Director: Edoardo Nolfo
Click to watch.
Director of Photography: Brad Rushing
Editor: Edoardo Nolfo
Copywriter: Matt Shevin
Production Designer: David King
Composer: Dori Amarilio
Colorist: Bob Curreri (Cinelicious)
Tuesday, March 17, 2009
Ray Ban – "Sick Day"
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Director: Edoardo Nolfo
Click to watch.
Director of Photography: Brad Rushing
Editor: Edoardo Nolfo
Copywriter: Matt Shevin
Production Designer: David King
Composer: Dori Amarilio
Colorist: Bob Curreri (Cinelicious)
Director: Edoardo Nolfo
Click to watch.
Director of Photography: Brad Rushing
Editor: Edoardo Nolfo
Copywriter: Matt Shevin
Production Designer: David King
Composer: Dori Amarilio
Colorist: Bob Curreri (Cinelicious)
Monster.com – "Busted"
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Director: Edoardo Nolfo (Scroll down for director commentary)
Click to watch.
Director of Photography: Brad Rushing
Editor: Edoardo Nolfo
Copywriter: Dan Sorgen
Production Designer: David King
Composer: Dori Amarilio
Colorist: Bob Curreri (Cinelicious)
Director: Edoardo Nolfo (Scroll down for director commentary)
Click to watch.
Director of Photography: Brad Rushing
Editor: Edoardo Nolfo
Copywriter: Dan Sorgen
Production Designer: David King
Composer: Dori Amarilio
Colorist: Bob Curreri (Cinelicious)
Monday, March 16, 2009
Geek Squad – "Do It Yourself"
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Director: Edoardo Nolfo
Click to watch.
The director discusses all three completed spots:
Edoardo Nolfo: "I am a very narratively oriented director – a film director at heart – and I was determined to find scripts that needed such a director. It took months and a couple of false starts. I joined specbank.com and when I read Dan Sorgen’s script for Monster.com I instantly knew it was right for me, and now that the spot is done I am even more pleased with the choice!
I was planning to make three spots in one fell swoop and needed two more scripts. I found the Ray Ban spot written by Matt Shevin and loved it; it had enormous narrative and visual potential. He also contributed the third script, for Geek Squad.
I refused to write the scripts myself and was determined to use scripts written by gifted copywriters, which is exactly what I did.
From the very beginning I was adamant that a professional casting director should handle the initial screening. Producer Theresa Marth was able to bring casting director Danny Roth on board and he did a great job. He was a pleasure to work with. I gave him a detailed breakdown for each character and a few days later he sent me links to audition videos. I’m very pleased with the talent we found.
Finding a location was tricky. The Monster commercial needed a large office with plenty of cubicles, and in L.A. that sort of location goes for about $10,000 a day. That’s the quote everyone gave me. In the end I found a location rep (Michelle Roper of LA Office Locations, Inc.) who had the right location on her roster and they give me a much more reasonable price. She was very helpful. It is somewhat ironic that the location that was willing to help me also turned out to be the most suitable out of all the ones I scouted.
To find my DP, I posted an ad online and received around 150 responses. I looked at all the reels and homed in on Brad Rushing. We met and spoke for two hours. He is a talented and experienced cinematographer, and we’re a perfect match in many ways. I made it clear in my ad that I am a camera-oriented director and he really likes that. He brought a talented camera crew on board and really delivered the goods. I really enjoyed working with him – we totally understand each other.
Every shot is a challenge, but it was the healthy, stimulating and positive kind of challenge – there were no crises as such. It was hard work but I got exactly what I wanted and we finished on schedule and within budget. I cannot overemphasize the contribution made by producer Theresa Marth in this regard, and of course everyone on the crew, who worked well and fast.
I edited my own spots and it was very quick. I was lucky enough to find Dori Amarilio, a truly exceptional composer. He looked at the spots, liked them, and agreed to write music for us. Colorist Bob Curreri graded the spots using Final Cut Color, courtesy of Cinelicious. Again, he was great to work with and did a great job.
The finished spots accurately reflect the way I saw them in my head, which is very satisfying. There are a few minor technical things I would change if I had a time machine – the distribution of extras in certain shots and things like that – but by and large I think we did the concepts justice. I selected the right scripts and chose the right people to work with. Everyone brought a huge amount of talent and goodwill to all three spots. In the final analysis, things could not have gone better.
It’s a bit of cliché’, but I really must thank the whole crew, who worked hard and put real passion into the work. That sort of attitude makes a real difference. I am grateful to Todd Lent, a wonderful 1st AD who took a real interest in my case but was ultimately unable to work on the shoot days.
Special thanks must go to Theresa Marth, an extraordinary producer who made a huge contribution, and without whom things would not have gone as smoothly. She really did an amazing job."
Producer: Theresa Marth
Director of Photography: Brad Rushing
Editor: Edoardo Nolfo
Copywriter: Matt Shevin
Production Designer: David King
Composer: Dori Amarilio
Colorist: Bob Curreri (Cinelicious)
Director: Edoardo Nolfo
Click to watch.
The director discusses all three completed spots:
Edoardo Nolfo: "I am a very narratively oriented director – a film director at heart – and I was determined to find scripts that needed such a director. It took months and a couple of false starts. I joined specbank.com and when I read Dan Sorgen’s script for Monster.com I instantly knew it was right for me, and now that the spot is done I am even more pleased with the choice!
I was planning to make three spots in one fell swoop and needed two more scripts. I found the Ray Ban spot written by Matt Shevin and loved it; it had enormous narrative and visual potential. He also contributed the third script, for Geek Squad.
I refused to write the scripts myself and was determined to use scripts written by gifted copywriters, which is exactly what I did.
From the very beginning I was adamant that a professional casting director should handle the initial screening. Producer Theresa Marth was able to bring casting director Danny Roth on board and he did a great job. He was a pleasure to work with. I gave him a detailed breakdown for each character and a few days later he sent me links to audition videos. I’m very pleased with the talent we found.
Finding a location was tricky. The Monster commercial needed a large office with plenty of cubicles, and in L.A. that sort of location goes for about $10,000 a day. That’s the quote everyone gave me. In the end I found a location rep (Michelle Roper of LA Office Locations, Inc.) who had the right location on her roster and they give me a much more reasonable price. She was very helpful. It is somewhat ironic that the location that was willing to help me also turned out to be the most suitable out of all the ones I scouted.
To find my DP, I posted an ad online and received around 150 responses. I looked at all the reels and homed in on Brad Rushing. We met and spoke for two hours. He is a talented and experienced cinematographer, and we’re a perfect match in many ways. I made it clear in my ad that I am a camera-oriented director and he really likes that. He brought a talented camera crew on board and really delivered the goods. I really enjoyed working with him – we totally understand each other.
Every shot is a challenge, but it was the healthy, stimulating and positive kind of challenge – there were no crises as such. It was hard work but I got exactly what I wanted and we finished on schedule and within budget. I cannot overemphasize the contribution made by producer Theresa Marth in this regard, and of course everyone on the crew, who worked well and fast.
I edited my own spots and it was very quick. I was lucky enough to find Dori Amarilio, a truly exceptional composer. He looked at the spots, liked them, and agreed to write music for us. Colorist Bob Curreri graded the spots using Final Cut Color, courtesy of Cinelicious. Again, he was great to work with and did a great job.
The finished spots accurately reflect the way I saw them in my head, which is very satisfying. There are a few minor technical things I would change if I had a time machine – the distribution of extras in certain shots and things like that – but by and large I think we did the concepts justice. I selected the right scripts and chose the right people to work with. Everyone brought a huge amount of talent and goodwill to all three spots. In the final analysis, things could not have gone better.
It’s a bit of cliché’, but I really must thank the whole crew, who worked hard and put real passion into the work. That sort of attitude makes a real difference. I am grateful to Todd Lent, a wonderful 1st AD who took a real interest in my case but was ultimately unable to work on the shoot days.
Special thanks must go to Theresa Marth, an extraordinary producer who made a huge contribution, and without whom things would not have gone as smoothly. She really did an amazing job."
Producer: Theresa Marth
Director of Photography: Brad Rushing
Editor: Edoardo Nolfo
Copywriter: Matt Shevin
Production Designer: David King
Composer: Dori Amarilio
Colorist: Bob Curreri (Cinelicious)
Monday, March 9, 2009
Virgin Mobile – "Bridal Shower"
.
Director: Bo Mirosseni
Click to watch.
Bo Mirosseni: "I loved the script the first time I read it. I shoot comedy spots. And I love pratfal humor so this was a great spot for me to have on my reel.
Casting was very interesting. We had over 100 girls show up and our main girl Rhiann Woodyard was casted accidentally. She was at the casting office for another project and I told the casting director to approach her because she had the right look. She came and read for us and nailed it. We had a second round of auditions and she nailed it again. She was scaring me with her attitude...but off camera she is the sweetest girl ever.
Sarah Audrey King played the bride. We wanted someone that has a very innocent look to them. Someone that you'll feel sorry for. She had that look...I still feel sorry for her.
We got lucky with locations. Our production designer had a empty house in Silver Lake. We had to dress the whole thing up. We started with just a blank living room.
Jon Peter, my DP and also a very good friend of mine, shot all my other specs so that was a no brainer. The two producers, Emile Mocey-Hanton and Jamie R. Robinson, are also good friends of mine who did an amazing job with this spot. It was a big cast and there was a lot to be accounted for. Emile and Jamie really went the extra mile. Joe Iemola, our very talented sound designer had an extremely tight deadline and made it happen! I've known Joe since high school and he's never let me down.
I'm very fortunate to have worked with these people and glad they're great friends of mine."
Credits:
Director of Photography: Jon Peter
Editor: Brian Emerick
Art Director: Andrea Sheritt
Copywriter: Dan Sorgen / Agency Art Director: Hosea Gruber
Agency: The Ballpark, El Segundo
Producer: Emile Mocey-Hanton & Jamie R. Robinson
Production Company: Six29 Entertainment
Music/Sound Design: Joe Iemola
Director: Bo Mirosseni
Click to watch.
Bo Mirosseni: "I loved the script the first time I read it. I shoot comedy spots. And I love pratfal humor so this was a great spot for me to have on my reel.
Casting was very interesting. We had over 100 girls show up and our main girl Rhiann Woodyard was casted accidentally. She was at the casting office for another project and I told the casting director to approach her because she had the right look. She came and read for us and nailed it. We had a second round of auditions and she nailed it again. She was scaring me with her attitude...but off camera she is the sweetest girl ever.
Sarah Audrey King played the bride. We wanted someone that has a very innocent look to them. Someone that you'll feel sorry for. She had that look...I still feel sorry for her.
We got lucky with locations. Our production designer had a empty house in Silver Lake. We had to dress the whole thing up. We started with just a blank living room.
Jon Peter, my DP and also a very good friend of mine, shot all my other specs so that was a no brainer. The two producers, Emile Mocey-Hanton and Jamie R. Robinson, are also good friends of mine who did an amazing job with this spot. It was a big cast and there was a lot to be accounted for. Emile and Jamie really went the extra mile. Joe Iemola, our very talented sound designer had an extremely tight deadline and made it happen! I've known Joe since high school and he's never let me down.
I'm very fortunate to have worked with these people and glad they're great friends of mine."
Credits:
Director of Photography: Jon Peter
Editor: Brian Emerick
Art Director: Andrea Sheritt
Copywriter: Dan Sorgen / Agency Art Director: Hosea Gruber
Agency: The Ballpark, El Segundo
Producer: Emile Mocey-Hanton & Jamie R. Robinson
Production Company: Six29 Entertainment
Music/Sound Design: Joe Iemola
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