Now Playing on Your Local TV: Ads from Famous Hollywood Directors

Most film directors try to make the big screen look even bigger. These days, many are also trying to make the small screen look big.

They’re making TV commercials.

“There are other considerations besides the money,” said John Badham, who may be best known for directing the film “Saturday Night Fever.” “But you can earn a pretty good salary for a 30-second commercial. Of course, when you decide to get into this end of the business, you have to check your ego at the door.”

But heck, what’s wrong with a little humility when some top movie directors are making upward of $15,000 a day behind the scenes of TV commercial sets? Badham said he isn’t pulling in that kind of money from the Hollywood studio he works at, Image Point Productions. In fact, he insists that the main reason he films TV commercials is “to keep from getting rusty between films.” But the hefty paycheck is certainly another reason that Badham directs Tyco toy ads.

All over Hollywood, the eye of the film director seems to be more and more on the megabucks of commercial magic. Some directors say that filming commercials actually makes them better movie makers. Other directors say the money they make from filming commercials makes it much easier to turn down bad film assignments. But virtually all directors agree: The pay is a big lure.

Just ask John Frankenheimer, the director of the film “Birdman of Alcatraz,” who recently directed the AT&T; spot about a reporter in Paris who is covering the 200th anniversary of the French Revolution. Said Frankenheimer, “I made six times as much money directing that ad than I made directing ‘Birdman of Alcatraz.’ ”

Steve Miner directed two of the “Friday the 13th” films and helped develop the pilot for the TV show “The Wonder Years,” but most recently he was director of a commercial for McDonald’s that shows a “human” French fry being interviewed. “A number of film directors have told me they want to make commercials,” said Miner. “But many of them just haven’t been able to break into the business.”

That hasn’t stopped dozens from trying. Perhaps the new expression among film directors should be something like: Lights, camera, commercial!

“A number of years ago, a lot of these directors wouldn’t have taken these jobs,” said Paul Babb, executive producer at Paramount Images, the recently formed commercial-making division of Paramount Pictures. “But now, just about everyone’s looking for work. So you have some established, top-line directors vying for a smaller piece of the pie.”

Alan Arkin, who directed “Little Murders,” also directed a number of offbeat ads for Wendy’s about “Hamburger A” and “Hamburger B.” Henry Winkler, who directed “Memories of Me,” recently directed some Taco Bell ads. The director of “Alien,” Ridley Scott, just completed a costly commercial for Nissan. Hugh Hudson (“Chariots of Fire”) also called the shots on some British Petroleum ads. Tony Scott (“Top Gun”) has directed ads for British Airways. And Adrian Lyne (“Fatal Attraction”) recently directed the “What is Sexy?” ads for Jovan Musk that featured quick peeks of racy romance.

Meanwhile, “Batteries Not Included” director Matthew Robbins just directed that celebrity-laden ad for Commodore computers that features the likes of Tommy Lasorda, Tip O’Neil and even the Pointer Sisters. They all show up at a kid’s front door to help him use his computer.

These directors of TV and cinema are commonly called “crossover” directors. In Europe, the practice of jumping from films to TV ads has been common for years. But in the United States it has become more acceptable only within the past few years. Some directors began as commercial makers and later went on to direct films. Others are just learning the TV trade.

Several big film studios that recently opened commercial-making divisions have rushed out to sign on these directors. LucasFilms’ new commercial unit signed on Robbins. And Paramount Images has a pact with Leonard Nimoy--best known as Star Trek’s “Mr. Spock” but who also directed the film “Three Men and a Baby.”

Even as the small screen continues to win over the hearts--and wallets--of Hollywood’s top directors, the questions remains: Who wants them?

Well, several top Los Angeles ad executives say they’re certainly not racing to sign them up. In fact, some add that most directors who specialize in movie making have a lot to prove before agency producers will hire them.

“I wouldn’t use a lot of these guys,” said Lee Clow, president and executive creative officer of the Venice-based Chiat/Day/Mojo. “I don’t think credentials from the feature film area buys them credentials to do ads.”

Of course, Clow’s agency recently hired Ridley Scott to film a Nissan commercial. But Clow points out that Scott had been shooting commercials for years--including the award-winning “1984” spot for Apple Computers with a theme modeled from the novel by George Orwell about the ever-present “Big Brother.”

“A lot of established film directors fail when they try to make commercials,” said Steve Hayden, executive vice president and chief creative officer of the Los Angeles office of BBDO Worldwide. “Remember, we exist in a 30-second universe. Many of these feature directors can’t even get from one scene to another in 30 seconds. They have 90-minute mind-sets.”

Last month, Odyssey Filmakers Ltd. signed on Sidney Lumet to direct some commercials. Lumet may be best known for directing such blockbuster films as “Network” and “Twelve Angry Men.”

Although Lumet hasn’t done any commercials, the production company has let ad agencies know that he’s available. “Not everyone might want him,” said Sherry Seckel, president and executive producer of Odyssey Filmakers. “But a lot of people who work in advertising are also film buffs. When we tell them Sidney Lumet is available to direct commercials, some can only say, ‘You’re joking!’ ”

So, who’s next? Will George “Star Wars” Lucas soon direct TV commercials at his company’s commercial-making division? “No,” replied a company spokeswoman. “Mr. Lucas prefers to make movies.”

Hamburger Hamlet Changes Agencies

It didn’t take Hamburger Hamlet long to lose its appetite for one ad agency and choose another.

On Monday, the Sherman Oaks hamburger chain handed its estimated $1-million account to the Los Angeles agency Coen, Kalis & Moiselle. Less than a year ago, the expanding chain had named Evans/Los Angeles as its agency.

“For the amount of money we spent, we didn’t get the response we were looking for,” said Paul Brockman, president of Hamburger Hamlet Inc. “The ads were professionally done, but they were too cutesy. I want something with a more direct message.”

For that, Hamburger Hamlet has turned to Coen, Kalis & Moiselle. The restaurant chain--which has 22 locations--plans to add two new stores in Washington and Chicago next year. Although Hamburger Hamlet has worked hard to build a reputation as more than just a place to get hamburgers, Brockman said there are no plans to drop the word “hamburger” from its name. “The name is so well known,” said Brockman, “it would be foolish to change it.”

Choosing Celebrities for ‘Fantasy’ Ads

In new “fantasy” ads for Nissan, two of Hollywood’s sexiest celebrities suddenly show up in the front seats of cars--next to drivers who “wished” them there.

But how were model Christie Brinkley and actor Ken Wahl selected?

Well, that depends whom you ask. Both Nissan and its agency agree that Brinkley was first choice among those polled at Nissan and at Chiat/Day/Mojo. But there is some disagreement over who was top vote-getter for the ad that starred Wahl.

“We couldn’t afford Kevin Costner,” said Lee Clow, president of Chiat/Day/Mojo. “But he won hands down.” Clow made these remarks at a press conference last week. Later that same day, a Nissan official telephoned to “clarify” Clow’s remarks. “Lee was just kidding,” said the Nissan executive, who seemed worried about bruised egos. “Ken was always our first choice.”

Greenpeace Features Oil Spill in Campaign

The aftermath of the Exxon Valdez oil spill continues to oil the coffers at Greenpeace. And advertising keeps paving the way.

A new print ad for the environmental group Greenpeace--created by Los Angeles’ Larsen Colby Koralek--has brought in tens of thousands of dollars in new donations, said Andre Carothers, the Washington-based editor of the bimonthly magazine Greenpeace. “We haven’t had this kind of response to an ad in years.”

The ad features a black and white news photo of Joseph Hazelwood, captain of the tanker that lost tens of thousands of gallons of oil in the now-infamous oil spill. Under the picture is the headline, “It wasn’t his driving that caused the Alaskan oil spill. It was yours.”

The small print under the headline further explains: “The spill was caused by a national drunk on oil. And a government asleep at the wheel.” The ad asks Americans to curb their dependency on oil.

The agency said it didn’t ask Hazelwood for his permission to use his face in the ad. “But if we did, I don’t see how he could have objected,” said Rick Colby, creative director at the firm. “It takes the blame off of him. We’re saying, this had to happen sooner or later, and it’s not entirely his fault.”

A Punishing Test Right Off the Bat

Slugger Mike Schmidt has literally gone to bat for Chevy Trucks.

In a new ad recently filmed at the Cal State Dominguez Hills baseball field, Schmidt steps in front of a truck and repeatedly blasts the grille with his bat. Although the grill is jarred, it does not break.

The spot is an attempt to show that Chevy Trucks are tougher than Ford’s. But is it for real? You bet. Even the bats were shipped to the location from Detroit, where they were tested and certified before the filming, according to David Farrow, who directed the ad for Paramount Images, the commercial-production division of Paramount Pictures.

What did they do with the leftover bats? Well, they were donated to the Cal State baseball team.