Professional Motion Picture Production and Distribution NEWS
In a previous piece of mine, "Zac Auron: Feed Your Cast and Crew", I presented the side of one determined to underscore the idiocy of idioms advocating hunger's creative potential. Yet because I have since found the debate over hunger's capacity to enhance human artistic prowess to reach opposite ends of a surprisingly extreme spectrum, I feel compelled to equally present the counterargument to Auron's preoccupation with dismissing hunger from the film industry. I wish my writing to help cultivate as much artistic production as possible, and have found hunger to also lead to successes comparably as great as what catastrophes it has indeed fueled. Perlman: Hungry Man began around 1997 with myself, Bryan Buckley, Frank Todaro and a line producer we were all working with at the time at another production company called Radical Media. Gradually, we talked more and more about starting our own company and what we would need to do so. We realized that if we got the right job- and could manage to produce it entirely by ourselves- that one job could help start the company. We could put some money in the bank to rent a space and get things going. So we did that. And we were able to come in under budget with that first job and secure some funds for the coming months. So that led to another job. Brennan: Could you return to the inside story of 'This Is SportsCenter'? After all, it has been going on for seventeen years now and is one of the most successful advertising campaigns in television. How did you develop the idea for the spot? Perlman: I guess what I meant by that is we did not place any limits on the extent of our collaboration with one another. If a good idea of how to shoot it came from the writer, it didn't matter. We were a team. In keeping with the whole sports theme of the project, it just made sense to work like that. Brennan: What are the most challenging aspects to creating a great commercial? Perlman: We love comedy, and we love commercial production. Making funny Brennan: What are the trademarks of a well-produced advertising campaign? Perlman: There has to be a really clear idea to the commercials, and that idea has to be communicated in a really simple, yet engaging and memorable way. A lot of times that means 'funny' but mainly the elements involved need to be unexpected. We like to cast actors that you normally don't see in commercials and make things feel out of the ordinary. Earlier this year, Bryan did a commercial with Alec Baldwin about the Yankees and the Red Sox. It's a clich�, but we try to do things that 'break-through' when you're watching television, that make you take notice amidst all the clutter. Brennan: Is there any difference in the mentality with which you approach Perlman: In a lot of ways, it's all the same. It's all about a great idea or a great story and great characters. You could have those in a 30-second commercial or a 90-minute movie. Differences appear when you look at the business side to these various productions. With making commercials, you're working for agencies and clients; with television shows, you're working for networks; with movies, you're working for studios. But a great idea is a great idea, and any audience can recognize that. So a great idea has to be the foundation of any production. Brennan: Do you have any lasting advice for others who are trying to being their own production companies as well? Perlman: If it's something you really, really want to do- if its something you believe in- don't be discouraged by people who say you can't do it. If you want to do something, try and do it. Don't think about all the reasons why you can't. If you love it, just do it. Brennan: One last question that has been on mind ever since I first heard of your company: Where did the name Hungry Man come from? Perlman: We needed a name, so were just sitting around trying to think of one. Then I said, 'Can we take a break? I'm hungry, man.' Right after, Brian said, 'How about Hungry Man?'
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