Into the Library with Perry Bradley
'The Creative Library' is LBB’s exciting new launch. It’s been months - years, probably - in the making and we reckon our re-tooled archive will change the way you work, whether you’re a company looking to store and share your work, or a marketer or creative looking for new partners or inspiration for your latest project.
The latest stage of this launch involves you, our readers. If you have ever been credited on campaigns or music videos, you can now personalise your creative profile - find out more about why and how here.
To coincide with launching The Creative Library, we launched a regular feature called 'Into the Library' where we catch up with the industry’s most influential directors and creatives to talk about their career highlights, past and present. Think of it as a reel showcase with a big dollop of personality. We interview directors and top creatives about their favourite commercials and music videos from their catalogues to find out how these works shaped them.
Today we’re excited to welcome Perry Bradley, a director with a long career in commercial filmmaking. After working with indie film companies, alongside Peter Hewitt he founded Film Construction in 1996. Having survived the Millenium Bug, the GFC, and the transition from film to digital, Film Construction has invested almost 30 years into becoming a leader in New Zealand production. His wife, Belinda Bradley, is also at Film Construction as an EP.
While he admits his favourite job is always the one he is currently working on, Perry spoke to LBB’s Tom Loudon about the 10 projects from his past that mean the most to him.
1. NZ BLOOD: Unseen emergencies
Emergencies are happening every day that don't make the headlines. It was an emotional shoot. There was radio silence from the agency after one particular take; I went back to see what was happening, only to find them all in tears.
2. FUSO: The Hill
Disarming the audience with Kiwi humour was an early lesson in commercials - it's been a staple of advertising for decades. Plus, I got to work with the legend that is Roger Macdonnell, who started a little agency in the 70s called Colenso.
3. QUITLINE: Follow you Until I Die
Another emotional job, but also a very technical one. We thought long and hard about how to create the doggie Point-Of-View. We settled on using the Sony Venice in tether mode to get a full-frame camera mounted on the dog. DP Aaron Morton steered the dog with the lens attached to the dog's shoulder. There was no camera weight on the dog at all. Clever.
4. BAND-AID: Pirates
Stunts! Explosions! I'm proud of the production approach we nutted out to give the client an epic feel without the Jerry Bruckheimer budget. We knew any vintage sailing ship was too precious for our planned stunts and explosions. Instead, we built a small set on top of a pier so we didn't have to work at sea. We rolled all the shoot equipment onto the set from dry land. In this part of the world, we get used to solving problems like this.
5. COKE: The Summer Of Us
For several years after this ad, I would receive scripts about bubbles. Suddenly I was the international bubble guy.
6. MAZDA: The Naga
Character animation is so much fun. With this one, we had to navigate a lot of cultural sensibilities and nuances. The Naga is not only sacred, but mischievous and playful.
7. COASTGUARD: Accident
More drama here, in which the actor put everything into the part. At the point when we poured grey paint all over the windscreen, he screamed in terror and started hyperventilating. Such commitment to craft.
8. AUSTRALIAN ARMY: Officer
Me emulating Oliver Stone. Black Hawk helicopters. Rain towers and an Asian village we'd build from scratch. Catering, costumes, and cranes. It was an enormous task. All the army had to do was turn up in uniform. Yet the night before the shoot, there was a real possibility they wouldn't even be there. Next time someone wants to run a war, I say get the film industry to do it.
9. TEAM NEW ZEALAND: Loyal
Going way, way back in the vault now. This was a cultural moment in NZ. As well as playing on television, this played in schools, churches, and sports clubs up and down the country. The support for the America's Cup was enormous. My personal highlight was meeting Sir Edmund Hillary - it was like shaking hands with a cement statue.
10. SNOWTEX: Tough Moments
This one brings a whole lot of tears. We couldn't afford Rosemary Clooney to sing "Cry Me A River", but local composing legend Jim Hall wrote this beautiful track that went on to have a life of its own.
