With the contest winding down and “When Pigs Fly” holding steady as a prime contender, we spoke with Brendan Taylor about how the commercial came to be, what goes into a successful commercial, and what else he has in the pipeline.

Tell us about the Doritos Crash the Super Bowl contest and your commercial, “When Pigs Fly”.

The contest is open to anyone who wants to make an ad for Doritos; they don’t have to be filmmakers necessarily, they just have to have a good idea. The winning ad is shown during the Super Bowl, the filmmaker gets a job at Universal in LA, and they win $1 million! Graham Talbot and Nelson Talbot happen to be great local filmmakers, they are SFU Film Alumni and aspire to work on bigger projects. They entered the contest last year and made it to the Top 25 semi-finals, which is already great. But this year they made it to the Top 10, out of almost 5,000 submissions. But I didn’t know it would get there when we shot it in October! It turned out amazing, and of course I’m biased, but I actually do think it’s the best one out of the 10 finalists!

In the ad, a young boy approaches his neighbour and casually asks for a Dorito chip. The grown-up says to him “When pigs fly!”, and the smart young boy takes it literally; he comes back the next day to surprise his neighbour, with a fly-by pig with a rocket on his back. The neighbour concedes and gives him the whole bag.

How can people get involved to support it?

Please go to Doritos.com and click ‘VOTE’ under our video “When Pigs Fly”! We are 1 of 2 Canadian teams this year, and would love all the support we can get to win this thing! It’s real easy, no sign-up, just visit the site and vote! You can vote every day until Wednesday, January 28th, once a day on your computer, phone, and tablet!

And find Vote4whenpigsfly on Facebook for all the latest news and extra behind-the-scenes stuff! We find out who won the contest DURING the Super Bowl on February 1st; they will air it live, so we will all find out at the same time!

How did the idea for this commercial come about?

Graham Talbot and Nelson Talbot just did a brainstorming session and built on what they learned last year, got an idea, and ran with it. Raw creativity based on experience! They knew kids and animals were popular in ads, so they worked from there. They have a good friend who does most of the post-production CGI effects. You can find a great little video on the visual effects on our Facebook page.

What can you tell us about your creative process in putting it together?

There were many factors, the Talbots will tell you: working on a budget, calling in favours and finding the location, and the actors: Keegan Turbitt, the perfect young genius boy, myself for the ‘simple’ farmer, and Bernard the Pig, who is a local pig actor! I got a call randomly from a mutual friend who was helping them find cast. I looked at the Talbot’s previous work and really liked it. I decided to jump on board, thinking at the very least of having something cool for a demo reel. The rest is history!

What do you enjoy about doing commercials vs. theatre, television, and film?

Commercials have been great for me not only for on set experience, but as an outlet for comedic acting. I love comedy, but there’s not a lot of comedy that shoots in Vancouver, just mainly dreary sci-fi stuff. But I do love TV and Film, more so in fact because I get to dig into a real story, and not just a fleeting gag or idea from a 30 second spot. And I love theatre: I was trained in theatre, and firmly believe it makes the actor great. Name any famous actor you enjoy, and chances are they grew up on the stage. Overall, I just love being immersed in storytelling. In a perfect world, I would balance my time shooting TV in LA, traveling abroad and shooting a film on a remote island somewhere for 6 months, then hunkering down in NYC for a few months to work on a Broadway play.

What would you say are the three most important things that every successful commercial needs?

Hmm, tough question. I’m not a marketing person, but from my own experience I would say: know your market, think outside the box, and…hire good actors? I find advertising fascinating, but I think it’s a lot of pressure to constantly come up with good ideas! Often times I’ve found myself improv-ing something in an audition and they end up using my idea because it was better than their own!

One of my favourite recent gigs I had was a singing voice-over gig for Old Spice ‘Dadsong’, once of the most unique and creative ad campaigns out there. The song was written by Bret McKenzie of ‘Flight of the Conchords’. So bizarre, yet very high production value and and you can’t help but laugh and sing along. Check it out on Youtube!

What other projects are you involved with these days?

I have a few projects coming out very soon. I was on an episode of the CW’s Arrow, which will be airing in a couple weeks, and I was on a new show called Olympus on the SyFy Network. I have a few commercials airing right now, and couple more on the way. I was also a lead in a feature film that shot last summer called Charlotte’s Song, which will be in festivals this Spring. It’s a supernatural period piece set in the 1930s Dust Bowl based on the fable of the Little Mermaid. I’m very excited for people to see it.

I’m also in the midst of co-producing an original play with some friends from my theatre company. We’re still in early stages, and it’s scary to dive into something original, but it’s exciting.

Who are some of your influences in film, television, and theatre?

I’ve found my tastes and interests have changed greatly over my life, in terms of who I like and who I think is good. But I definitely have some role models: In dramatic acting, I look up to Daniel Day Lewis, Joaquin Phoenix, Michael Fassbender, Michael Keaton. In the world of comedy, I love Ty Burrell, Patrick Warburton, and Larry David’s brilliant writing. I’m fascinated by Wes Anderson, Paul Thomas Anderson, and Quentin Tarantino’s Pulp Fiction era. In theatre, sometimes I’m in the mood for William Shakespeare or Tennessee Williams, but then I’ll play with David Mamet or Martin McDonagh.

What books have been influential to you in your career so far?

As I mentioned, I like a variety of theatre, so I love reading plays. Actual physical plays, not so much online. I’d love to have a huge collection of play books that I could chip away at. I find they’re very useful to have around too, if you’re an actor in training, which you should be. It’s so easy to be lazy as an actor, so at the very least you should be reading plays, thinking of monologues, reading up on playwrights or directors, reading or watching biographies… do something to further your craft if you’re not taking classes. Which you should be.

Where can we find out more about you and keep up with your projects?

You can check out my website at Brendan-Taylor.com. I try to keep the blog up to date with my latest gigs. You can find most of my commercials there too, and plenty of photos from past projects, including several plays with Blind Pig Theatre. And you can follow my Twitter @bdog_taylor and Instagram @dardaboy. In the coming weeks I will have a new demo as well as a voice demo up on my site, so stay tuned!

The post The Biz Interview: Brendan Taylor appeared first on Biz Books.

Can you briefly walk us through your creative process for the production from the early stages (initial ideas, writing, etc.) all the way to the theatrical release?

For me, every project begins with a core idea or an image that eventually unpacks itself over time. On this project, it was simply a title—Hellbound?—which struck me after reading an article about hell in Maclean’s several years ago. Back then; it was merely going to be a comedic short film that asked people how likely they thought it was that they—or people they knew—were going to hell. That changed in the fall of 2008 when I edited a book on hell for a friend of mine named Brad Jersak. Called Her Gates Will Never Be Shut: Hope, Hell and the New Jerusalem, his book introduced me to a fascinating historical conversation about how to interpret what the Bible says about hell, a conversation that I wanted to translate into film.

But how to do that? This couldn’t simply be a “talking heads” academic debate, so I had to figure out ways to illustrate the concept of hell and the various perspectives on it. Thankfully, hell gives rise to all sorts of fascinating imagery, so that was very helpful. Hell is also a concept that has been interpreted and re-purposed in a variety of ways throughout the culture, such as in death metal music, so we had a lot to work with on that level as well.

From there, it was simply a matter of figuring out who were the most compelling characters in this debate, what situations would provide the most interesting observational footage, and then what sort of unifying image would help to tie everything together.

One of the most significant creative choices I made was to frame the entire conversation within the context of the 9/11 attacks on America. It just so happened that the tenth anniversary of that event coincided with our production schedule, so we went to New York to capture the raw emotion of that day. I think it serves as a powerful visual metaphor that helps us explore different perspectives on evil, suffering and justice, which is what I think the hell debate is really about.

Of course, the editing phase always causes you to see your film in a different way. They say every film gets written three times—once during pre-production, a second time during production and then a third time during editing. I couldn’t agree more. Once I started cutting the film, I realized that rather than a broad approach to the topic of hell; I needed to focus in on a specific conflict over the doctrine that was flaring up within the evangelical church. This microcosm became an effective way to explore not just hell but how we form beliefs and how we deal with people who disagree with us.

What themes and ideas do you want the audience to think about from watching the film?

On one level, this film is about a theological debate that is currently taking place within the evangelical church. But as I alluded to before, I think this film is just as interested in how this debate is taking place and the consequences of this debate not just for Christians but also for everyone else. What we believe—or don’t believe—about hell is not merely an abstract theological question. Every belief gives rise to real world consequences. So whether you believe in hell or not, I think you need to pay attention to what’s going on here, because it will affect you in some way. On another level, I hope the film prompts all of us to take a second look at what we believe, why we believe it and the effect our beliefs are having on the world. Also, how can we debate controversial topics without demonizing people who disagree with us? In the end, none of us really knows what happens after we die—if anything. But we can probably all agree that beliefs about the afterlife that cause us to be disagreeable people in this life are probably best set aside.

What was the most challenging sequence to film?

I’ll give two answers to this question. On a technical level, the most challenging event to film was the tenth anniversary of the 9/11 attacks. Lower Manhattan was in total lockdown mode, with whole sections of the city cordoned off and guarded by bomb-sniffing dogs, armored personnel carriers, guard towers and thousands of police officers with machine guns. At one point we thought there was no way we were going to be able to capture the footage we needed. But thankfully it occurred to us to capture our struggle to move through a city riveted in fear, because that footage plays a key role during the lowest point of the film.

On a personal level, the most difficult thing to film was a sequence that takes place at a “hell house”—a “ministry” put on every Halloween by a church in Dallas that uses hellish scenarios to scare people into becoming Christians. I just found the whole thing so morally repugnant that it took everything in me to finish the shoot that night. And I’m glad I did, because it allowed us to capture what I believe to be one of the most poignant moments in the film.

Which accomplishments are you most proud of from each filmmaking experience that you’ve had and what are the most important lessons you’ve learned?

Oh boy, I’ve worked on a number of films now, so it’s hard to remember what I learned when! But I will say this: Something every creative person desires is true authorship, the opportunity to see their vision through from start to finish with minimal interference from other people. That’s why so many screenwriters want to become directors, because even though the writer authors the script, the director authors the film. With Hellbound?, I can say I’ve been able to fulfill every creative person’s dream. I’ve been able to take this project all the way through from initial concept to funding, production, post-production and finally to theatrical release, which we are managing as well. I’ve been in the driver’s seat the entire way, making big creative decisions—such as who to interview, what moments to capture and so on—down to the smallest decisions, such as what sort of font to use on our web page. That’s not to say I’m a micro-manager or that I haven’t had a lot of help. I’ve had a fantastic team supporting me every step of the way, including my investor Dave Krysko, who has given me tremendous latitude to pursue my vision. So while there’s nothing like having full authorship of a project, this is also a highly collaborative business, and if you don’t “play well with others,” it’s not going to go well for you.

Who are your major inspirations for becoming a director?

At the top of my list is Werner Herzog. I can’t tell you how much I appreciate him as a person, let alone his films. I think every aspiring director should watch Burden of Dreams, which documents the making of Herzog’s film Fitzcarraldo, which very nearly ended in disaster. Seeing him navigate one crisis after another and yet refuse to give up or lose his cool is truly inspirational. But apart from that, he is such a curious and thoughtful person, always gracious to the people he interviews and so adept at drawing out their personality. He has a hungry mind, and you sense he’s always probing for something beyond conscious awareness, for the essence of “what is.” I’d love to meet him one day. In fact, I have so much leftover footage from Hellbound? that I have this crazy idea of cutting it together into a film called Ode to Herzog. Stay tuned for that!

Another person whose work I really respect is Paul Thomas Anderson. Here’s a guy who is unafraid to stare into the abyss, but he still manages to hold onto hope. His images are so powerful, and he’s such a great storyteller on top of that. Magnolia and There Will Be Blood rank as two of my favorite films. They’re not easy to watch at times, but they penetrate so deep into the human experience that I can’t look away.

Of course, I also have to mention the Coen Brothers—particularly True Grit and No Country for Old Men—and Darren Aronofsky. Like Anderson, these filmmakers have somehow managed to create powerful, highly personal films within the studio system, and I really admire them for that.

What advice would you offer to aspiring directors who are looking to get started in the industry?

Don’t just talk about it; do it. I’ve learned more about filmmaking while shooting and editing spoof movie trailers with my kids than I have from any book. Watching movies and reading books about directing and storytelling is crucial, but don’t let that become a form of procrastination. There’s really no excuse not to be shooting constantly. Anyone with a smart phone can shoot a feature—in 1080p, no less—with little or no money.

So experience is one thing, but you also need to educate yourself. Go to film school if you can afford it, but once again, don’t think that having a degree makes you a filmmaker. I’ve never been to film school, and yet I’ve worked on more films than I can count. But I have spent thousands of hours reading, writing and experimenting with filming and editing techniques. I find a well-timed mistake can be the best learning experience of all.

The second part is networking. This is a relationship business, and you are only as good as your network. Most of the jobs I’ve gotten are through people I know. It’s that old adage about preparation meeting opportunity. The thing I find is that people want to jump right to opportunity. I find that if you prepare yourself well, opportunities tend to present themselves.

Which steps can directors take to build positive working relationships with their crew during the making of a film?

Even though the director is the author of the film, that doesn’t mean he or she doesn’t work with a number of “co-writers.” The way I see it, I want everyone on my crew to come away from the experience feeling like they weren’t just my hands and feet, so to speak; they truly contributed something creative to the process. So while I’m pretty clear about what I want in most instances, I’m always open to input from the crew. What do they want to take away from this experience? How can I facilitate that? And let’s be honest, on some days you’re simply so worn down you don’t know if you have it in you to continue. On those days, your crew can carry you through—but not if you’ve been abusing them every day up to that point. A film set can quickly turn into a poisonous atmosphere if grievances are allowed to fester, so I also work hard to resolve differences quickly.

What is the biggest obstacle facing independent filmmakers right now and how are you handling it?

Raising money, hands down. I handle it the same way every filmmaker does—knocking on doors until one finally opens. I was fortunate on Hellbound?, because I found a single investor who was willing to fund not only the film but also marketing and distribution. And he’s made a point of not interfering in the creative process, even though I have consulted with him at several key points along the way.

The thing is, I probably enjoy the business of filmmaking as much as I enjoy making the film itself, so pitching and promoting my idea comes quite naturally. Other filmmakers aren’t wired that way at all. So I encourage them to bring on a producer or some other partner who can help them pitch their project in a way that makes sense to investors. There really is no easy way to do it; but the better you are at selling your vision, the better your chances of seeing it realized.

Are there any books or specific authors that have been influential to you during your journey as a filmmaker?

Again, I come at this initially as a screenwriter, so I’m going to point to books like Story by Robert McKee, The Writer’s Journey by Christopher Vogler and so on. But I’ve also learned a lot from books like Directing Shot by Shot and, believe it or not, a little book from the 1960s called How To Direct a Movie Story. I’m always reading director bios as well.

Are there any upcoming projects that you’re working on that you’d like to mention?

I have all sorts of things in the works, but something I’m most excited about is a Frank Schaeffer novel I’ve optioned called And God Called Billy… It’s a darkly comic, coming-of-age story about a young filmmaker who feels called to make “God’s movie” in Hollywood, only to have things go disastrously wrong, causing him to question everything he’s believed up to that point. I also have plans for more documentary films. I hope to be like Herzog one day, able to vacillate between documentaries and feature films according to whatever project I’m most passionate about at the time.

Hellbound? opens on Friday, October 12th in Vancouver before expanding to select Canadian cities. You can read more about the film at HellboundTheMovie.com.

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