Who’s gone where? From where? And when? As the Revolving Doors spin, we put the spotlight on spot-makers on-the-move.

Toronto’s Imported Artists Film Company has signed an exclusive representation deal with New York-based commercial director Laura Belsey. Belsey, known for her controversial ads and real-people spots, leaves The Directors Film Company for a shot at Imported.

‘It came about very fast,’ says Belsey from her home in New York City. ‘I met them, liked them, they liked me and we did it. I think Imported Artists is a very smart company and I like the team of people that are there. They work really well as a team.’

Belsey, who just finished her last job with Directors – a Slim Fast spot through Grey Advertising – says although she continues to hold Directors and executive producer Susi Patterson in high regard, she felt it was ‘time for a change’ and officially signed on with IA in mid-April.

For Imported president Christina Ford, the addition of Belsey is another step forward for the spot shop.

‘Her work has a real niche and she fills a bit of the void in our roster,’ says Ford. ‘[Belsey] brings with her a unique blend of talent, storytelling, dialogue and real-people direction. As a director she is very viable in this marketplace.’

Belsey, who has directed spots for RX&D and birth control pill Alesse, is known in the Canadian market for being a bit of a risk-taker. Ford applauds her gutsy nature and never-back-down attitude.

‘She pushes the envelope and you can see it in her work and the choices of work she takes on,’ says Ford. ‘She’s not afraid of controversy. She embraces it. She’s a smart woman and she can hold her own, and it was remarkable to find someone with that much energy and self-confidence in someone so young.’

As for Belsey, she says she is just excited to be trying her commercial hand at a new shop, in a market she enjoys.

‘It sounds a little goofy, but I really like Canadians,’ says Belsey. ‘I think Canadians are a little more open-minded. Because oftentimes budgets aren’t as large as they are in the U.S., they are a little freer to be more creative. I think there is some really good Canadian work and there are some great opportunities in Canada.’

Sparks makes

it an even dozen

TORONTO’S Sparks Productions has just signed no less than a dozen new directors from across the U.S. for representation in Canada.

The first set of helmers comes courtesy of a deal with bicoastal commercial house Shelter Films. Based in New York, with offices in Los Angeles, Shelter is ‘a small shop that has a long history of attracting hip and humorous directors,’ says Sparks president/ executive producer Andy Crosbie.

Shelter gives Sparks access to directors Rent Sidon, Tim Abshire, Melissa Bolton, Ned Ambler and Siraj Jhaveri.

The second deal is with Maysles Films out of New York. Maysles, as some may recognize, is the documentary-making company responsible for such films as Gimme Shelter, featuring the Rolling Stones.

‘Maysles Films opened a commercial division which attracted some serious filmmakers who also have a great ability in documentary-like commercials,’ says Crosbie.

Sparks now reps David McNamara, Gilly Barnes, Susan Froemke and Jeremy Warshaw via Maysles.

Sparks also may have struck gold with Chicago’s Spoke Films, which gives Crosbie and company a line to Chris Yurkow and Ron Lazzeretti.

‘Chris Yurkow is why we approached Spoke initially,’ says Crosbie. ‘Chris is a soon-to-be-great storytelling director that we have sought after, but through Spoke we also discovered Ron, who has a very funny comedy reel. So it was a double win.’

The final director of the dozen is Portland-based Todd Korgan. Crosbie says Sparks was attracted to Korgan’s ‘docu-comedy’ style and has already shot a job with him.

‘We find him very funny and a snappy dresser,’ says Crosbie.

-www.sparksproductions.com

Rave does the twist

CANADA’S bicoastal spot shop, Rave Films, has signed a representation agreement with Minneapolis, MN’s Twist Productions. The agreement sees Rave and executive producer/president Jason Hunt represent the two Twist directors exclusively in Canada from its offices in Vancouver and Toronto.

The directors are Rich Michell and Joe Schaab, both based in Minneapolis along with executive producer Jim Geib. All three are owners of Twist. Both Michell and Schaab have shot jobs via Rave in Vancouver, so Hunt feels he knows the directors and their company quite well after just a few months.

‘They’re a small company also, so they believe in the same things and do business the same way as we do,’ says Hunt. ‘With them, a handshake is as good as 18 pages of legal documents. They are honest, good people and they do great work.’

Michell, known largely for his tabletop and design work, just finished a spot for Top Food & Drugs through Young & Rubicam, Vancouver, co-directed by Jeff Jones. Hunt says he is very impressed by Michell’s management of his crew and his technique.

‘People are always surprised how often he gets his way because he does it in such a nice way and manages to get in what everyone else wants, too,’ says Hunt. ‘But in the end they realize they are doing it Rich’s way, and it was the best way after all. He does his job and there are no histrionics.’

Of Schaab, known for his comedic style of spot-making, Hunt says, ‘Joe’s stuff has a great sense of style. It’s not a laugh for the sake of a laugh. It’s really about the people and getting the performances out of the people and finding the comedy out of everyday situations.’

Hunt says he admires Twist’s work ethic, and the parallels between the two companies make their representation arrangement a good one. He says the politics of both companies are similar in many ways.

‘They don’t have the luxury of taking things for granted or doing things just for their reel,’ says Hunt. ‘If they take on a job they do it because they believe in what the client is doing and what the agency is trying to do and they give it 110%. That’s what I do too. We don’t have 172 directors. We have 10. So unless we do our best job every time, unless we give the best service every time, we don’t work, and [Twist] believes exactly the same thing.’ *