Coldwell Banker "Every Phase"

Click here to watch. 

Credits

Director: Aaron Kodz

Writer: Aaron Kodz/Dan Sorgen

Producer: Farideh Rezagah

Director of Photography: Alex Gallitano

Production Designer: Terra McNerthney

Assistant Director: Michael Sutphin

Sound Designer: Patrick Burgess

Cast: Zoe Kypuros, Adrienne Sorg, Randye Kaye, Jim DiMunno, Val Kica, Andrew Joseph Pagliara, Daniela Rivera, Shea Saracino, Ava Salvatore

Why this script/concept? How does it reflect your vision as a commercial director?

I liked the cheerfulness of the narrative, and I thought this script would provide a good challenge to express this visually within our tight budget.  It's the story of a home told through vignettes, but each moment had to be sweet.  The visuals needed to conjure up nostalgia, make people want to own a home, give their loved ones a kiss.  I figured this was a good venture, and would provide me a unique platform to expand my style.  

What was the casting process like?

Casting was a nightmare; we had to not only find the best talent, but the best talent that looked like each other as we were showing a family growing!  Like everything else though, we truly lucked out.  Adrienne and Randye were both our first choices, and with our great make up artist Nick DiRamio we were able to make them match.  This, along with their great performances, really sold the storyline.  Jim and Andrew were also a challenge, but we found it was much easier to make men match then the women, so that was never much of a concern - we picked the best actors.  It plays very well, which given our budget we were tremendously lucky to get.

How did you search for/lock a location?

We filmed at my parents' house in Connecticut for the interiors, and my high school friend's house for the exterior.  

How did you select your DP, crew?

My producer Farideh Rezagah and I have worked together in the past, and she's always a great creative mind.  She consistently brings great ideas to the table and comes up with unique solutions.  I had worked with production designer Terra McNerthney back during my time at NYU, and her schedule allowed her to come aboard.  I also went to school with Alex Gallitano, but it was during our time on the set of The Wolf of Wall Street that we ended up tossing around ideas.  Michael Sutphin was a last minute hire to be Assistant Director, and he was phenomenal despite the fact he no time to prep.  We had a few local hires, as well as a friend's brother, and we lucked out on every one of them.  They all knew their stuff and were a pleasure to have around.  I always love the sets when the G&E guys are both hard workers and laid back - even during the most stressful times they could always crack a good joke.

How did shooting go? Any challenges?

The biggest concern I had was filming with the baby, Ava Salvatore.  It was my first time on set with a baby that young, and I was pretty nervous.  However, Ava was great.  She got through twelve takes without a single word of protest.  Her dedication to her work was really inspiring, and she really dived into the role.  I think it ended up being the one of the best parts of the commercial - it certainly warms the heart.

Tell us about editing and finishing.

The edit was pretty simple.  Brenna Perez was post supervisor and I edited, with her doing color correction as well.  Patrick Burgess was our sound designer, and he got to build the soundtrack from the ground up as we didn't record sound on set.  The sound design was a blast, and while it was our first time working together, it certainly won't be our last.  

In retrospect, is there anything you would have done differently?

I really wish we could have shot during spring - I think it would have been great to see the trees beginning to bud at the opening of the spot.  We actually decided to film in April to capture that "spring" feel, but it just wasn't meant to be.  Summer came late this year.  

Van Cliburn "Reach" – Young Director Award finalist

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Credits (director, writer, DP, producer, etc.)

Director: Aaron Kodz

Writer: Alex Harvey

Producer: Farideh Rezagah

Director of Photography: Alex Gallitano

Production Designer: Terra McNerthney

Assistant Director: Michael Sutphin

Cast: Azumi Tsutsui, John Gardner, Dennis Holland, Kailyn Kaluna

Why this script/concept? How does it reflect your vision as a commercial director?

I liked the script for its strong ability to tell a meaningful, touching story without the use of words.  This allowed me to focus on the visuals, and I knew it would be a great chance to express my style.  It gave me an opportunity to use a wide range of colors, various frame rates, as well as maintain tight control on which lenses we used for which shots, which gives my work the look it has.  I viewed endless reels and talked with many DPs before I found Alex Gallitano, who made this vision come to life as you see on screen.

What was the casting process like?

We held four casting sessions - three in NYC and one in Connecticut.  We saw a ton of people, and a lot of very distinct looks.  Having said that, the four leads of the spot were all far and away the best.  We were lucky to get all the talent we wanted, and I couldn't be happier with their performances.  They stunned my producers and I in the auditions, and they definitely delivered in front of the camera.

How did you search for/lock a location?

On our budget, we had to scour the area and call in all our favors for locations.  I went back to my Alma Mater for the classroom scene, and they were very accommodating and eager to help out.  Their only requirement was that we have some of the local kids on set, and they ended up being great to have.  For the convenience store, the owner was a tough, fast talking guy named Doug.  He initially declined, but after some discussion it turned out he used to play ball with my father, and we were allowed to film there on a slow Sunday night.  The farm we got from the Southbury Historical Society - they could not have been nicer, and I think that location is truly stunning.  They are currently doing restorations and such to turn the property into a museum.

How did you select your DP, crew?

My producer Farideh Rezagah and I have worked together in the past, and she's always a great creative mind.  She consistently brings great ideas to the table and comes up with unique solutions.  I had worked with production designer Terra McNerthney back during my time at NYU, and her schedule allowed her to come aboard.  I also went to school with Alex Gallitano, but it was during our time on the set of The Wolf of Wall Street that we ended up tossing around ideas.  Michael Sutphin was a last minute hire to be Assistant Director, and he was phenomenal despite the fact he no time to prep.  We had a few local hires, as well as a friend's brother, and we lucked out on every one of them.  They all knew their stuff and were a pleasure to have around.  I always love the sets when the G&E guys are both hard workers and laid back - even during the most stressful times they could always crack a good joke.

How did shooting go? Any challenges?

We had some last minute problems, just as any shoot does.  Our previous AD dropped out for personal reasons four days before the shoot.  It ended up being a blessing in disguise though, because we were able to hire Michael Sutphin, and he was just the best.  During our school shoot we were also supposed to include a shot of a teacher instead of a wide, so we didn't have to rely on so many extras.  I enlisted my former video production teacher for the role, which he seemed enthusiastic for it until he told me on the day he only had 30 minutes to film.  We were still loading in and I knew there would be no way to get the shot off, so I told him to have a nice day and tried to find last minute extras.  Luckily, there was a concert that day, and a lot of kids had stayed after.  We even ended up having to turn people away!

Tell us about editing and finishing.

The edit was pretty straightforward.  Our post supervisor Brenna Perez transcoded the files, and I was the editor.  After the transcode we had a rough cut within a day, and then it was just tweaking.  We made the decision not to have any sound on set, so I had to kind of guess and check the syncs, which wasn't the most enjoyable time.  However, it was necessary due to budgetary constraints and a tight schedule.  

In retrospect, is there anything you would have done differently?

I had one of the best crews I've ever worked with behind me, and we were spared any major setbacks over three filming days in Connecticut.  I'm very happy with the final product, it's been getting some good buzz, and I couldn't ask to change a thing. 

Canon "Bad Picture"

Click here to watch the spot on YouTube. 

Credits

Produced and Directed by Tom Grabon
Written by Dan Sorgen
1st AD: John Christensen
DP: Richard Darge
Sound: Fletcher Alliston
Editor: Joe Uhlarik
Visual FX: Chris Bohr
Colorist: Nick Novotny
Starring: Harrison Brown, Val Emanuel, Neil Ruddy, Alice Gardin, Mitchell Hernandez and Felipe Machado

Why this script/concept? How does it reflect your vision as a commercial director?

I really liked this script because it's not predictable from the get-go.  It's unclear why these people are doing these weird things and why the guy with the camera loves the terrible results.  It reflects my vision because it subtly makes fun of normal advertising, and I like that it's got plenty of jokes packed in tightly.  

What was the casting process like?

We didn't do traditional casting sessions.  Most of the actors are performers at the UCB Theater, and I'd seen enough of their shows to know they could play these parts.  Harrison hosts a show where he runs things with the same energy he has here.  Neil and Alice are on the same improv team together.  I've known Felipe for a few years, and he photobombs people that exact same way in real life.    

How did you search for/lock a location?

My buddy Derek Mio was originally going to act in this too, and he helped me track down the location.  He knew the owners and promoters of a few different places, and he got me in touch with Scott Chen at The Rabbit Hole in Alhambra.  It's a really cool new place, and we got to shoot there before they were fully open to the public.

How did you select your DP, crew?

I've worked with Rick, Joe and Fletch on almost all of my spots.  John AD'ed my last spec and did a great job here as well.  Joe recommended Chris Bohr, who's an excellent FX guy.  I actually met Nick, who's an awesome colorist, through Felipe.    

How did shooting go? Any challenges?

The shoot was pretty smooth, except that none of our extras showed up.  We were supposed to have 6 or 7, but I can't really blame them for not coming out to Alhambra for no pay on a Sunday morning.  So most of the extras are crew members.  And luckily, the woman who crosses frame in the opening shot is friends with Scott, the bar owner, and she just happened to be there meeting him for lunch.  She was a great sport (we made them a half hour late).

Tell us about editing and finishing.

This was the first spot I've done that's really needed any visual FX, even these subtle ones.  Chris helped out a ton with extra light for the red eyes, extra glare for the grill, etc.  His big Canon logo is built out of dozens of separate little photographs, and it looks great.  So we really owe him a lot.  This was also the first time that Fletch used a separate lav mic for every actor in addition to the boom.  There was a lot for me to learn during this post process, which made it last longer than normal.  I think it's worth it, though, because I'm really pleased with this spot.        

In retrospect, is there anything you would have done differently?

I only wish I had made sure that the bar could handle a smoke machine.  We rented one, but I didn't want to risk setting off the smoke or fire alarms.  We weren't able to manually turn those alarms off, so we didn't know if the sprinklers would start or if the fire department would shut us down.  We probably would have been fine, and I would have loved that added atmosphere, but I just couldn't pull the trigger on it.

Any other thoughts.

Thanks for the great script, and thanks for being patient, Dan!

NY Lottery "The Car"

Click here to watch on YouTube.

Credits:

Director – Jonny Lumbley

Writer – Aron Fried (Ad Agency - DDB New York)

DP – Jake Sarfaty

Producer – Jonny Lumbley

Editor – Chris Weller

Sound – Jonny Lumbley & Chris Weller

Casting – Jonny Lumbley

Production Designer – Jonny Lumbley

Wardrobe – Jonny Lumbley

Hair/Make up – Mallory Schweiger

VFX – Travis Baumann

Post Producer – Beau Genot

Colorist – Sebastian Perez (Tunnel Post)

Talent: Lead – Harry Ostreem

Dad – Gregory Franklin

Onlooking boys from left to right – Ryan Roque, Cameron Curry, Billy Fridley

Why this script/concept? And how does this reflect my vision as a commercial Director?

I had previously worked with Aron, and DDB, on another spot for the NY Lottery and this particular script was one that Aron had been holding on to as sort of his masterpiece. He told me about it when we were working on the first one, but we wanted to see how we worked together to see if I'd be the right fit to bring his favorite concept to life. Needless to say, we hit it off great and working together was nothing less than perfect! So, he told me in full detail about the idea and I thought it was genius! It really challenges you to think of a traditional idea from a completely different perspective! It was a project that I really wanted to jump on and he thought I would be the perfect person for it, so we started pre-pro right away.

I feel that this spot really sums up my style of commercial directing and I'm so thankful Aron allowed me to make it. In regards to my style, I like to shoot these kinds of spots in a very simple manner so that the viewer is more focused on the concept/dialogue, as opposed to cinematic camera moves that may disconnect them from the reality of what is going on. Now, believe me...I love creative and cinematic camera moves, but I feel my comedy is more about that connection with the actors and their environment. It allows me to really work with the actors and it requires me to get the best out of their performances because we can't hide behind any artsy photography.

In regards to my storytelling style, I like to take things that we can all relate to and deliver them in a witty way, by first leading the audience down one hilarious path and then hitting them with an off-the-wall punchline. This spot does all of that! I have to give credit to Aron again on the creative and I can't thank him enough for letting me bring this to life!

What was the casting process like?

When I went over this spot in my head the first person that came to mind was a really good friend of mine, Harry Ostreem. The guy is unbelievably animated and I felt if anyone was going to sell a spot that has absolutely no dialogue, then I need an actor that can nail the physical comedy. He was perfect as you can see!

The other actors came through a casting I posted on LA Casting. I was looking for actors that could be your true American family and they would be the ones that see this guy going to work everyday outside of their home. I also thought it'd be funny to bring in a friend to the scene that was witnessing this for the first time. I think the family characters did an amazing job of giving Harry a very dead pan, uninterested look, while Ryan (the friend seeing this for the first time) did an amazing job of looking at the rest of them like “Seriously? Is this guy for real?” That to me is what makes this spot! I mean, Harry is just killing it out there as our focus point and then their reactions just send it over the top! Awesome job to all of the actors on this!

How did you search for/lock in a location?

Well, when you're working low-budget the location is always a thorn in your side. Especially due to the permit laws in LA! And, because everyone out here knows how much they can get for a location fee, you are usually slammed with the max!

Now, I was looking for a typical American home (white picket fence, nice porch, cute front yard, etc.), so I figured finding something like this was going to come with a hefty cost. I also needed a street that wasn't that busy since we were shooting across it during the day. I started driving all over LA and I also put the word out to everyone I knew in regards to what I was looking for. It just so happened that my DP's girlfriend lived in a house that was right next door to a cute little All-American home. So...I drove over there and figured I'd talk to the owners to see what we could work out. The family was absolutely amazing during our conversation and the husband settled with me on a location fee of a top-shelf bottle of Jack Daniels Single Barrel Whiskey! NO JOKE! Haha, and what was even better was the fact that we were able to stage the crew, crafty, catering and talent holding in our DP's girlfriend's yard next door! I seriously could not have asked for anything better! We were also on a super quite street in Venice, so we got away without having to permit...which was AWESOME!

How did you select your DP/crew?

The first thing is always my DP and Jake was the only guy I even thought of for this. He is awesome and super fun to work with. We have worked on tons of projects together and I think there is a special connection there that allows us to work seamlessly. He gets my humor and understands that, even though we want to make this pretty, we have to keep it simple. Long story short he nailed it! He brought on an incredible gaffer and key grip as well, so I can't take credit for those guys...all I can say is that they were awesome and equally as fun to work with.

My hair/make up artist, Mallory Schweiger, was a girl that I had worked with on several national spots and she was excited about this project due to the hilarious nature of the concept and to help me further round out my reel. She's a true pro and I'm so thankful she was a part of this! The crew was small, but effective and we had to keep it that way so that we wouldn't have to drop a ton of bills on a permit.

Now, on this particular spot we had to think past just the set crew because we had a pretty climactic finish that I couldn't really afford to do on my budget. That meant bringing in a VFX artist that could make our car look like it actually blew up! Yeah, spoiler alert there, haha...we didn't actually blow the car up. Well, not that particular car used in the shot at least. Anyway, the person that was going to make this happen was Travis Baumann, a great friend of mine that I have worked with on some other projects and one of the top VFX guys in this business. I was very fortunate to have him on this and without him, I don't think this spot would've had the same impact!

We also needed an editor to pull all of this together, Chris Weller (who I'll elaborate on more later), and a colorist, Sebastian Perez (Tunnel Post), to make this all pretty. Those guys made my life easy and this final product is a testament to their talent as well!

How did the shooting go? Any challenges?

The shoot was super fun! It was pretty straight forward too, so we didn't have any problems when it came to actually shooting this. I was also extremely surprised because our actors were so good that we got a lot of this in a very minimal amount of takes. It was also great having Aron on set, especially since this was his baby and it was amazing seeing how happy he was with how everything went. There were honestly no challenges on this, just an awesome day of shooting and a lot of fun doing it with some incredibly talented people!

Tell us about editing/finishing?

The editing was actually a little tricky. It was very simple in the fact that we didn't have very many cuts, but we had to make those cuts perfect so that we wouldn't break the vibe of the spot. I knew I needed an editor that really got my humor and I knew that person also had to be very funny themselves, so I turned to a close and ridiculously talented friend of mine Chris Weller. We nailed a first cut in a few hours, but I always like to sleep on it a few days, then readdress it over and over, and so on. I have to make sure it's still funny after that initial reaction phase. Over the course of a week or so we were able to hone in on the final cut. It took some serious tweaking and conversing back and forth with Aron to make sure it was perfect, but I think we got it right in the end!

In addition to just the visual, we had to really address the sound and more specifically the sound effects. We spent several hours really getting those sound effects right. They had to be subtle, yet effective and I can't stress how awesome Chris was at placing in these sound bites we selected. After all of that, we were still left with the plate shot of our car at the end and we had to turn that shot into a mind-blowing finish. I don't want to give away exactly how we did this because I feel like VFX artists are magic and magicians never reveal their secrets, but I can tell you that it took some creative conversations with Travis (our VFX artist) to figure out how we could make this explosion look real. I didn't want a cheesy explosion at the end that looked fake because I felt that would discredit the entire spot. Instead, it had to be real and nothing less than epic! In conclusion, we were able to composite some real elements together with a few VFX tricks to make a very real and memorable ending. From there, I was able to bring this over to Tunnel Post and Sebastian Perez for coloring to make it pretty! And that he did! 

In retrospect, is there anything you would've done differently?

I would've really blown up the car! That would've been sick! But, I was on a budget...and when I say budget, I mean my low-budget bank account! Haha...but I can say, Travis made me not regret not being able to afford the real explosion. I can't tell you how many people actually think we blew the car up and even though I've revealed that little secret here, only the people that read this interview will know the truth and I'll let everyone else think the thing really exploded...I'm keeping my mouth shut! All in all, I think this spot really showcased my comedic style and it came out as close to perfect as it possibly could. I can only hope I did complete justice for Aron's intelligently creative masterpiece!