) in which we learn about the checkered career of Ben Winkler, one of the first Cabbage Patch Kids.
We’re taken through his early success as the hottest toy doll around but like all child stars, he becomes an adult and loses his way. Hard times befall him as we see Ben struggle in various mundane, menial jobs.
But Hollywood always loves a comeback and the turning point for Ben came when he bought his automobile coverage from Geico in 2003. This saved Ben money and made his financial situation more secure, freeing him to fully focus on his career, which finds him now on primetime TV winning a dance contest.
Indeed Geico can be a life altering money saver.
“Cabbage Patch” is part of an initial three-spot “The Real Scoop” campaign directed by Martin Granger of bicoastal/international Moxie Pictures for The Martin Agency, Richmond, Va.
The Martin Agency creative team consisted of creative director Steve Bassett, copywriter Bob Meagher, art director Pat Wittich, producer Brian Cooper and assistant producer Valerie Battenfeld.
Karol Marrs executive produced for Moxie with Tony Cantale serving as producer. DP was Barry Parrell.
Editor was Jordan Green of 89 Editorial, New York. Visual effects house was Headlight, New York, a sister shop to 89 Editorial.
Lensing and Designing Brady Corbet’s “The Brutalist”
Cinematographer Lol Crawley, BSC and production designer Judy Becker collaborated for the first time on The Brutalist (A24) and emerged as Oscar nominees in their respectiveย disciplines. Their work on the film has also earned major recognition elsewhere on the industry awards circuit. Just this week, Crawley won the British Society of Cinematographersโ Feature Film Award. He also is currently a nominee for both an ASC Award and a BAFTA Film Award. And Becker received nominations for a BAFTA Film Award and an Art Directors Guild (ADG) Excellence in Production Design Award. Crawley and Becker, though, traversed distinctly different paths to The Brutalist, being on opposite ends of the collaborative continuum with director and co-writer Brady Corbet going into the film. Crawley had already shot two features for Corbet prior to The Brutalist--The Childhood of a Leader (2015) and Vox Lux (2018). In sharp contrast, The Brutalist marked Beckerโs first time working with Corbet. Becker recalled seeing The Childhood of a Leader and immediately wanting to design for Corbet. Describing herself as โstunnedโ by the film, she related that it reflected Corbetโs talent as a filmmaker, his ability to work within a budget on a period movie and still deliver an end product that looked fantastic while brilliantly telling a story. Becker noted that a big budget period film replete with tons of set dressing, over-dressed locations and the like misses the mark for her. She asked, โWhy waste that money?โ But when Becker sees a period movie with a pared down budget that looks so good, โIโm really blown away.โ Based on The Childhood of a Leader, Becker told her agent that sheโd love to... Read More