By JEFF DEVLIN
THERE WE SAT, MYSELF and a collection of some of the best minds from both the agency creative and production sides, and from New York’s top production companies, waiting to judge what has become in most of the industry’s eyes the prestigious advertising showcase-the AICP Show and its highly-regarded best of campaign for 1998. This was the cream of the crop; a narrow field of the best creative work hoping to be honored at the AICP Show next month.
But after the last 3/4-inch reel had been screened, a strange, unfamiliar feeling overcame me as well as most of the other judges, one that none of us had recalled feeling following viewing such a collection of work. We were all extremely unimpressed.
Comedy is still king, as most campaigns used humor to convey their messages, but none of the work we saw was remotely close to being described as "daring" or "landmark." The overall impression I had was that most were playing it safe, relying on much of the same ideas we’ve seen many times before. Sorely lacking was anything remotely close to what could be called "a concept."
Based on the work we saw, it seems more and more the agency creatives have become more and more enthralled with technique and less with actual ideas. We saw a lot of eye-candy but not a lot of strong concepts.
This situation got me thinking more about a subject many of us in the production community have no doubt been thinking hard about and that was recently articulated in SHOOT’s Production Company Special Report: What will be the role of the production company in the next millennium? With buzz words like "convergence" and "digital" hanging over our collective heads, it seems to me that now is the time for the production companies to actively challenge the current system about how advertising is created and executed.
At Cannes last year, most were again blown away by the amazing concepts we see on an international level. Why don’t we see that kind of creativity more in the U.S.? Perhaps it has something to do with the role of directors and production companies in the process. Maybe it’s time the agencies allowed our directors to see a spot through to post or submit a director’s cut for client approval. I believe the role of the production companies today should be to challenge the current system and not merely act as a subcontractor for advertising agencies.
An even more radical, yet smart idea, is one that Flying Tiger Films has already implemented and is one that I believe will become more prevalent in the future. We recently established a strategic alliance with global marketer Cendant Corp., which owns such brands as Ramada Inn and Century 21. The alliance puts us on equal ground with the advertising agency. It provided us with the opportunity to add our creative voice to the collective about how to make the most effective and compelling advertising.
I challenge all production companies and producers not to settle. This business is harder than ever, especially with the drought of good concepts. I believe our role as producers is to challenge the process, the whole process, every step of the way. It shouldn’t be about making friends; we should all be trying to pursue creative excellence. And based on what I saw this year, we’re not there. Perhaps the production community should be doing more to help.
Director Jack Begert Joins Biscuit For His First Commercial Representation In U.S. & U.K.
Biscuit Filmworks has added filmmaker Jack Begert to its roster in the U.S. and U.K. This marks Begert’s first representation in advertising, building upon his acclaimed work in music video and film. He is best known for his striking aesthetic and surreal use of visual effects, displayed in his feature film debut Little Death, which won the NEXT Innovator Award at the 2024 Sundance Film Festival. The film stars David Schwimmer, Gaby Hoffman, Dominic Fike, and Talia Ryder, and was produced by Darren Aronofsky.
Miami-born and L.A.-based, the USC Film School graduate began his career in VFX and as an editor. Begert has worked with iconic musical artists including Kendrick Lamar, SZA, Flying Lotus, Childish Gambino, and Olivia Rodrigo, and has independently directed international campaigns for brands such as Apple, Converse, New Era, and Reebok.
Shawn Lacy, founding partner of Biscuit Filmworks, said of Begert, “We are such fans of his work--and of him as a creator, thinker, collaborator, and great guy.”
“My creative approach is often about trying to discover something unexpected in the filmmaking process,” said Begert. “Biscuit is a place where I can bring my own perspective to the work and still feel supported. That philosophy is clear from the talent they represent, and I’m excited to join their roster.”
“Jack’s work blew me away the moment I first saw it,” said Rupert Reynolds-Maclean, managing director at Biscuit Filmworks UK. “He is a modern young director who clearly cares deeply about both craft and the necessity for it in his storytelling. Everything always pushes the narrative forward. We’re looking forward to making great work together.”
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