Broadcasting Telecasting (Oct-Dec 1957)

OPINION BUY FILM COMMERCIALS AS YOU WOULD ARTWORK Film Maker Valentino Sarra Also Urges More Pre-Production Planning Valentino Sarra, president of Sarra Inc., which he formed back in 1933, branched out into television film commercials in a little more than 10 years. His clientele includes some of the top names in advertising. Interviewed by B»Ts editors, he explained some of the ground rules that should be applied to buying, creating and producing a good filmed sales message. Q: Mr. Sarra, you've been in the television commercial business a long time. When did you start? A: About 10 or 11 years ago. Q: What percentage of your current business is in the television field? A: Approximately 60% to 65%. way — but two weeks later, it was just a sunset. Q: What would you say is a fair amount for an advertiser to spend on a commercial? A: It's almost impossible to answer this question since there is such a vast range in cost, depending on the type of production which is planned. Since the first consideration should be to make the commercial as simple, convincing and acceptable as possible. I don't think the question is cost, but rather one of doing a good job. Q: What should an advertising agency pay for a simple commercial? A: This, too, is almost like asking "How high is up?" because simplicity doesn't automatically mean an inexpensive commercial, for the same reason I mentioned before . . . there is such a wide range in production costs. For example, a good commercial might be made for $2,000, but it would be impossible to produce a spot A B»T INTERVIEW Q: What's the other percentage in? A: Photographic illustration, slide films, industrial and sales training films. Q: How many commercials did you make last year? A: Several hundred ... I don't know the exact number off hand. Q: You have been quoted as saying that if the commercial is good, it is worth every cent paid for it; if it is bad, getting it cheaply is no saving. Could you expand on that? A: Well, it's like anything else. If the commercial is good, it's worth double the price — no matter how much you pay, it's still a good buy because it will do its job, and its job is to sell your product. In other words, there is no such thing as a "cheap" commercial. There are expensive commercials and inexpensive commercials, but the mere fact that you didn't pay much for it won't mean anything if it doesn't do its selling job. Q: How do you describe a good commercial? A: A good commercial, to me, is one that immediately captures and holds the viewers' attention and, most important, it is the one that sells. Q: Can you look at a commercial and be pretty sure it will sell? A: Since it's been our business for many years to make pictures that sell, we feel that with our experience we can be pretty sure, especially if we have a precedent. Naturally, with something new it is more difficult to anticipate audience acceptance. It boils down to this — if we have experience, we are less likely to be fooled. You see, like a little child, we like a new thing. When I went to Mexico the first time and saw the sunset there, it was the most gorgeous sunset I had ever seen in my life. The next evening, I felt the same Page 120 • October 14, 1957 using full animation or stop-motion treatment for this price. That's why it's a good thing to have some idea of the budget for the production before the spot is written or designed. You'll never make a good television commercial by planning a production that should cost $5,000 and then try to produce for $2,000. It is much better to simplify the idea so that a top quality production can be achieved for the lower figure. I do think most commercials today are too complicated and can be made much better if they are simplified. We find that when we come up with a good simple idea, that's the spot the viewer will remember. The fact of the matter is, that it's how good the commercial is when it's completed that really counts. Q: Do you think the agencies are trying to make commercials too complicated? A: No, I don't think so. I think commercials are improving each year and the agencies deserve a lot of credit for that because they have found that there is a limit to how much can be crammed into a short commercial and still have the viewer remember the selling points. Of course, you must remember that the industry is still young, and we have lots to learn, and the trends are constantly changing in the advertising field as in any other. Q: Do you work for many agencies, Mr. Sarra? A: Maybe 50 or more. Q: Do they call you in? A: Yes they do and we are constantly soliciting work. We work with agencies in many different ways depending entirely on the setup in each individual agency. While we do no creative work on speculation, in some cases, where agencies do not have their own television or film creative staff, we do the entire creative job, designing storyboards for presentation to the client, and handling Broadcasting