{"id":24813,"date":"2022-07-19T09:22:11","date_gmt":"2022-07-19T16:22:11","guid":{"rendered":"https:\/\/presskitchen.com\/?p=24813"},"modified":"2026-01-28T09:50:25","modified_gmt":"2026-01-28T09:50:25","slug":"alkemy-x-director-anthony-pellino-on-the-importance-of-respect","status":"publish","type":"post","link":"https:\/\/demo.techsystintel.com\/press_kitchen_dev\/alkemy-x-director-anthony-pellino-on-the-importance-of-respect\/","title":{"rendered":"Alkemy X Director Anthony Pellino On the Importance of Respect and Ads that Inspire, via LBB Online"},"content":{"rendered":"<p style=\"text-align: center;\"><img decoding=\"async\" class=\"aligncenter size-full wp-image-24812\" src=\"https:\/\/demo.techsystintel.com\/press_kitchen_dev\/wp-content\/uploads\/2022\/07\/Untitled_design_-_2022-07-14T105713.389.png\" alt=\"\" width=\"925\" height=\"521\" srcset=\"https:\/\/demo.techsystintel.com\/press_kitchen_dev\/wp-content\/uploads\/2022\/07\/Untitled_design_-_2022-07-14T105713.389.png 925w, https:\/\/demo.techsystintel.com\/press_kitchen_dev\/wp-content\/uploads\/2022\/07\/Untitled_design_-_2022-07-14T105713.389-300x169.png 300w, https:\/\/demo.techsystintel.com\/press_kitchen_dev\/wp-content\/uploads\/2022\/07\/Untitled_design_-_2022-07-14T105713.389-768x433.png 768w, https:\/\/demo.techsystintel.com\/press_kitchen_dev\/wp-content\/uploads\/2022\/07\/Untitled_design_-_2022-07-14T105713.389-350x197.png 350w, https:\/\/demo.techsystintel.com\/press_kitchen_dev\/wp-content\/uploads\/2022\/07\/Untitled_design_-_2022-07-14T105713.389-600x338.png 600w, https:\/\/demo.techsystintel.com\/press_kitchen_dev\/wp-content\/uploads\/2022\/07\/Untitled_design_-_2022-07-14T105713.389-uai-900x507.png 900w\" sizes=\"(max-width: 925px) 100vw, 925px\" \/><\/p>\n<p>Anthony Pellino is a commercial director based both in New York and Los Angeles.<\/p>\n<p>&nbsp;<\/p>\n<p>He has helmed campaigns both domestically and internationally for brands such as Guinness, Uber, Reebok, Peloton, Michelob Ultra, and more.<\/p>\n<p>&nbsp;<\/p>\n<p>Pellino was selected to the 2019 SHOOT Online New Directors Showcase, while his biggest inspiration comes from his father&#8217;s journey as an immigrant, and he tries to reflect that passion in all of his work.<\/p>\n<p>&nbsp;<\/p>\n<p><b>Name<\/b>: Anthony Pellino<\/p>\n<p><b>Location<\/b>: New York, NY<\/p>\n<p><b>Repped by\/in<\/b>: Alkemy X USA, ElectricLime Worldwide<\/p>\n<p><b>Awards<\/b>: Shots New Director Showcase 2019<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; What elements of a script sets one apart from the other and what sort of scripts get you excited to shoot them?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0The scripts that most excite me are the ones that really understand their target audience, and are very aware as to what they want to accomplish with a campaign\u2019s release. When a script knows who they want to talk to, who they\u2019re trying to steal from the competition, those are usually the most authentic and often come from the creatives who are the most fun to work with.<\/p>\n<p>&nbsp;<\/p>\n<p>As a director we love the freedom to explore and build upon a script, but having a framework that dictates the path we take and motivates each decision with a macro understanding of the audience ensures the best spots possible.<\/p>\n<p><iframe title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/542375160?h=bc800f43c0\" width=\"925\" height=\"521\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; How do you approach creating a treatment for a spot?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0References, references, references. GIFs, examples, sounds, and trying my best to make the most interactive treatment I can. We\u2019re making visuals, and using other visuals to convey your message avoids a misinterpretation of words. I try to be as clear as possible with what I\u2019m going to do with a script.<\/p>\n<p>&nbsp;<\/p>\n<p>And on top of that &#8211; I always try to pull comparisons in my writing. Because everyone has a different image in their mind if I say \u201csaturated,\u201d \u201csharp,\u201d or \u201csoft.\u201d But I think everyone has a more similar understanding if I say \u201cWe\u2019re going to be this ____ commercial mixed with this _____ commercial\u201d<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; If the script is for a brand that you&#8217;re not familiar with\/ don\u2019t have a big affinity with or a market you&#8217;re new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it\u2019s important to you, how do you do it?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0I think it\u2019s important to an extent. Sometimes agencies are looking for that complete outside perspective. Obviously, you want to be fully aware of a brand\u2019s messaging, identity, their audience etc. But, sometimes over researching their past spots can unconsciously lead you to create what\u2019s been done before.<\/p>\n<p>&nbsp;<\/p>\n<p>But it\u2019s also different per project you know? Some brands have huge success with doing similar formats year after year. And sometimes it\u2019s critical to match that past body of work and keep up appearances and level of success. So yeah, it\u2019s different per objective.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; For you, what is the most important working relationship for a director to have with another person in making an ad? And why?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0Respect. Filmmaking in of itself is taking chances. You\u2019re going out into the day with expensive gear and actors and making things happen in the moment. That\u2019s a risk. Respecting people\u2019s visions on both sides of the aisle and taking chances when the opportunity calls for it is important. But it\u2019s only going to work if I respect the agency\u2019s vision and they respect mine, and then if we all respect the client\u2019s needs. From there, we can have the most collaborative (and fun!) environment. Nobody is an auteur, and nobody has all the answers. But it\u2019s my job to understand how to best interpret and respect all of the ideas and wishes, and turn those into something special.<\/p>\n<p><iframe title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/126970215?h=5ea351afb1\" width=\"925\" height=\"521\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; What type of work are you most passionate about &#8211; is there a particular genre or subject matter or style you are most drawn to?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0Ads that inspire. I want people to punch the air with joy when they see my work. I want them to look up from their phone during an ad break on NFL Sunday and say \u201cF yeah.\u201d I want us to be proud to be human, and I want the work that reaches for that feeling.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; What misconception about you or your work do you most often encounter and why is it wrong?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0I\u2019ve heard that my work isn\u2019t soft, or emotional enough. And I think a lot of that comes from the path I took with my first Reebok ad. But I don\u2019t necessarily agree with that &#8211; these are the interpretations these stories needed. Boxer from the underground, sprinter who ran 1000 miles in 100 days, and artists who broke the social stigmas of Singapore to become successful. I think it goes to the fact that it\u2019s hard to break out of your box and get an agency to trust you with their six figure budget for something they haven\u2019t noticed in your work. I look forward to the opportunities that let me!<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; What\u2019s the craziest problem you\u2019ve come across in the course of a production \u2013 and how did you solve it?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0Oh man &#8211; I have so many stories. But the one that had the most impact on the final film was on my Guinness ad in Singapore. The client really pushed to shoot in Singapore. And it was a mistake &#8211; it\u2019s a small country, and we were there when Crazy Rich Asians was shooting. So crewing up was hard enough &#8211; nevermind getting the 50 foot technocrane we needed. Production luckily found a team in Kuala Lumpur to drive down a few days before.<\/p>\n<p>&nbsp;<\/p>\n<p>Unfortunately they were live action, talk show guys who have never handled complex maneuvers or had real on-set production experience. We fell four hours behind on the first day (and I don\u2019t mean to toot my own horn but I never go over.) We just couldn\u2019t get the shots we needed.<\/p>\n<p>&nbsp;<\/p>\n<p>End of Day 1 the DP and I sat down and reboarded the entire spot and shot the rest of the spot on a manual 25 foot crane. It only swung, so push and pulls were incredibly difficult, but it was the only equipment left in the country. I\u2019m still very happy with the final product but it goes to show how much your location matters to what you can accomplish on set. I still wonder what that spot would&#8217;ve been if we went to Thailand.<\/p>\n<p><iframe title=\"vimeo-player\" src=\"https:\/\/player.vimeo.com\/video\/353034809?h=008d38ae5a\" width=\"925\" height=\"521\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\" data-mce-fragment=\"1\"><\/iframe><\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; How do you strike the balance between being open\/collaborative with the agency and brand client while also protecting the idea?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0A lot of a director\u2019s job is reading the room. How much does the client want you to do your own thing, how much do they want you to improv, or shoot the exact boards etc. I worked in the service industry for 10 years. My father came from Italy and started me as a waiter at 14. (That job funded all my specs, thank you dad!!) But we\u2019re in the service industry. End of story. It\u2019s the client&#8217;s film, not yours. They\u2019re the customer and it\u2019s up to you to use your wits to best understand how to give them the experience and final product that they want, and use your judgment and creativity to give them the best spot that they want. Directors need to respect and understand that.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0I wasn\u2019t lucky enough to have a mentor. Everyone comes up in a different way. I just funded specs from waiting tables, and cold emailed production companies. Some people interned or were DAs and got their shot in that route. I don\u2019t know if I\u2019d be comfortable mentoring someone, because there are much more senior directors who may be a better fit. But I\u2019m always down to help people get into the industry in other ways. Give them advice on my specific journey, introduce them to former contacts etc. At the end of the day, you need work to work. Gotta find the ways to get people to give you that work. Hustle the networking or hustle the spec route.<\/p>\n<p>&nbsp;<\/p>\n<p>As for diversity, hell yeah. More voices, better work, lifts us all up. Plenty of work to go around and we\u2019re the new generation who needs to define advertising for the next generation.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; How do you feel the pandemic is going to influence the way you work into the longer term? Have you picked up new habits that you feel will stick around for a long time?\u00a0<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0I think everything will revert to the previous way it was, I\u2019m already seeing it. Remote shoots are horrible and remote scouting is also horrible. If you\u2019re spending this money to make a spot, you gotta give yourself the best chance to succeed, and that\u2019s getting people there in person.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; Your work is now presented in so many different formats &#8211; to what extent do you keep each in mind while you&#8217;re working (and, equally, to what degree is it possible to do so)?\u00a0<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0No more anamorphic. 16&#215;9 everything. And honestly I\u2019m so happy about that. Everything is watched on a phone or in a window on YouTube, so we gotta make the image as big as possible. Anamorphic is for big screen long form content. I think director\u2019s need to understand the format and swallow their pride. Yes, we love our lens flares and our old Russian lenses, but unless you\u2019re shooting a spot that\u2019s only ad spend is for movie theaters, you\u2019re wasting screen space and forcing audiences to squint to see it. Big bold images in 16&#215;9 format is the first step I\u2019m glad we\u2019re all taking to make our spots stand out as best they can.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; What\u2019s your relationship with new technology and, if at all, how do you incorporate future-facing tech into your work (e.g. virtual production, interactive storytelling, AI\/data-driven visuals etc)?<\/span><\/b><\/p>\n<p>&nbsp;<\/p>\n<p>Anthony&gt;\u00a0I am itching to get on one of those virtual screens. What a game changer. Enough said.<\/p>\n<p>&nbsp;<\/p>\n<p><b><span style=\"font-size: medium;\">LBB&gt; Which pieces of work do you feel really show off what you do best \u2013 and why?<\/span><\/b><\/p>\n<p>Anthony&gt; Reebok, Red Bull, Guinness, 2XU.<\/p>\n<p>&nbsp;<\/p>\n<p>Strong character portraits and visual storytelling. How can I immortalise my characters on screen, how can I visualise the idea of themselves that they have? That\u2019s my goal with everything.<\/p>\n<p>&nbsp;<\/p>\n<p>View original article <a href=\"https:\/\/www.lbbonline.com\/news\/the-directors-anthony-pellino\">HERE<\/a>.<\/p>\n<div class=\"bordered-item\"><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Anthony Pellino is a commercial director based both in New York and Los Angeles. &nbsp; He has helmed campaigns both domestically and internationally for brands such as Guinness, Uber, Reebok, Peloton, Michelob Ultra, and more&#8230;.<\/p>\n","protected":false},"author":2,"featured_media":24812,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[211,217,218,226,234,273,291,626,1929],"tags":[],"class_list":["post-24813","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-fresh-news","category-ads","category-advertising","category-alkemy-x","category-production","category-news","category-film","category-agencies","category-new-york"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Alkemy X Director Anthony Pellino On the Importance of Respect and Ads that Inspire, via LBB Online - Press Kitchen<\/title>\n<meta name=\"description\" content=\"Anthony Pellino is a commercial director based both in New York and Los Angeles.\u00a0He has helmed campaigns both domestically and internationally for 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