Not every case of domestic violence is the same. What’s important is that it ends. Director Brett Blackwell helped to give one such case an alternative ending in this spot for Interval House, an organization dedicated to helping women and children escape violence and rebuild their lives.
In response to the recent rash of domestic violence incidents caught on elevator security tape, this spot was created within six days by KBS+P team, Matt Hassell and Stephan D’Aversa, along with Producer Brenda Surminski.
Since this post was published video has reportedly gone viral, according to these sources…
Strategy Online highlighted the fact that the spot was created in less than six days, a necessity to capitalize on the conversation happening online regarding the NFL player, Ray Rice.
Fast Company called Alternate Ending “a reminder that domestic violence can be stopped.”
Upworthy says that “unlike the Ray Rice video—or the Jay-Z and Solange video, for that matter—this is the elevator video we should be paying attention to.”
Good Magazine says that elevator videos depicting domestic violence “should all have an ending like this one.”
We’re very proud to announce our man, Director Meelad Moaphi, will premiere the Cartilage produced short film “Every Monday” this month at the Montreal Festival des Films Monde.
You know the bit at the end of a first date when one of you panics? Live through one of those "Panic Stations #4" the latest in a series by Jim Owen.
Congratulations to Gary Samson on getting a Vimeo Staff Pick for the Disappear music vid (for Andrew Austin). We’re proud to have produced it.
What happens when Toronto’s downtown becomes a Honda pitstop?
Director: Brett Blackwell
Producer: Matt Kloske
Executive Producer: William Cranor
Production: Cartilage Inc.
More amazingness from Jodeb…
Written and directed by Jodeb
Executive producer: Geoff Mclean
Producer: Courtney Anne Davies
Director of photography: Chayse Irvin
Cast: Porter Robinson, Eugenie Grey, Essy Park, Elleanor Yamaguchi, Jennifer Don and Zoe Flood
What were you doing before you made the jump to directing, editing and producing?
After university my first job was financial advising and consulting to high-profile entrepreneurs and small business owners while working at the Business Development Bank of Canada and CIBC. Crazy right? But learning business acumen from such successful business owners on how to build a great company was an early experience worth it’s weight in gold. I did make my first film when i was 13 years old, however. So I must have known as a kid somewhere that this industry was in my blood.
What is it that you love about advertising?
After working in film and TV for ten years, I can definitely appreciate how in advertising it doesn’t take an entire year to finish one project. I love how a project can begin, end, and be broadcast in a single month. The near instant gratification and feedback is enticing. I once wrapped an ad for ITravel2000 on a Monday at 5pm and saw it on TV Thursday morning during Breakfast Television. That’s quick!
You pitched a Nissan campaign to Chiat/Day when you were 19. Tell me more about that.
When I was 19 years old I had what I thought to be a slam dunk idea for a Nissan commercial. I had zero knowledge of advertising whatsoever. I wasn’t even a filmmaker yet. I was so convinced of my idea that I phoned Nissan Headquarters in the U.S. to tell them about it. A nice (read: placating) woman there told me that they didn’t make the commercials themselves, but gave me the phone number of something they called their “advertising agency”. It was some company called Chiat/Day.
I wrote out my story idea and added photos to it to help sell the concept. I’d learn many years later that these are called storyboards. I finished my document, printed it in brilliant/cutting-edge inkjet colour, and mailed it to Chiat/Day. Hilarious now, in retrospect. I still have those boards somewhere. I had completely forgotten about this event until I saw a new Volkswagen ad this year. The concept in the ad is almost the same as my concept so long ago, but instead of “Tiguan” in the VW ad, my horse said “Niiiiiissaaaan”. Unfortunately the work was not produced.
And you also drove from Victoria to Halifax in an ice cream truck for ITravel2000 and Sun Media. Is there anything you won’t do?
Weddings. I’ve always refused to shoot weddings. Of course, I’m quite past that now, but way back in 1999 when starting out I promised myself I’d never shoot nor edit a wedding video. I’m glad I kept this pact with myself.
What is it that you love about the culture of advertising in Toronto?
I love being surrounded by dynamic, creative people who feel most comfortable having their foot on the accelerator. There’s never a dull moment. There’s also a lot of demands on us production companies, but I learned so early in life that it’s much easier to retain a client than it is to win a new client. So I love bending backwards to make sure the clients we have are happy at the end of the day, and that they stay with us.
Where could Toronto’s ad industry improve the most, in your opinion?
When I see these smaller and more nimble agencies who are executing high concept creative with flawless execution, but have also mastered the digital side, I get very hopeful about where we’re headed. The larger traditional agencies are almost there as well, so after years of disruption we might actually be on the verge of a somewhat stabilized industry. Until the next big thing anyway.
What attracted you to Cartilage?
I felt I was ready to join a CPAT-level company. When I saw that Cartilage had produced the “Sea Dog” and “River Monster” spots for Rain43 and Ontario Power Generation, that was all I needed. I was sold. They were risky, bizarre, hilarious, and just plain awesome. Of course the excellence and high-concept quality of all of Cartilage’s other productions didn’t hurt either. Now that I’m here and actually meeting the directors on our roster in the flesh I know I made the right move. Cartilage has a great family feel to it while retaining its serious business edge. It’s a perfect balance. I’m feeling lucky to have found such a great team.
Who reached out to who first?
I sent William a one line email saying “Hey William, do you have some white space in your calendar to grab a coffee?” Directly below that line was a link to my LinkedIn profile. I guess that’s the power of LinkedIn because he responded a few hours later with something to the effect of “hellz yeah!” What I love about our industry is that you never have to apply to a job. You can just create your own job by reaching out to people and convincing them how you can help.
What was your first impression of William?
We met at a coffee shop and hit it off instantly. He began our chat by asking me to tell him my story. I gave him my pitch and when finished he looked away, smiled, hatched his chin and said “You have a good story.” During that first meeting we had figured out that I was actually his banker 17 years ago for one of his previous companies, and although I never met him then, I did meet his partners at their Berkeley Street office.
So it’s feeling rather serendipitous to come full-circle almost two decades later and be working with him now. His idea for our third meeting was to invite my fiancee and his wife out to dinner so everyone could meet. It was a classy and thoughtful move on his part and that gesture alone almost sealed the deal. It was the first time in my life I felt like a high-school football player being recruited by a U.S. college. I’m glad he pursued me so aggressively and that I get to work with him now.
If commercial production were a 10-level video game, I’d be at level 8, but William is at level 25 and has earned “Neo-from-The-Matrix” types of powers. So, I get to do my thing at Cartilage but also learn from someone who’s forgotten more than I know.
Where do you see advertising heading in the next 5-10 years and how do you see your role in its progress?
I believe our industry is finally figuring out that you can’t just throw a passive-viewer-style TV ad on the web and have it work. On the web you have about four seconds to show a viewer why they should care and not click “skip”. Yes it’s catering to the A.D.D. side in all of us, but it’s making storytelling more exciting. We’ve arrived at the point now where it’s the tail wagging-the-dog because traditional TV broadcast spots are even catering to this style as well.
As for my role, I’m just the son of blue-collar auto-parts factory-worker in Cambridge Ontario. I’m not sure how I’ve made it here but I’m just glad to have a seat at the table. As long as I can contribute to my industry I will dream big, work my butt off, and hopefully never lose my smile or enthusiasm.
This just in: Some sweet and strange puppet mastery from Peter Rhoads. We promise it’ll make your Monday a whole bunch better.
Sweden-based art director Castor created this hilariously bizarre and dramatic “Buy My Volvo” commercial to sell his ’93 Volvo station wagon.
COMMUNITY ENGAGEMENT: NFP/Fundraising/Public Service: Gold
DIGITAL: NFP/Fundraising/Public Service: Gold
ADVERTISING: NFP/Fundraising/Public Service: Bronze
INTEGRATED: NFP/Fundraising/Public Service: Bronze