Rubber masks, one-shots, and why I hate behind-the-scenes films...except this one.

Discovering ‘things’ is probably one of my main motivations in life. I’m not talking about desert islands, forgotten tribes or quark particles but the much more mundane yet equally fascinating trivia and serendipity of everyday life. I have an inquisitive nature of how things are made, crafted, created, happened upon, from the technical to the human interactions that took place to produce the end result. This week I watched two things that blew me away- you should watch them too.o

Toad in the hole

Doing what I do, trading on new ideas is at the heart of everything and understanding what has gone before keeps creative thinking fresh. It also plays into my own distraction and endless wormholes I find myself in staring into my mobile in search of the answer to the most obscure of questions, though often related to great work I have seen. That said, it has given me a natural disdain for the production of unnecessary “behind-the-scenes” videos that agencies seem to love to throw into the content mix. For the records, it’s only a behind-the-scenes if the viewer is going to learn something fascinating about a new process/technique or get some exclusive hilarity with the key talent…not if after three minutes all we have learnt is what creative director had for lunch, "oooh toad in the hole, how retro… that's a wrap everyone...well done us"

For fear of another mocking, it wasn’t until I was actually working at MTV, (many moons ago)that I learnt that Max Headroom, the 80’s computer-generated VJ was in fact just a guy in a rubber mask and some great graphics and editing. Not as my ten-year-old self had convinced myself, some sophisticated computer graphics for circa 1987…imagine my embarrassment (and the tremendous moment of realisation). Yep tragic right!? To this day, I still think it stands up as a great piece of craft to achieve a brilliant illusion.

Fire in the hole

It was a chance conversation early this week with my friend and uber-talented director @MarcusLiversedge, that was going to become one of those rare moments of discovery. We don’t speak as often as we used to since Hollywood came calling (for him) but it was a great reminder of what fascinates us both. Marcus gave me one of my early breaks in my career and we have stayed in touch ever since. He was also actually the guy that shattered my illusion of Max Headroom (but that's not important! Grrrrrr!)

We were discussing the behind-the-scenes reel of the new Sam Mendes World War One film 1917 and a worthy insight into the incredible work of DP Roger Deakins use of filming technique called the one-shot. In this case, used for-the-entire-film. Simply wow.

The one-shot has always been a great cinematic device for bringing the viewer into the action by creating both a unique seamless perspective and engagement in a sequence you don’t dare look away from.

There are many great examples in multiple genres including movies, live performances and advertising, but probably one the most iconic and talked about is the kitchen scene or “Copacabana Shot” in Scorsese's Goodfellas.

The Eurovison Song Contest in 2009 when a brave and talented Steadicam op does the impossible and starts at the back of the arena only to fly the viewer into a complete 360 degree view of Belarus’s chief pop warbler.

However, my favourite all-time favourite use of the technique (and this isn’t a snub of Scorsese!) has to be the Blackcurrant Tango St George ad, which at 22 years old this month, is an all-time classic.

It’s well documented and much has been written about its place in advertising history, despite it only actually ever airing in its entirety ten times before the media budget was used up — most of those during 90’s must-watch TV favourite TFI Friday.

Possibly one of the greatest behind the scenes film you’ll ever watch. Thank me later (and Marcus)

Now despite my disdain for behind the scenes video’s I mentioned earlier, imagine my delight having after all this time, being made aware of probably one of the best industry behind-the-scenes featurettes made. Thank you, Marcus. Yes, they captured the magic behind the well…magic. I implore anyone who has even the smallest interest in production or so much as accidentally walked into the back of a shot on a shoot once to watch it. It portrays an insight into the audacious nature and brilliant team behind the ad as they problem-solve their way through the monster five-day shoot. It also paints the client David Atter at Britvic as having large cahonhas.

I watched it three times over…Something was bothering me. I recognised the main office exterior. Why? Well turns out it is Tesco head office building at Shire Park in Welwyn Garden City, where I have spent the best part of this year. Clearly shot when the building was brand spanking new and long before the supermarket had moved in.

The old London to WGC train line used to stop directly inside Tesco HQ.

Had I had known this before, I would have retraced the footprints left by Ray Gardeners size 10’s and marched triumphantly across the carpark, full of ambition and ready to take on ‘Sebastian’. Though in reality, retreading those steps would have only ended up in the IT department, who last time I checked don’t appreciate topless exploits and large crowds.

Not since No Place For Jennifer was shot in 1950 with Leo Genn has Welwyn Garden City looked so good on film.

First published on Medium Oct 2019, Al Berry is a BAFTA, Webby and Lovie award-winning marketing professional with a depth of experience working with global brands, media owners and broadcasters spanning over 18 years. Founder’ of the other BBC, The Brentford Brisket Club, he writes and speaks on digital and social marketing, branded content and entertainment, (and the occasional brisket recipe).