They were in a big hurry because the - whisper whisper - client wanted to zip this one through. Whisper, whisper – government – whisper – now damit... so we all rushed into a room, locked the door and were introduced to the project by the agency producer. The Prime Minister had realized that the public was tired of paying the budget overruns of the government run airline and had decided in a moment of genius to sell Air Canada to the Canadian public. The Canadian public was not yet aware of his intentions ergo - whisper whisper- and the law said it was not legal to advertise or sell shares before the privatization had taken place. The Prime Minister, however, figured he could load the dice a bit and suggested a commercial be made that would make the shares more attractive and have the title “Share our Tomorrows”.
The communication concept was that a group of passengers would get on a 1940’s DC 3 aircraft, enjoy a pleasant flight and land magically in a supersonic vehicle in the year 2050. We all went to work for the PM with great enthusiasm.
Air Canada had revamped a DC 3 with the latest flying aids and comfortable seats for the transport of not-in-a-hurry executives. The director flew to Calgary where his crew had commandeered the DC 3. The first search was for an airport that was visually similar to a 1945 - 1950 airport. Claresholm, (south of Calgary), had a good one with three runways in a triangular formation so it was easier to find a wind direction to lift a DC 3. The designated pilot refused Claresholm – It was apparently twenty feet too high in altitude and a DC3 thing needed twelve more feet of runway. The search continued and a rambling location manager called to say that Swift Current, aka“Speedy Creek, Saskatchewan looked good. By this time someone with knowledge and power over pilots got rid of the fellow who needed twelve more feet and gave us Mister Cool, a 747 pilot just in from Bangkok. The head grip fixed the aging hangar doors so we could store the old DC 3 overnight. At three in the morning we gathered to set up the shot for the early morning loading of passengers. They were all there, the sun rose, passengers in costume climbed aboard, the sun flared perfectly in the lens and we had our principle moment. After an interior shot we covered a glimpse of the handsome man waving in the window and the complementary shot of his wife with toy doll wrapped in the motel owner’s antique table cloth with an answering wave. We now arrive at a critical moment when the new pilot is asked to lift the flying thing off the runway. He giggles and lifts it off in one hundred feet.
Two pilots both the same but quite unlike each other.
In the early days of air travel a DC 3 could not achieve enough altitude to fly over the Rockies so it had to travel in the valleys. In deciding how to do a follow shot through the Bow Valley (Banff) we learned that helicopters can not fly fast enough to fly with the DC 3 even at its slowest speed so we hunted up a plane that matched the DC 3’s speed and had a 2X2 ft. door at the rear for the camera to protrude. Takeoff was again 3.00 AM because we wanted morning light on the face of the mountain behind the subject aircraft. It’s wonderful how many things there are to learn in life. When you fly along the face of a mountain, the subject air craft flying side by side with the camera aircraft are subjected to violent downdrafts that curl over the mountain and shake and rattle you in a frightening manner (and make the assistant cameraman lose his breakfast. The director’s job was preparing and passing barf bags - pass in for empty, pass out for full). We shot a lot of film and did not have a piece of useable product longer than two seconds. We came close to disaster and also saved the day when a violent down draft threw the two planes together. The DC 3 panicked and peeled off. The shot of the plane peeling away was smooth and useable. We were on time - a few more shots were slipped into the schedule; the DC 3 chasing the sun’s reflection and a prairie kid looking up at the plane.
Back in Toronto, a superb craftsman prepared the supersonic aircraft and the landing port. The production house rented a defunct pipe factory because there wasn’t a studio large enough to do the job. An excellent crew prepared a huge star field by poking holes in black back drops. The hero of the set construction however, was a fellow who painted moons. The largest moon was a 40 foot circular structure mounted high in the studio on which my hero painted moon craters with spray guns. He had not been told where the light source was going to come from so he painted one side of the moon with shadows on the left and the opposite side with shadows on the right. Genius.
The cut spot read well. Shown on the air, the only complaints were - next time you chose to zip about in the air over Canmore, (Banff National Park) could you wait until after breakfast please. A complaint from an antique car buff in Saskatchewan claimed that the 37 ford sedan parked beside the waving wife had two too many chrome strips in its grill.
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Bill Irish is a 40 year veteran of Canada’s Communication Industry.
Thursday, November 18, 2010
Thursday, September 9, 2010
The Good Bad & the Ugly
Children aged three to five were chosen, one by one and carefully tested for their verbal skills and personal charm. The casting took two days and an interesting mix of performers was engaged. One curly haired three year old decided she didn’t like this “casting” thing and she wasn’t going to say a word to anyone no matter what. She didn’t, but the
director asked that she be included because in a cut of ten kids, a curly haired nod from an angel might spark a moment.
The director lay on his stomach in a pile of pillows. The camera, placed on rails behind him tracked left and right and was aimed just over his head so when the children responded to him they appeared to be speaking to the camera. A second camera on rails was ready and loaded for the moments when the first camera would run out of film. They shot for 2 days, a new child every fifteen minutes. Kodak stock spiked on day 2.
The agency and the client had agreed on what they wanted the children to say. The children came to the shoot without knowledge of what they were going to be asked, in order to be free of mother-rehearsed lines. The director asked the children to tell him with their own words what having a cold felt like and after they did their best with that he gave them the words the agency wanted to hear. The little lady who would not speak in casting heard the camera roll and immediately told the story of her life and a few too many and too private family stories. The editor cut three 15-second spots and one 30-second spot on Miss Curly all by herself.
When the editor made his choice of the moments that expressed the children’s feelings best, it was discovered that there was not a single scripted word included in the cut. The kids stole the show with new and unique ways to explain what a cold felt like.
The client marketers and the agency creatives didn’t get what they asked for but were courageous and recognized the communication value in the children’s inventive explanations.
The director was continually charmed by the children. He asked a little girl how old she was, she looked puzzled for a moment then raised her arm and popped first one finger, then another, then a third finger and explained that she was “Pwactithing to be fowah”. A slightly older performer looked distressed when asked what he was going to be when he grew up. With a look of disdain he answered “an adult”.
The director was complimented on the choice of children and asked how he made his choices. He explained that first he didn’t make the choices alone. The agency always had professional opinions and were right as many times as he. He explained that his own personal system was to check to see if the adult attending the child was clean. After that he checked the willingness of the child to make steady eye contact. How closely would the child approach the director when asked to do so? How large was the child’s territorial imperative? How did the parent treat the child? Once the director did not think the boy the agency wanted could do the job. The director pouted a little but did as he was asked. Bell Telephone’s agency in this instance was very right, the young man was able and consistent.
____________________________
Sometimes on the time-limited shoot day the exact expectations of a client or agency can not be realized because reality rears its ugly head and something has to be adjusted to use the time well. Most agencies have people who are experienced professionals who can accept a rational change. All directors have seen some who can not.
On a Trans Canada Telephone shoot, a child was prompted to cry by a supposedly accidental spill of ice cream onto her pretty dress. The resulting cry was so heart-breaking everyone immediately agreed to cheer her up and find another solution.
Three little girls were required to skip. The shorts of one child kept slipping – it made a much better shot when she jumped, jumped, yanked, jumped, jumped and yanked.
The cowboys and the group of wild horses were going to do a stampede. They waited while a cloud entered the valley on a shoot where sunshine was required. The cloud proceeded to the middle of the valley and came to a stop. It proceeded to gradually diminish in size until only a tiny piece covered the sun. The time for the shot had passed and no one thought to invent an alternative.
The men who were employed by Ford to do the preparation of cars for photography were their own bosses. The camera was placed, the crew was ready and the sun was setting. The car preparers chose to prep both sides of the car on a shot that showed only one side. In spite of the screaming director, they approved the car for shooting shortly after the sun had set.
A too frequent blunder on a commercial shoot is when someone asks the director to try the thing that just popped into their mind. Few understand they immediately lose the shot the director had planned because of his need to adhere to a strict time schedule.
The storyboard showed the lovers ambling through a light forest. The production company found the forest and completed the shoot. On their way back to St. Johns, they passed a huge grassy area. The cars screeched to a stop, everyone tumbled out and because of the previously undiscovered beauty of the location, they shot the entire commercial again. Back in Montreal, the client didn’t even notice and approved the spot without question.
_______________________________________________________________________
Bill Irish is a 40 year veteran of Canada’s Communication Industry.
director asked that she be included because in a cut of ten kids, a curly haired nod from an angel might spark a moment.
The director lay on his stomach in a pile of pillows. The camera, placed on rails behind him tracked left and right and was aimed just over his head so when the children responded to him they appeared to be speaking to the camera. A second camera on rails was ready and loaded for the moments when the first camera would run out of film. They shot for 2 days, a new child every fifteen minutes. Kodak stock spiked on day 2.
The agency and the client had agreed on what they wanted the children to say. The children came to the shoot without knowledge of what they were going to be asked, in order to be free of mother-rehearsed lines. The director asked the children to tell him with their own words what having a cold felt like and after they did their best with that he gave them the words the agency wanted to hear. The little lady who would not speak in casting heard the camera roll and immediately told the story of her life and a few too many and too private family stories. The editor cut three 15-second spots and one 30-second spot on Miss Curly all by herself.
When the editor made his choice of the moments that expressed the children’s feelings best, it was discovered that there was not a single scripted word included in the cut. The kids stole the show with new and unique ways to explain what a cold felt like.
The client marketers and the agency creatives didn’t get what they asked for but were courageous and recognized the communication value in the children’s inventive explanations.
The director was continually charmed by the children. He asked a little girl how old she was, she looked puzzled for a moment then raised her arm and popped first one finger, then another, then a third finger and explained that she was “Pwactithing to be fowah”. A slightly older performer looked distressed when asked what he was going to be when he grew up. With a look of disdain he answered “an adult”.
The director was complimented on the choice of children and asked how he made his choices. He explained that first he didn’t make the choices alone. The agency always had professional opinions and were right as many times as he. He explained that his own personal system was to check to see if the adult attending the child was clean. After that he checked the willingness of the child to make steady eye contact. How closely would the child approach the director when asked to do so? How large was the child’s territorial imperative? How did the parent treat the child? Once the director did not think the boy the agency wanted could do the job. The director pouted a little but did as he was asked. Bell Telephone’s agency in this instance was very right, the young man was able and consistent.
____________________________
Sometimes on the time-limited shoot day the exact expectations of a client or agency can not be realized because reality rears its ugly head and something has to be adjusted to use the time well. Most agencies have people who are experienced professionals who can accept a rational change. All directors have seen some who can not.
On a Trans Canada Telephone shoot, a child was prompted to cry by a supposedly accidental spill of ice cream onto her pretty dress. The resulting cry was so heart-breaking everyone immediately agreed to cheer her up and find another solution.
Three little girls were required to skip. The shorts of one child kept slipping – it made a much better shot when she jumped, jumped, yanked, jumped, jumped and yanked.
The cowboys and the group of wild horses were going to do a stampede. They waited while a cloud entered the valley on a shoot where sunshine was required. The cloud proceeded to the middle of the valley and came to a stop. It proceeded to gradually diminish in size until only a tiny piece covered the sun. The time for the shot had passed and no one thought to invent an alternative.
The men who were employed by Ford to do the preparation of cars for photography were their own bosses. The camera was placed, the crew was ready and the sun was setting. The car preparers chose to prep both sides of the car on a shot that showed only one side. In spite of the screaming director, they approved the car for shooting shortly after the sun had set.
A too frequent blunder on a commercial shoot is when someone asks the director to try the thing that just popped into their mind. Few understand they immediately lose the shot the director had planned because of his need to adhere to a strict time schedule.
The storyboard showed the lovers ambling through a light forest. The production company found the forest and completed the shoot. On their way back to St. Johns, they passed a huge grassy area. The cars screeched to a stop, everyone tumbled out and because of the previously undiscovered beauty of the location, they shot the entire commercial again. Back in Montreal, the client didn’t even notice and approved the spot without question.
_______________________________________________________________________
Bill Irish is a 40 year veteran of Canada’s Communication Industry.
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