On the Spot is space for commercial production industry folk to ruminate, pontificate and just plain talk about job-related subjects.

I have never met the Markle Brothers. In fact, I’m sheepish to admit, I’ve never even heard of them. Which meant I started at a distinct disadvantage when Playback asked me to answer a bunch of questions from the Markles on the relationship between directors and agency types.

So I called for their reel. Kessler Irish Films sent it out. I watched it. I read their bio. Now I know the Markles (Martin and Stephen) are two young guys who’ve done a few Crispers spots and a couple of promos for some American cable companies. A lot of the stuff is shot on video. Some of it is funny. Their bio’s funny, too, if short on actual specifics.

Homework done, I turned to their list of ‘Questions for agency folk.’ It’s a long one.

1. What qualities do you look for when selecting a director for a shoot?

2. How important is the director’s personality, compared to their work?

3. How do you sell a director to the client? What can we do to help?

4. How much input would you like from a director?

5. What is the appropriate amount of communication between the director and the client on set?

6. What is the best thing a director can do for you?

7. What is the worst thing a director can do?

8. If you see two brothers directing as a team, does it reaffirm your belief in family values?

Here is my (much shorter) list of answers: Depends. Very. Depends. Lots. Lots. Take an average spot and make it great. Take a great spot and make it average. Yes.

I don’t mean to give the Markles short shrift. But to answer these questions adequately would take several On the Spot columns, not one. And besides, most of their questions are beside the point.

It seems to me there’s only one question that should matter to a pair of young directors trying to build their reel. How can inexperienced directors get a break?

First, understand the agency business. In every agency, large or small, there are a few plum accounts with big potential and big budgets. In most cases, the most senior creative people in the department are assigned to these accounts. And in most cases, you don’t have a chance. If I’ve got the budget, why wouldn’t I go with a proven entity? I’d be crazy not to.

Luckily for you, the majority of work that goes through my agency is not of the big budget variety. In fact, most of our spots are produced for under $100,000 gross. That means 40 or 50 thousand for the production house.

Most big name directors won’t touch budgets that small. Even if the creative is brilliant. So we have a choice. Go with a solid, if unspectacular, director with lots of experience. Or take a shot on a green team with lots of potential.

Of course, we can’t take a shot on you if we don’t know you. So make sure your reel is everywhere — not just in the big Toronto agencies, but in the smaller markets, too. Don’t assume every agency producer in Vancouver or Calgary is plugged into the Toronto scene.

Your reel is important, but so is your Rep. We need to know your production company is willing to give us a deal to help you build your reel. That way we can keep you top of mind for the next low budget, big potential project that comes along.

It sounds obvious, but you’d be surprised how few Toronto production companies actually make the effort to pre-sell us on young directors.

In the end, you’ll have a great spot for your reel. We’ll have a great spot for ours, at a great price. And your production company will have made a very smart investment. In other words, everyone wins.

chris Staples is creative director of Palmer Jarvis, Vancouver.