The agency I was with had a very big account - rhymes with Baramount. It was a very good marriage. We were known for high-concept image campaigns (bordering on the esoteric); the syndication arm of the studio was the industry leader and was always looking for new ways to reinforce the brand.
This was accomplished in all aspects of their trade and consumer promotion - from Holiday Party invitations to sizzle reels and on-air launches. Big ideas were welcome, even though we almost always ended up with a concept that was about a step or two away from the home run. But it was a true partnership, with plenty of exploration and money for execution.
Anyway... we're launching a spin-off of a very popular series that took place in space. In fact, this one also takes place in space, and it's not The First Generation. More like The Next One. After dozens of submitted campaigns, the client and show finally sign off on a campaign (that was probably considered on Day One).
Now the good part:
It's Shoot Day. There are reps from the agency, the show, the studio, the syndication team, the production people, and oh yes, the cast. It's taken months to get here, but everything has finally come together. It's Go Time.
The first shot features the cast in a group. They must stand still as a legendary special effect will be added. All is well until the star of the show, the Captain, if you will, suddenly has a question: "What is my motivation?"
The director shows him the storyboard (apparently for the first time) and says, "You are being beamed out." The star listens and incredulously asks the director to repeat himself. "You are being beamed out," he says, innocently and accurately enough.
Immediately, the Captain goes ballistic and announces Shakespearean-like, "I do not get beamed out. I get beamed in!" He then steps off set and hails our client. He is obviously irate and in dire need of soothing. More importantly, the shoot is at risk unless a solution is forthcoming. All that time. All that crafting. All that money!
After several rounds of discussion, it is agreed: The Captain will be beamed in, regardless of the script, logic, or related issues. (Keep in mind: The set-up is exactly the same.) He returns, everybody pretends that this is normal behavior, we get the shot and a great story.
And yes, there is a postscript. The first cut is delivered, with the beaming in and all, and the client has one suggestion: It would probably be better if he was beamed out.
- Ed "Gotta Love It" Roth
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