Broadcasting Telecasting (Oct-Dec 1957)

all phases of production through to the completed film ready for screening. In other cases, we produce spots from agency-created storyboards or scripts, reserving the right to suggest certain changes toward simplifying or improving the production. In every case, however, a good commercial is the result of complete cooperation between client, agency and producer — a real mutual effort. Q: In other words, you're equipped with writers, the whole works, even copywriters for the agencies that don't have their own. Do many take advantage of that? A: The answer is yes to both of your questions, and we encourage an agency to use our staff talent as well as our production facilities. We feel this has been particularly helpful to smaller agencies who do not have large film or creative departments, and can take advantage of our creative thinking. After all, the product we have to sell is our own creative know-how and experience. All producers use about the same lights, cameras and equipment, and the quality difference can be achieved only by the creative ability and experience of the permanent staff concerned with the production. Q: But the larger agency has A: Yes, that's true — most larger agencies do have their own complete creative staff. However, there are many instances where such agencies are still desirous of getting the creative thinking of the producer, recognizing the fact that we are specialists in visual selling, and come to us to handle the production from the start. In all cases, whether we are creating a storyboard for a large agency or a small one, we work very closely with the agency, because, after all, they know the client and problems much better than we do. Q: Mr. Sarra, why should a commercial be simple? A: I think I've mentioned before, in speaking of simplification, that the simple approach is best, if for no other reason than that > if we are shooting for a cosmetic account, we would use an entirely different type of girl — a more sophisticated high-fashion model type, who would be equally miscast if used for washing clothes in a laundry soap commercial. So, again, it's not a question of a pretty girl, but a question of being properly cast. I like to cast with all kinds of people, but they must be real people, and as soon as they are real, they're wonderful, no matter what you are doing. Of course, even if the person is well cast, it's still a matter of believable direction and proper "business" for the character to perform. Take children for instance. Yeste; lay we made a commercial for Pet Milk showing a little girl busy writing. In a commercial made four or five years ago, the girl would drink the milk and smile in an exaggerated way. Well, when you're drinking milk naturally, you just drink it, enjoy it and then go on with whatever you're doing — see? So, today she just drinks the milk and keeps on writing, and that's it! The situation was much more real and more casual. Q: Some agencies are talking about doing their own commercials. it is easily understood and remembered. Q: Is it because of the time allotted that it (the commercial) should be simple? A: Well, that is certainly one of the main reasons, because there is a limit as to how much vou can ask the viewer to retain after watching a one-minute or 20-second spot. There is also a limit as to how many points or ideas can be crammed into such a short period. Agencies have recognized this, and the "pounding" type of commercial is rapidly disappearing. This doesn't mean any lack of "sell," because, after all, the main purpose of making the spot in the first place is always to sell. I don't completely agree with some entertainment-type commercials. The purpose of a program is to entertain, and the purpose of the commercial is to sell. Then, too, the type of show the commercial is used on governs, to a degree, the style of the commercial. Since viewers are accustomed to seeing top talent on shows, if an entertainment-type of commercial is desired, the talent used should certainly be of the same high caliber. For example, in recent spots we have produced using dancers, we used the very best talent in the country. Q: You're saying that if you invest lots of money in your show, you should invest lots of money in your commercial? A: Not necessarily. Again, it isn't the cost, but the quality of the commercial that counts. It goes without saying that it would be unwise to invest a lot of money in a show and then stint on the cost of the commercial if it affects its quality, and the same applies to commercials made for use strictly as spots. Q: It's been said you object to too many pretty girls in your commercials. A: I don't have any objection to pretty girls — but it's not a matter of pretty or not pretty. I think it's strictly a question of casting and using real people in real situations. For example, if I see a picture of a baby in a mother's arms, I would certainly expect that girl to at least look capable of being a mother. While, Broadcasting Do you think many agencies will go into your end of the business? A: Well it's possible, but if we were an advertising agency, I wouldn't. Q. Why? A: Well, you would limit the creative thinking now available by being able to work with different film producers. It would be as unthinkable as an agency doing all of its finished artwork. Q: Do you work with agencies outside New York? A: Yes, we work with many fine agencies all over the country. Q: How many people do you have on your staff here? A: Around 80 in New York and Chicago. Q: Are you fighting any competition from major Hollywood studios going into tv commercials? A: I wouldn't say "fighting" competition. We like competition, but some major studios are cutting prices just to get into the advertising field. They have excellent equipment and facilities to sell. We sell people — people with experience and advertising know-how, essential in the making of good tv commercials. There is a vast difference between writing and producing a one-minute spot and a feature length film. Q: Is there much bidding on commercials today? A: Yes. I think that if a film is purchased on strictly a bid basis it is wrong, because buying a film commercial involving creative ability is not like buying a load of bricks — it doesn't mean that the lowest bidder on a film would put the same production excellence in a film, as would one of the higher bidders. Q: What happens when this bidding process goes on? A: Where estimates are requested, say from six equally capable producers, we are delighted to quote on a job. If we feel it is strictly on a bid basis, we prefer not to submit a bid. You see, we October 14, 1957 • Page 121