A Death in the (TV) Family

When I learned about the passing of Dick Wilson, TV's Mr. Whipple from the Charmin ads, I cannot say I was overly saddened, but it did make me pause and reflect on some of my wasted youth in front of the television and how TV advertising has changed.

Mr. Whipple, along with Mrs. Olson, the Folger's coffee lady, and Madge the Manicurist for Palmolive dish soap, were staples of TV for two and a half decades. Dick Wilson made 504- that's over 4 hours!- Charmin commercials. Mrs. Olson and Madge also had TV lives that spanned more than a generation. The ads must have been successful because you don't keep going back to the "Ladies, don't squeeze the Charmin," well if the TP ain't moving off the shelves.

Today these ad campaigns wouldn't last more than a TV season and that says as much about how we watch TV as it does about the ads themselves. In the 1970s when Madge had her customers soaking in Palmolive I would have had to get up off the couch and turn the channel to make her go away. Since there were only two other channels I left it on and Madge and the others were begrudgingly allowed to come into our living room. Today with the clicker and the Tivo and downloading episodes from the Internet who watches commercials- especially one's with characters like these three?

The other thing that strikes me about these characters and ad campaigns is the complete lack of irony and sense of humor. In reviewing these spots you can just see comedians like David Letterman waiting to skewer them. In fact an early Letterman memory of mine had him making fun of the Florence Henderson Wesson Oil commercials. Today if a TV spot isn't quick hitting eye candy then it won't last.

So, I am sorry Mr. Whipple, Mrs. Olson and Madge your time has come and gone. I am sure you will live on in You Tube land where people can get there nostalgia and irony in two clicks.

PeterH

You Can't Give It Away

Ten years ago this week we were hired to make a pair of commercials for Canada Dry and Schweppes. It was a promotional commercial and we had two build two sets using bottles of Ginger Ale, Club Soda and Tonic Water. One set was for the Canada Dry products and the bottles surrounded a Jeep they were giving away. The other set used the Schweppes products and we created a little putting green as their prize was a trip to the British Open golf tournament.

As filmmaking goes it was easy. Once the sets were built it was like shooting still pictures because nothing moved. The hard part of the job was building the sets with the bottles of soda. A semi-truck full of soda was delivered to the studio and for three days the art department and production assistants built our two sets with plastic soda bottles.

The shoot went well, and as often happens the agency was on a hard deadline so we had to transfer film on a Saturday morning- the morning Diana's death was announced- at double time. At the transfer session we asked the agency producer when someone was coming to pick up the soda and deliver back to the bottler. She told us we can't send it back because it costs too much to ship back to Dallas. The soda was ours to do with what we wanted.

What does one do with 10 or 20 THOUSAND bottles of soda? We had another problem- the bottles were sitting in the studio and we didn't want to pay $750 a day just to store ginger ale, so on that Monday we began the process of trying to give away a truck load of bubbly water. First we offered it to the crew, we all took as much as we wanted. (I don't drink soda, but I do enjoy a vodka and tonic. Note to self, next time get the Stolichnaya account.) We contacted charities and delivered cases of product to a Chicago social service agency called Off the Street Club- they were thrilled, but couldn't take more than a few hundred bottles.

We tried leaving it for the garbage collectors, but they wouldn't take it because the bottles were full. So at the end of the day we had a team of production assistants pour a few thousand liters of soda into the gutter and down into the Chicago sewer system.

I like to imagine all the bubbles cleaning the Chicago sewer system, but I don't think that happened.

PeterH

Shout it Out

Yesterday I shared a tale about a company (General Mills) that was too cheap to send us enough product for their own TV commercial so we had to go out and buy Raisin Nut Crunch and sell it back to them. Today, I’ll share a slightly different take on the behind-the-scenes world of TV advertising.

A few years ago we were hired to make a pair of TV spots for Shout Carpet Cleaner. It was a nice job- two or three production days and a couple of more days to build the set- plus a day of watching grape juice dry and getting paid for it. (When you do product comparison commercials there is a lot of attention paid to the legal end of things. Here we compared Shout to “the other leading brand" (Resolve) as “real people” tried to get dried grape juice stains off of white carpet. To make the test legal, the day before shooting a scientist from SC Johnson and Dan Dreesen, our ace prop master, poured exact amounts of grape juice on carpeting. The stains had to sit and dry over night to make the test valid and Jim and I had to sign affidavits agreeing to the above.)

It ain’t exactly like working in a coal mine this film business.

The shoot went great, lots of real women being amazed by how great Shout worked. It was one of those shoots where everything we did went as planned. As we worked through the first day of production Dan came up to us and said he had a problem. The prop bottles of Shout the agency supplied were beginning to crack. He was able to rig a workaround but we had to be careful how the women handled the bottles.

The next week Jim and I did the edit, Two spots cut to a re-written version of the song “Shout.” They turned into two great little commercials AND the product worked great too. Win Win, right?

Wrong.

It turned out the problem we discovered in the packaging while shooting was the fatal flaw. To make the product work affectively, the bottle needed two chambers to hold the different “ingredients” that make up Shout. That configuration stressed the spray nozzle and the bottles gave out.

So after millions of dollars of development money and thousands more on marketing- including our fees- SC Johnson pulled the plug.

Next a company that had so much product we couldn’t give it away.

PeterH

Clients...

...you can't live with 'em, you can't shoot 'em.

The number of odd choices and decisions clients make never seems to end. Most of the times they do something because of how it affects (effects- the dumb filmmaker never remembers?) the bottom line. But if you think about it closely the cost of making and airing of a TV commercial shouldn't affect it at all. A commercial- good or bad- will draw attention to a product but the TV production costs are such a small factor in the overall performance of the brand, the outcome is negligible.

As that is my preamble here is dumb client story number 521.

A few years ago we were shooting a pair of spots for the General Mills cereal brands Basic 4 and Raisin Nut Bran. Over a few days we built a supermarket aisle. We cast a kid to be "the Stock Boy" and were all set to go except for one thing- General Mills refused to send us enough boxes of cereal to stock our shelves. It was ridiculous, they are paying $75,000-$100,000 in production costs, yet can't send us a few hundred boxes of their product. The ad agency was no help, but they did tell us we could go buy cereal and charge it back to them as an overage,

So, a few days before the shoot we had production assistants scour the Chicago area for boxes each cereal. We ended up buying an additional couple of hundred boxes of flakes at $4 a box which we then marked up 25 percent and charged back to the agency, which then marked it up again and charged the client. So General Mills ultimately spent $1500 buying their own cereal from us. Go figure.

PeterH

Selling Funny

For a lot of reasons- none that make any sense to me- advertising agencies are loath to sell commercials using humor. Jim and I have directed some mildly humorous spots that perhaps generate a grin or a smile, but nothing (intentionally at least) that is laugh out loud funny. The first and only person who comes to mind as a truly funny TV commercial director is Joe Sedelmaier.

You will know Sedelmaier (one of those people who is almost always referred to by his last name only) from the Wendy’s “Where’s the Beef?” commercial and the Federal Express fast talker, but his best work came in the 1970s. His commercial for Southern Airlines- where he shows us the difference between first class and coach (steerage)- is a terrific example of short form filmmaking. Was it an affective piece of television advertising? I don’t know- anyone fly Southern lately?

You can identify Sedelmaier commercials very quickly. He uses wide angle lenses, real, often strange looking people as actors- Clara Peller was no actress- and very simple sets. He was famous for stopping people on the street and taking a Polaroid of them. He was equally famous for being tough on his crew-he yelled, he had a temper, he kicked clients off his own sets (he yelled at me once in 1987) and is generally a horse’s ass.

It’s important to place his work in context. Pre-Sedelmaier here is a typical TV commercial: to the sounds of Sprach Zarathustra (the main theme from 2001) in slow motion comes Kraft Thousand Island Dressing pouring onto iceberg lettuce. Da- Da- Da- Da- Dum-Dum-Dum-Dum-Dum-Dum….Introducing new Kraft 1000 Island dressing! After Sedelmaier- a whole new language for selling.

Thanks Joe, you horse’s ass.

PeterH

A Boy and his Camera

Something happens when you bring out a motion picture camera to both those in front of the camera and those of us on the other side. Anyone who has seen a home movie knows what happens when the camera appears- your inner ham comes out. Even professional actors have their on-camera personality and know how and when to turn it on and off.

Something similar happens on the other side of the camera too. In Victimless Crimes about half of my cast gets killed and the other half does the killing. This means I had to film lots of shooting, strangling and stabbing. These scenes- which in another film I would watch through my fingers- just seemed like work. When a take was over I would say let's do it again and the actor who had been shot or stabbed changed his clothes, put on new squibs (exploding blood packs) and an hour or so later we did it again. This went on all night.

My point is that as a filmmaker you shoot until you get what you need and the camera gives me confidence I don't have in my regular life.

While shooting a TV commercial for OFF, the mosquito repellent, we had to make a ten-year old boy stick his arm into a transparent box full of mosquitos and hold it there, still, for 30 seconds. He did and he got bitten and there were tears and I felt like Hell but it was the job and we had to do it. (He was wearing the "other leading brand" which wasn't as good as OFF, but he was well compensated and his parents knew what they signed up for.)

Today, Jim and I are wrapping up a documentary about teen parents and I sit opposite these young woman and ask them very personal, very probing questions about choices they made (or in some cases didn't make) . It's not something I would do if the camera wasn't there and I have to get into another mindset in order to do it, but again it is part of the job. I am always surprised when they open up and start revealing themselves to me. The power of the camera is really working for me in these instances.

Now I need to remember the next time I ask for a raise to bring a camera with me. No one can say no to a boy and his camera.

PeterH