“The Commercial Process: A Director’s Point of View” (Part 2)
By Tony Johns, Commercial Director
Copyright © Tony Johns, 2001
There are various ways you can break into the world of commercial
directing but the first step for all aspiring directors is to put
together a Showreel. Think of it as your Curriculum Vitae with
moving pictures. Without one to show your abilities, you won’t be
offered a script.
A number of directors start out directing music clips and short
films to build their reel. Another approach is to write and
direct your own spec (speculative) commercials – i.e. commercials
that have not been commissioned. In other words any cost involved
is the director’s burden. A number of established directors,
myself included, still write and direct spec commercials. It is
one way to try out new ideas or to add variety to one’s Showreel.
Luckily for me, I have built up a rapport with crew and
post-production houses over the years and can usually get time
and facilities donated for nothing. After all, if the spec
commercial is good enough, they can put it on their Showreels as
well. For those of you, who are starting out, don’t despair;
there are plenty of DOP’s (Director of Photography), grips,
editors, etc. out there who are starting out also.
Quite a few commercial directors have broken into the ‘moving
picture’ commercial world through their photographic work
(stills). DOP’s sometimes make the move to directing. There is an
increasing trend on lower budget commercials to use a
DOP/director simply to save on the cost of employing both. There
are DOP/Directors out there who handle the duel roles superbly
but some efforts leave a lot to be desired, especially where
direction of talent is involved. Recently there has also been a
trend for agency creatives, writers, etc to take the plunge into
the world of commercial directing.
There are several ways directors can be offered a script (board).
The producer or the director will receive a phone call either
from the agency producer or the creative team to set up a meeting
to view a script. A creative team will be after a particular
director from a particular production company. If the preferred
director is unavailable the production company’s producer will
try and sell another one of their directors. Right time right
place. After setting up a meeting to show your reel and,
following its viewing, the creative team might give you a script
to look at there and then. On occasions the agency will simply
phone to say that a script is on its way via fax, email, etc.
A word of advice, never write a director’s treatment unless you
have spoken to the creative team first – even if it is over the
phone. Rule of thumb, listen to how the creative teams visualise
the script e.g. characters, pace, look, style, etc. All agency
creative teams place a different value on a director’s role. I
have often been given a script and have been allowed total
creative control. The only guidelines given are to stay true to
the idea. In some cases I have been directly involved with the
creative conception of the idea. I have just as often been given
no creative control whatsoever. The creative team want only what
is in the script, nothing more, nothing less. On this type of
shoot it is easy to feel frustrated and creatively stifled but,
at the end of the day, if the creatives believe you have given
them everything they ask for and if the clients are happy, then
you have done a good job. If nothing else you have built
relationships and, hopefully, guaranteed your next job.
Some directors don’t mind them, some love them, and most loathe
them. The Directors Treatment! A producer once said to me “what
do they want – a writer or a director?” The fact is that if you
want the job you have to write a treatment. Once a job would be
offered merely on the strength of a director’s Showreel. Not
anymore! There are the exceptions – a few of the top directors
refuse to write them – they are going to get the work anyway.
Director’s treatments should include some of the following: a
script summary, filming techniques, talent, locations, lighting &
grading (the look), scene break down, storyboard, etc. A good
idea is also to include photo references with the treatment. This
could include anything from the type of wardrobe to the location
and props, look, etc. The more information you can give the
better.
It’s not uncommon for directors to shoot a rough version of the
commercial (script) on a Handy cam and present that a long with
the treatment. You can spend days working on a treatment but that
does not guarantee you the job. The sad truth is you might have
been asked to submit a treatment simply to make up the numbers.
Agencies can sometimes ask up to four or five production
companies to submit a treatment and budget already knowing full
well who they intend using. Don’t look at this in a negative way.
If the agencies are impressed with your treatment they may
seriously consider you for their next campaign. Remember there
are no set rules in the commercial world. No two agencies or
creative teams are the same nor are production companies and
directors.
In my next article – the production company and the production
process.
—————
Tony Johns Biography.
Tony has directed commercials in New Zealand, Australia,
Singapore and Indonesia. Tony has recently come under the
umbrella of WeDoFilms in the USA. Samples of Tony’s work can be
viewed at http://www.wedofilms.com and he can be contacted at
mailto:lintonfilms@xtra.co.nz
To read “The Commercial Director – Part 1” and Tony Johns full
biography, visit: https://www.actioncutprint.com/ezine-11.html
Copyright (c) 2001 Peter D. Marshall / All Rights Reserved
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