WWW stands for Works (in progress), Wrinkles or Whoops (whenever and wherever they happen) and Wraps (completed films and projects of any kind). As always, your contributions to this feature are solicited and encouraged.
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WWW stands for Works (in progress), Wrinkles or Whoops (whenever and wherever they happen) and Wraps (completed films and projects of any kind). As always, your contributions to this feature are solicited and encouraged. |
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How do you create the idea that your bank just doesn't care about you, while delivering the message that our bank does? This is real work. That was the question that creative directors Doug Gorransson and Dick Davis from agency Gearon Hoffman grappled with recently when they produced one :30 television spot for their client, business bank Capital Crossing Bank. And now, Gearon Hoffman banks on Finish Editorial. "Its great to work with such open creative directors as Dick and Doug", says editor Don Packer. "They got me involved early in the process and had me talk quite a bit with the director." Edited on the Avid by Packer, then finished in Fire by Scott Knowlton, the spot opens very seriously a la your basic "big bank" spot showing a banker reassuring his client not to worry about the merge. Finish's colorist Greg Dildine had a big hand in this as he gave the film a look that resembled so many of the large corporate bank commercials you see on the air today, effectively fooling the viewer into believing that it was yet another serious spot. Suddenly, after a quick "excuse me" and to the shock of the customer, a button is pushed and up flips a smarmy "used car salesman" sort of banker who doesn't even know the customers name. When that discussion goes badly he pushes a button and a surprised junior banker pops up, grunts, and then flips again to reveal a flower on the desk. The customer is left with no one to talk with. "Director, Jim Zoolalian of Boxer films in L.A really worked hard on this and he did it all without making look like a cartoon. It felt real!" says editor Don Packer. The creative directors discussed almost every aspect of the spot with Packer, including sending location scout photos for review before the shoot and creating models and looks early on. Freelance agency producer Dave Lombardi, "...was very instrumental and pushed hard to get me involved early. It really is the way to get it right." Using a heavy duty on set cantilever, the production company was able to simulate the spinning motion one quarter of the way each way as the talent constantly flipped forward to reveal the next person. It was Packer's job to further give the viewer the notion that the entire desk was flipping forward to reveal another person coming up from the back. "Its really hysterical once you get the gist of it. The flipping happens faster and faster with loud mechanical crashing noises, then you just have that goofy kid staring at you. It's really how you feel sometimes in a big bank as you get tossed around."
This story is a wrinkle only because there is a birthday involved. Kevin Fennessy, who predicted that the spring will be another busy season for the Boston film community, with many projects shooting at the same time... And that he would again celebrate his birthday at Sundance, has been right so far! Kevin arrived in Salt Lake City too early in the day on the 18th to be remembered...all of LA had booked all the later flights it seems. And not only did he celebrate his birthday on the 24th, he stayed at Sundance until its finality. He didn't return to Boston until the 28th. Also on his birthday he did the Errol Morris panel mid-afternoon, the official Mass Film Office Party 4 - 7 PM, made it to see LIFT along with Laura Bernieri, which screened at 8:30 PM and then celebrated his birthday at an informal dinner gathering. Happy Birthday Kevin! Before coming to Park City, Kevin did a meeting in LA with John Papsidera who did the A-level casting on WHAT'S THE WORST THAT COULD HAPPEN, and Mali Finn of LOVE LETTER, TITANIC, WONDER BOYS, GIDEON'S CROSSING etc. etc. etc. One of his former interns, David Rappaport, is now an assistant to Mali. "I get them ready and they go on to bigger pools!" Kevin told IMAGINE. He also did a gathering with former Bostonians Paul O'Brien, who was in town last summer to do a role in WHAT'S THE WORST THAT COULD HAPPEN (a role that Kevin cast him in), and with Brian Howe of STATE AND MAIN, and with Larry Blamire, who just completed shooting his indie comedy THE LOST CAVES OF SKELETAR, an Ed Wood-like sci-fi pic, Dorothy Gallagher and many others. Kevin's LA trip was packed with business, but he did see Julie Taymor's THE LION KING at the gorgeously renovated Pantages Theatre. We all know that isn't too hard to take. It's truly a remarkable and inventive production in an historic landmark Palace of a Theatre. What's next Kevin?
Vinca Jarrett covered The Golden Trailer Awards for IMAGINE. She filed this report. The 2nd Annual Golden Trailer Awards, conducted January 14, 2001 went with few hitches to hem and haw about and in grand style at New York's prestigious Manhattan Center from 7 p.m. until Midnight. Black chic gowns and tuxedos adorned the $500 a head crowd who waited anxiously in line outside the theatre, as the formally attired doorman guided people into the exclusive event. Sparkling cider was handed out on the next line to the elevator, and finally attendees made their way through the coat check line, which wound around circular corridors. In the grand ballroom, tables were lavishly spread with buckets of popcorn and wrapped licorice sticks as television stations swarmed industry notables for interviews. The event gives artistic and professional recognition primarily to editors and their production staffs who construct film trailers for the film-going public to guess at what movies we'll want to see, and for which I personally require prior to the start of any feature, especially when ticket prices have soared to $9/head even here in Boston. This year's event appears to have mirrored what I expect to see a lot more of at the 2001 Academy Awards in March, although instead of Robin Williams hosting, Todd Newton, comedian and radio-personality (a.k.a. Rikk Idol), spunked up the sometimes all-too-solemn crowd. With nineteen awards total, stylishly designed by Cambridge native Kyle Damon, and nominees that included mega-blockbuster hits such as CROUCHING TIGERS, HIDDEN DRAGONS, REQUIEM FOR A DREAM, ALMOST FAMOUS, GLADIATOR, CAST AWAY, THE PATRIOT, and even CHARLIE'S ANGELS, there were some unexpected winners as well, such as the Dark and Stormy Night Award going to HOLLOW MAN. Not so surprising was HOLLOW MAN'S Golden Fleece Award (a.k.a., the award for the trailer that duped the audience into thinking the film was actually worth seeing!). BILLY ELLIOT won Best Foreign and was picked up by the London-based trailer-maker Fraser Banstead (Picture Production Company), who traced his roots for me, at the fashionable Hudson Hotel after-party, back to a fond remembrance of school in Keene, New Hampshire.
Best Trailer, No Budget went to New Mexican born Jeremy Wagner (THE AYSLUM) for indie film THE BIG SPLIT, whose inspiration for the trailer came from Boston girlfriend Stephanie Baxendale. Wagner noted that he was "more nervous after [getting the award] than before, because I didn't think I was going to win." The biggest winner of the night was Alkemi Entertainment, one of the most prestigious trailer houses in Hollywood, nominated in several categories, and Executive Vice President Barry J. Schoor picked up the trophies for Best Romance and Best Art and Commerce for CROUCHING TIGERS, HIDDEN DRAGONS as well as Best Documentary for RUNNING ON THE SUN. The grand award, Best of Show, did not go to the dogs, but instead went to trailer creators at Artisan Entertainment for Darren Aronofsky's (PI) poetic masterpiece REQUIEM FOR A DREAM. The Judges for the awards were in many respects more famous than the recipients of the awards this year, including Pedro Almodovar (ALL ABOUT MY MOTHER, WOMAN ON THE VERGE...), Joe Siegel (ABC's Good Morning America), as well as executives at Sony Pictures Classics, Fine Line Features, Artisan Entertainment, DreamWorks SKG, and Elektra Entertainment Group. Additionally, a smathering of well-seasoned producers, film-chain owners, critics and F/X joined the panel of judges.
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