Inspiring Interviews with Former Students
Interview
1: Director/Cameraman Scott Stephens
Interview 2: Our first
Success Story: Martin Prihoda
Interview with Director/Cameraman, Scott Stephens
As a script supervisor Scott Stephens has spent the past several years working side-by-side on set with most of the A-List commercial directors. Last fall he attended the seminar and has since created a very impressive spec reel, including a campaign for the BMW Mini Cooper.
Scott, billing himself as Director/Cameraman, answered a few questions about his experience after the class.
Did your approach to launching your directing career change at all after taking the class?
SP: Working for the last eight years as a script supervisor,
I knew everything that actually goes on on a set. From product shots, to "legal" issues,
to last second changes, to the creative. What I didn't know was what led up to
getting to the set as Director.
When I took the class I had a reel, had connections, and had a direction. What I didn't know was that I had a bad reel and was headed in the wrong direction. Craig made me realize what a reel needs to look like and how to get it to the right people.
Did you come to the class with a plan to shoot a spec reel or with concepts for spec spots?
When I came to the class I had a script I was about to shoot. After the class
I knew I had to shoot the spot on 35mm film. I also knew I had to push the concept
to make it unique.
Did the class make the spots better?
The next spot I did came from an agency and the knowledge from Craig helped me deal with the creative's over the phone and sell myself and my vision. The overall experience was made better by the appearance that I had been doing this for a while. Now I'm getting calls from that agency for other work.
As for improving the spot itself, I added people in the background to help make it less like a spec spot [a point taught in the seminar] and it ended up improving the spot in a creative way that I would never have imagined.
How much did it cost you to shoot the Mini spots?
Sorry, I'm still trying to sell it. Let's just say not much.
Can you tell us how the Mini spots came about and how you were able to shoot them so cheaply?
I took a look at the types of spots I would want to do and built a story around a product I would want to be associated with (Young, Hip, Cool). Also, the product needed to be accessible to me as a director. I knew I couldn't do Victoria Secret or iPod and everyone does Nike and beer. (Even I had Nike on my first reel, which I took off because it screams spec if your not an A list director [another point taught in the seminar]). I was able to do my spots so cheaply by getting people to believe in me.
What has been the response to the Mini spots?
I've been told it will start my career. I certainly hope so. Most people ask if it's real. They know I'm not signed [with a production company] but are very impressed by the quality.
What have you learned from the experience of shooting these?
The biggest lesson I learned from shooting my Mini spots is not to skimp on crew. It only slows you down and lessens the time you have to get creative. It's been suggested that I could have put more of a mark on the spots, but I would have needed more time.
What is the next step for you?
To get signed.
Have you shopped your new reel around to production companies?
I've just started setting up meetings with Production Companies, wish me luck.
Would you recommend this seminar to anyone considering a career as a commercial director? Did you find it was worth your time and money?
I would, will, and already have recommended the Directing Commercials course. The value to the truly driven directors will be ten fold.
I don't take classes on directing because no one can tell me how to get better at [the art of] directing, they can only tell me how they think it should be done. That's not art. When I found out Craig teaches everything but the art, I knew I needed to take the course.
I now base every decision I make towards my career on the information I gained from Craig.
It was worth every penny.
Thanks, Scott. Good luck with your career and let us know when you sign with a company!
Our First Success Story
The following is an interview with
the first person to officially sign on as a Director with a Production
Company after taking the seminar.
I first met Martin Prihoda at the Vancouver
seminar. Last summer he joined Run
Spot Run in Vancouver for representation there.
(Small Disclaimer: I am also signed with Run Spot Run.
Other than mentioning to Executive Producer Jane Charles that Martin
seemed like a good guy
I was not instrumental in bringing him on board- his reel and his interview
with Jane was all he needed.)
Craig Worsham: Martin, did you
already have a reel when you attended the seminar?
Martin Prihoda:
I had one spot on my reel at that point, it was a PSA I shot on 35mm
film for
the Canadian
Cancer Society.
Was it a paid gig or something
you did on spec?
MP: The Cancer PSA was paid for in the sense that
all basic fees such as camera rental, film development and processing were covered.
Everyone donated their time and all locations were donated. That was the benefit
of
working
a PSA, almost everyone on the crew knew someone that was or had suffered
from Cancer. It was easy to get people to come out and many of our suppliers
drastically
cut their costs. My recommendation to first time commercial directors would
be: Go out and find a charity or similar organization, tell them you have
a great
creative and that you can do the project for a drastically reduced price.
Most organizations are willing to listen to someone who says they can do something
great for a lowered cost. Also many PSA have a special rotation on Cable
television,
they don't pay nearly as much as a regular commercial, sometimes they don't
pay at all for a PSA run, you can pitch this to your client if they don't
already know or are worried about an expensive media buy.
Did you shoot any new spec spots after the seminar?
MP: Yes. Interesting
story actually. My apartment was broken into last December. They stole my 16mm
Bolex, lenses, my
computer with
all my writing on it and some other cameras. I was despondent as they
took some
of my
most valued possessions. Luckily I had insurance. When I got the cheque
from the Insurance company I realized that what I needed more than anything
at
that point in my career was not another Bolex with a set of lenses but
another spec
ad or two for my reel. So that's what I did. I called my crew together,
negotiated a deal with Panavision and the post house I usually dealt
with and made two
spec ads: One for HBO boxing and one for Kilt, both shot in one weekend
on 35mm.
It was probably the wisest decision I could have made.
So by February 2004 I had 4 spots, the PSA, two Spec and one actual paid
spot for for a company called Island Ink jet.
When did you sign with a production company?
MP: I'm signed a non exclusive with Run Spot Run films
in July 2004. They represent me in Western Canada.
How many companies did you talk to or send your reel to?
MP: Lots. Especially in Toronto and some in LA. Everyone
was very supportive, the problem was that I was considered a 'build,'
someone who
had a few spec ads but no real high end stuff. Although they saw potential
in my work, I was hitting the pavement at a time when high end directors
were taking
lower budget spots with great creative. The industry was in a bit of
a slump and Prod Co's were hesitant with taken on new talent.
How did the seminar help you when talking to companies and/or to RSR
in particular?
MP: It was invaluable, considering one of the panelists,
Jane Charles, was my future executive producer. It was also helpful in
that it made
me understand the relationships between Prod Co's, sales agent and agency
broadcast producers. What I learned and subsequently experienced was
that when sending
you reel out, the Sales agent plays a huge role. They are the ones who
are going to go out and try to sell your reel. They are also a wealth
of information
when
it comes to looking at your reel and critiquing it. This is all stuff
that takes a while to figure out if you're a young director trying to
go it
alone. The seminar
takes a few of the baby steps out and lets you go out feeling more confident.
How has the seminar helped you now that you are with a company?
MP: I incorporate
much of what I learned in the seminar when dealing with the agencies, especially
when pitching. I use a lot of the
pitching techniques that were taught during the seminar.
How
has it helped you in your relationship with the company/exec. prod.?
MP: Its
been helpful in that i went into this relationship with some sort of
definition. I understood the relationship of the director to the exec
producer
and when
I sat with Jane to go over how things would work, I didn't have to
ask the most
elementary questions. I was able to come across as someone who had
done some research into it and I think when all is said and done, that's
appreciated.
How has it helped you in your relationship with the agency?
MP: Similar
to the above in that I always try to come in prepared. When bidding on a job
I try to familiarize myself with the
client as much as
possible, for example, ads they had produced before, what their demographic
is, are there any press releases about the client on-line, perhaps one
that gives
some sort of detail about where they want to go with their marketing.
It impresses the agency, it allows you as the director to develop more
of a 360 degree view
when approaching the agency. It's not about you regurgitating the creative
back to the agency, its about you taking that creative and putting your
own spin on
it, something the agency hasn't thought of. This is easier to do when
you know more about the client. of course, as a side note, you have to
be careful in respect
to the agency; they put a great deal of work into the creative and that
should be kept firmly in mind. The seminar goes over these things; the
conference call,
the pitch, everything.
How many jobs have you directed since
you started?
MP: Three jobs.
How is this job different than what you expected?
MP: In respect
to what I learned in the seminar, its been bang on. Everything we went over in
the course of two days has
played out
in reality.
From the initial call, to the pre pro meeting, to what its like
having the agency on set looking over your shoulder. It helped a great deal
knowing what I was
getting into, of course my exec producer went over everything with
me again in detail.
What advice would you give to a starting director now?
MP: Come
up with some great ideas, that can't be understated. Without
a great creative you'll never have a great spot. Approach a client and
say
you have a great
idea for a commercial, pick a smaller client and keep the idea
reasonable. The simpler
the creative, the greater chance you'll execute it without
it having look like a spec spot. Build loyalties, from your DP to your
Gaffer,
let them
know that
they're the first one's on board when you get a paying gig.
Of course this is up to your exec producer or agency (if they like a particular
DP) but
that shouldn't
stop you from putting their names forward.
I would highly recommend this seminar, especially if you haven't
done any spec work. It could save you money and time by helping
you to make
wiser
choices.
The seminar comes from a practical point of view, it teaches
you how things work out in the real world, how agency producers
think.
Music
videos are
fun but they
won't get you far as a commercial director; you need to build
your reel. It takes effort and diplomacy but without it you
won't get
far. Buy the
DVD and
use it
for constant reference.
Without a doubt worth the price.
Thank you , Martin. And good luck with your career!
To see Martin's reel, click here.