The 2010 Lexus Hybrid "Milestones" Commercial gets my "Over Edited" Award.

Why does the first shot of the 2010 Lexus Hybrid "Milestone" commercial cut away well before the cars actually intertwine?

Why couldn't the shot of the last drop of gas (represented by one car) coming out of the nozzle have started much sooner, like when the drop (the car) was still in the nozzle?

The close up shot of the the last "drop" of gasoline leaving the nozzle is both unneeded, and if it was to have been used should have come after the wide shot, and been an overlap shot rather than edit on action.

The end shot of the 2010 Lexus Hybrid "Milestones" commercial is a fantastic shot but falls short because of the way it was used.

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When I was in my last year of college many years ago I won the Academy of Television Arts and Sciences "commercials" Internship scholarship contest and interned at Film Fair. It was at Film Fair where I was first exposed to the creative forces that come together whenever a broadcast commercial is created.

Before a commercial actually arrives at a production company, there is an ad agency that has to win the trust of a company, usually a corporation, that wants to promote a product or service on television or some other large media like radio or the internet. The agency is awarded the account by presenting the best ideas the among many competing ad agencies.

The ad agency that wins the trust, and the account of the company or corporation then puts out a call for bids from commercial production companies. The production companies may submit individual director's reels, or they may submit an overall company reel.

The ad agency tends to focus on the director they want to work with, and since the director is many times attached to an existing production company, that company is used for the production of the commercial.

Commercials' Production companies without a name director usually survive by offering speciality "services" to larger competitors with name directors. Smaller production companies can lose their bread and butter work should they try and bid on the whole job directly from the ad agency rather than accepting a much smaller piece of the pie from the production company that actually won the account.

A small production company that does not directly bid on large scale commercials is not considered direct competition by the larger production companies and can therefore be trusted to work on a specific portion of the commercial.

When the commercial is being shot, the ad agency hovers nearby observing the set up and execution of each scene. Many times the director is directing with one eye tied behind his or her back as they crook their head towards the assembled agency people to see whether they liked the last take or not.

In essence, commercial directors are on an ad agency leash of varying length. As the director's reputation grows, the ad agency's leash can get pretty long and imperceptible.

Designing and producing a major commercial for national broadcast involves intense planning as to how many different scenes should be shot and in what order they should be shot. If the agency does not shoot enough different angles and scenes, or runs behind schedule and scenes are never shot, the commercial may drag on when it is edited together.

However, if too many angles and scenes have been shot, a commercial may have so much excellent footage that when the commercial is edited together, it becomes a high energy, but unfortunately, over edited production.

Which brings me to this lexus hybrid commercial. If ever a commercial needed LESS editing, the 2010 Lexus Hybrid "Milestones" commercial from lexus would get my "over editing" award.

There is so much visual trickery that can go on in the world of high end commercial editing that I just can't tell if the shots were cut as short as they were because that was the final frame before the trick shot "falls apart", or if they just have forgotten the meaning of holding on a great shot.

To me, the opening shot is so magical that I felt cheated when the shot cuts away, and I felt cheated not in a good way. The opening shot should have gone on for at least another 3 to 5 seconds. It is just a major disrespect to put all of that time and energy into the actual creation of the opening shot and then cut it down so short that one begins to wonder if there was an accident, or if the opening shot is a fake.

This is the kind of commercial that if I had been the director or cinematographer, or ran the production company that helped create the footage, or was the stunt coordinator, I might have been disappointed at how choppy the final edited version came out.

Instead of cramming three commercials worth of shots into one 30 second commercial, how about just making three beautiful commercials with nice, long takes of the beautiful imagery that I am assuming exists in longer lengths than we are seeing.

The ending is disappointing to me as well. I would have reworked the ending and given much more of a final impact to the Lexus Hybrid Milestones commercials. I'm here if Lexus wants some additional advice. What I am basically saying is the commercial is visually awesome, but has not reached its true potential due to overediting.

If you are planning on creating or broadcasting a commercial and want an objective, outsiders point of view about your commercial, contact Alessandro Machi about his consulting services at...

info at alexlogic.com

You can also view more

commercial critiques

by Alessandro Machi at

Super Bowl Consulting

Abe Vigoda, the ideal Super bowl commercial spokesperson / actor for a country in search of change and hope.

In 1975, Barney Miller premiered on ABC television as a television sit com cop show. The cop show without action or violence but snappy dialogue had a very successful 8 year run on ABC. All the characters were memorable and perhaps Abe "Fish" Vigoda made the most lasting impression on me.

Abe played an elderly police detective named Fish who acted even older than he looked. Abe was 55 at the time his character named Fish looked like he was 70 going on 90. Barney Miller ended its successful ABC run around 1983. By the early 90's, I recall reading or hearing someone say that Abe was no longer alive. By the late 90's, anyone too lazy to look up on the internet what had become of Abe Vigoda might have assumed Abe Vigoda had most assuredly passed by then.

In the early 2000's, I recall reading a story, possibly in one of the tabloid newspapers that Abe Vigoda was actually still alive, and it surprised me. I think in the article Abe actually mentioned that many people genuinely were surprised that he was still alive as they just assumed he had passed on.

In the 2010 Super Bowl snickers commercial starring Betty White, an unheralded Abe Vigoda delivers a memorable closing line of..."That hurt"! In the local news coverage that I have seen so far, NOBODY has mentioned that it was Abe Vigoda!

The media reported on the "Betty White" super bowl snickers commercial as being one of the funniest from the 2010 Super Bowl but the media seems to have missed the significance of ABE VIGODA ON THE GROUND, IN THE MUD, ALIVE and delivering a very funny ending to a funny commercial.

How can Abe Vigoda not be a rediscovered star 20 years after people thought he was dead is beyond me. Abe could probably star in a series of commercials for all kinds of products, each product would start with the same tag line....

"Hi, I'm Abe Vigoda, people thought I was dead 20 years ago, but they were wrong. What do I owe my longevity to....?

...then insert product name here..., then come back to Abe Vigoda making some rueful comment about his agent encouraging him to play an aging detective on Barney Miller that basically prematurely ended his career after Barney Miller went off the air.

On my Super Bowl Commercials Consulting website, I list dozens upon dozens of commercials and I offer critiques for them as well.

The combination of Abe Vigoda on the ground at the end of the Snickers commercial, and his "That hurts" comment lives up to the kind of consulting advice I would endeavor to bring to anyone who hires me as a commercials consultant.

Whomever came up with that ending can be credited with a master stroke ending that memorable commercials always end with, and I commend whomever it was that made it happen.

It would be worthy of a short youtube video on the making of that ending just to see how it came to be. Was it the editor who threw it in, did Abe Vigoda ad lib it? Was it a forgotten moment suddenly remembered? I would like to know. When a commercial ends on an up note, the entire commercial suddenly gets elevated in popularity, and the Betty White / Abe Vigoda commercial lives up to the challenge of being a memorable commercial specifically because of Abe's final "That hurt" comment.

(Edit update) After I wrote this article I decided to google Abe Vigoda and the first thing I found was the photo at the top of this article located at Abe Vigoda dot com.

Lol, then I also found this article from 2009 as well.

If you are planning on creating or broadcasting a commercial and want an objective, outsiders point of view about your commercial, contact Alessandro Machi about his consulting services at...

info at alexlogic.com

You can also view more

commercial critiques

by Alessandro Machi at

Super Bowl Consulting

Super Bowl Consulting Services offered by Alex LOGIC.

Isn't it interesting that when we watch super bowl commercials, there will inevitably be some commercials that either just miss the mark, or, if they had just done something a little differently, would have become a classic.

Although the ability to improve a commercial has become intuitive for me, my mindset starts with the idea that any commercial I review is going to be good. I actually prefer to appreciate good work that needs no improving, (hence my appreciation of Seinfeld,) so I don't automatically assume a commercial needs fixing. I tend to watch commercials for what they were intended to be, a short story that if executed properly will be remembered later on in a favorable light.

I also believe for a commercial to be good, it has to be truthful.

If your commercial fell short in the super bowl this year, or you are going to make one for next year, it may be wise to hedge your bet by getting outside of the box feedback. I recognize nowadays that we have millions of people who would love to do this kind of work, or believe they can do this work. What I have going for myself is years of actual client interaction discussing, strategizing, then implementing their vision, reviewing the result as it developed, and then moving forward.

I spent over 15 years problem solving video editing clients projects and it turned out to be an incredibly unique and valuable experience.

You can view samples of commercials in which I share how I would have improved them by clicking here. Once again, improving a commercial does not mean it was bad to begin with, just that it could have been even better.

I also have a technical awareness involving color correction, the pacing of the editing, and soundtrack mix levels that also has come from being solely responsible for the release of video projects by my clients. A project is never really done until it is released for others to view, and I have received valuable feedback over this final step as well.

The thumbnails on the left and right side of this article are just a sampling of the work I have been involved in. I will keep adding on thumbnails and writing articles about each one.

No matter how competent your marketing team is, the team needs to work together, so nagging doubts have to be let go, even if the doubts are valid. However, if someone outside of your sphere notices the same issues, having a consultant view your commercial could become a valuable outside the box evaluation tool.

Companies that can afford to create an ad campaign for the super bowl and beyond already have a competent team in play. There are at least two distinct routes my consulting services can travel. If your marketing team "does not care what I think" at all, they still may be curious to see if I think they took their pre-existing plan and executed that message in the finished commercial. Rather than a consultant trying to reinvent your wheel, helping to determine if you at least executed your plan is critical.

The second reason is..."Did we miss something in our commercial that could suddenly make it memorable?". I have come up with ideas that I would have loved to have bounced off of a commercial's ad agency or marketing company, it is just a natural talent I have. Keep in mind that what I am saying is I am excellent collaborator. Collaboration means I am acknowledging your wealth of talent and vision and that I may be able to offer that one unique idea to enhance your commercial.

Where I supply that input becomes another thing to consider. If my input is applied after the commercial is edited, should that idea cause a reshoot, or not? Or, should a suggestion be implemented during the animatic stage of the commercial? Or what about when the idea is a storyboard only? That is your call to make, I'll be ready no matter at what step you want my consulting services.

If you are planning on creating or broadcasting a commercial and want an objective, outsiders point of view about your commercial, contact Alessandro Machi about his consulting services at...

info at alexlogic.com

You can also view more

commercial critiques

by Alessandro Machi at

Super Bowl Consulting

Yes, I plan on doing something really crazy with Alex Logic dot blogspot dot com.

I think I'm going to offer a 900 number for anybody who has a film or video production directly with me. Let me explain why.

My attempt to profitably run a video production and editing company for well over a decade met with many production successes. However, being successful at creating productions while remaining profitable is an area that is far more difficult than many might ever imagine.

The actual fine tuning of a production can literally double the editing budget. Many times I just did many of the little extras that I knew would make the production solid, and just took the time off the session so we could stay within budget. Since other places don't necessarily go to the same extreme, I can't force someone to pay for "the little things" that can make a big difference. Hence, my profit margins many times were break evens at best, worse when I added in unexpected video equipment repair delays and the ever increasing video formats.

My film and video production and editing experience and studio can help the newbie by observing how actual video equipment works. I can also help those just needing quick guidance via a phone call as well.

I will use the Alex Logic Blog to explore the inner workings and strategies of the over one hundred projects that I was a involved with. In many instances, my responsibilities carried over into several adjunct positions, including producer, director, camera person, editor, scheduler, technical trouble shooter, project negotiator, billing and production assistant.

The experiences I went through, if interactively shared with others, might accelerate the process of learning by having the right experiences rather than random experiences.

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The mechanic in the Seinfeld clip below is reminiscent of me, at times, except I'm not as tall, and I give my clients more safe space when we are confined in the same editing room.

I'm not necessarily the mechanic who drives off with Jerry Seinfeld's car, but I did make sure that when I finished working on a video project, the edited master was ready for duplication and mass release.

Let me also add that I am on Jerry Seinfeld's side in the video clip above but I understand the mechanics desire to make sure Jerry's car is in tip top shape. The biggest difference is I never milked a job.

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I believe I have experiences that will help accelerate your learning curve forward in the world of film and video production. I will share how it is possible that the effort you put forth may or may not result in a positive result.

Imagine doing a demo for a corporate sales person who wants to try out for Home Shopping network, the sales person makes it to the next round because of the demo I made for them, is then offered an on air job, AND DOES NOT TAKE IT BECAUSE IT WILL MEAN A PAY CUT!

It's kind of funny. Imagine if this client had taken the job, pretty nice feather in my cap. Same with another client who was offered a four deal on Channel One after we had a very fascinating experience putting her demo tape together.

There are at least half a dozen and perhaps as many as a dozen success stories in which the person I helped didn't completely follow through with the project after it was completed, for a myriad of provocative reasons as the ones described above. There are no hard feelings on my part because I have a lot of semi interesting stories to tell as a result, but I do wonder what might have been if just a couple of the many people I feel I helped, would have actually followed through with a bit more intensity than they did.

There are several dozen behind the scenes stories that I will be sharing as well as this blog develops over time.

One such example is the cancer video I worked on where out of the crew of 9 that worked on the video, 8 SMOKED. (I was the lone exception). Or the time I was in film school and I got five of us hired to work on a Rebe Jackson music video called Centipede, as production assistants. What was our job? Picking up cigarette butts. I kid you not.

Being able to keep the location looking within 10% of the way it looked when we first got there meant the production company had succeeded, even if the footage came out badly, they still could consider it a success if they hadn't thrashed the place!

I will keep adding more and more images and stories of all the film and video projects of note that I have worked on in my own world of truly independent, low low budget, NO WEDDING VIDEO, film and video productions throughout the late 80's, the 90's, and into the new century.

There is one rule that I believe I never broke from early on on any project that I edited. I would not release a technically inferior edit master to a client. As a result, I can take a 10 to 15 year old betacam sp edit master, put into a betacam sp player, and not be embarrassed to show it. I am very proud of the quality control aspect that I have put into all of my productions as nowadays I realize filmmakers have one huge disadvantage versus the generation that came before them.

In the 90's, we were FORCED TO INTERACT and work with each other whereas nowadays, you get to learn how to do it yourself. I realize now that many of the experiences I had years ago when I was working 10-15 hour days on projects that required more cooperation among other people make them richer experiences than many of the present production experiences that seem to be about mastering a new format or learning an improved technology rather than about the people, places and things that are being documented.

Why will I be offering a 900 number? I figure by the time I have this blog filled with several dozen production stories along with the imagery on the sides of the blog that is sure to elicit more questions than they answer, along with what I hope are bits of wisdom mixed in, paying a couple of bucks a minute to ask me pertinent, direct questions just might be worth it to somebody on the planet.

If you think I'm being greedy for offering a 900 number so you can talk directly to me for a relatively small minute by minute fee, I have already donated literally 5 thousand hours of my time in the past 10 years on various forums, blogs, and websites. To this day I still donate my time for free to All Experts and most of what I have written still exists on the internet.

However, one thing about the internet that I find both rewarding and frustrating at the same time is that there is too much information. And that's where my 900 number comes in. You can cut through hours of conflicting albeit "free" research, and just ask me specific questions that relate to the nuts and bolts of film and video production from a somewhat unique experience.

Imagine being the one person who MUST finish each and every job, and then imagine the learning curve that must go into being able to deliver a project to someone and have them accept it when they paid 1/5th the going rate yet expected 5 times the value. You don't have to imagine it, I'm your guy.

If nothing else, I will have at least documented my absolutely crazy intensity to make my clients film and video project be watchable when completed, no matter what the budget was that they had to spend.

If you are planning on creating or broadcasting a commercial and want an objective, outsiders point of view about your commercial, contact Alessandro Machi about his consulting services at...

info at alexlogic.com

You can also view more

commercial critiques

by Alessandro Machi at

Super Bowl Consulting

Taco Bell's version of Thelma and Louise, the commercial that was Banned after only one night.

After being named the winner of an Academy of Television Arts and Sciences internship scholarship back in the 80's, my internship was spent at a commercials production company called Film Fair.

It was an honor to win such an award as I had to compete against students from colleges all over the country, including Harvard!

Some time after my internship had ended, automobile driving specialist Larry Boenzle informed me of a Thelma and Louise Taco Bell commercial that he would be participating in with fellow stunt car driver Mike Ryan, imagine my surprise to encounter a couple of Film Fair employees working on the shoot.

The adage it's a small world in the film production world sure can be true at times.

I decided to use a super-8 camera that Dave Riddle of Four Designs company fame had specially modified per my request to capture the actual stunt of the car jumping the train tracks while a locomotive cruised by at 15-25 miles an hour.

Dave Riddle added a rheostat dial to the super-8 camera that altered the level of current the camera received. The rheostat mounted dial would allow this particular Super-8 camera to smoothly fluctuate in speed from a low of around 2 frames per second all the way up to around 36-40 frames per second.

This rheo stat modification apparently does not work on most super-8 cameras, but in this instance for this particular super-8 camera, it worked like a charm. I used good old trusty Kodachrome 40 super-8 film to film the stunt.

There are times when I display a bull in a china shop etiquette, and this time was no exception.

Before the stunt was to take place, I recall going up to one of the youngish agency executives and exclaiming my surprise that they would attempt this type of commercial. I think I said something along the lines of "this strikes me as the kind of commercial that gets taken off the air because of viewer complaints within a day or two of the first time it is shown on television".

Fortunately, I did not say this to the executive in front of other people as well, so he remained pretty non-plussed about my comment and stated that the commercial had not received any major cautions from the ad agency or taco bell and therefore he was not concerned.

I may sometimes be a bull in a china shop, but I try to make sure there is room to maneuver for all parties involved.

And yes, the commercial was pulled from national broadcast after the first night or two of broadcast. File this under "just another example of people not listening to me when my opinion might have helped them figure out a solution to an upcoming unforeseen problem".

As for the Super-8 camera rheostat, you can see the car turn into slow motion as it begins to jump the train.

If you are planning on creating or broadcasting a commercial and want an objective, outsiders point of view about your commercial, contact Alessandro Machi about his consulting services at...

info at alexlogic.com

You can also view more

commercial critiques

by Alessandro Machi at

Super Bowl Consulting

Dali,Dali,Dali four minute short film version I was cinematographer on.

Dali Dali Dali was a 2008 VSM finalist, you can click here to see the four minute video.  (note, these two links no longer work) Dali, Dali, Dali is a work in progress that has not officially been completed but does exist as a four minute version as a means to showcase what the longer version will look like.

If you click here you can see a one minute trailer, or watch below.

If you can't see the 4 minute video you might have to register. The registration should be free and it takes less than a minute. (update, site no longer in existence, bummer). 

Director: Irakli Karlo Uchaneishvili - Writer/Producer: Levani Uchaneishvili

This link works, but you may have to be a member of Stage 32 to see it 

Dali, Dali, Dali is the visionary work of Levani Uchaneishvili, who not only co-directed the film but also handled art direction, design and played the lead role of Salvador Dali. It was amazing to see Levani transform into Salvador Dali right in front of us.

I handled all of the camera and lighting for this four minute film to video project. Since I had no crew for most of the shoots, I devised a lighting system that was powered by anton bauer lithum batteries.

The anton bauer lithium batteries in conjunction with portable frezzi HMI lights allowed me to power up the HMI lights using only a 1.9 lb Anton Bauer battery source. The batteries could keep one light going for TWO HOURS! This in turn allowed me to literally pick up the light, stand and battery and the same time and move them.

I used a quick charger to immediately charge discharged batteries while the back up anton bauer batteries were being used. I also used lead batteries but those start at a lower voltage and one has to watch the voltage because once it gets below 12.0 volts, it could start to do some damage to the frezzi hmi lights. Frezzi lights like 13.2 volts but the lead batteries are such a constant source of power that I felt they were fine as long as the voltage remained up above 12.0 volts.

Its amazing how quickly lighting can be done when the power supply is a battery located at the base of the light stand. No cords to hide, no generator necessary, a wow all the way around.

The shoot got really crazy on some days. There were days where I was running TWO SUPER-8 FILM CAMERAS at the same time, doing the lighting, even taking polaroid stills to assist in nailing down the proper exposure, loading and unloading the film.

As if that was not enough, the film cartridges were almost always removed from the camera before they were run completely through so that the same angle could be filmed with different film stocks. This required my using a digital frame counter so I could keep track of how much film had been shot with a particular film stock before it was replaced.

I would write how many frames had been shot, put the new film in, shoot with that, then at some point, go back to the prior film stock. I would have to reset the digital frame counter to zero then do the math in my head as to how many frames were left. Yeesh. All this while doing lighting and keeping track of exposures and shooting some wonderful BW polaroid stills that enabled me to calculate the exposure of the shot.

Over the course of the production we shot on a boat (I lost my favorite cap on that shoot as the wind blew it off the top of my head during one boat manuever), the beach on more than occasion, in tight quarters, in movie theatres both old and refurbished.

The film transfer to video was done by Spectra Film and Video in North Hollywood California. Spectra Film and Video did an awesome job of doing a normal transfer, plus also a "special effects laden" pass of the footage as well.

You can go here to see a four minute promo of a short film I shot for the multi talented Levani and his brother Ira. (note, this link is no longer active however you can click here to see the one minute trailer instead.) 

I was asked to edit the longer version of the film but the prolonged illness of my father and several other considerations made it impossible for me to step in and do the editing on the longer version, but I was the editor of this four minute version that edited in my own studio.

The longer versions of the Dali Film will also feature the work of other camera people as well as some of the film has since been shot in Europe.

It's amazing what can be done with a 45 year old film format called super-8 when a talented actor and his brother get involved.

CLICK ON IMAGE TO ENLARGE.

If you are planning on creating or broadcasting a commercial and want an objective, outsiders point of view about your commercial, contact Alessandro Machi about his consulting services at...

info at alexlogic.com

You can also view more

commercial critiques

by Alessandro Machi at

Super Bowl Consulting

Welcome to Alex LOGIC, where CREATIVITY meets Ability, and then something happens.

Edit update, April 10, 2019. I am now a Brand Enhancement Advisor. You can learn about me on LinkedIn.

Hi, my name is Alessandro Machi and you are visiting AlexLOGIC blog where I share my insights about television programs and commercials. Although I am an ideas person, I've walked the film and video production walk for the past two decades.

I've edited in total several hundred projects for independent thinkers, filmmakers, small business owners, inventors and their products, and for fortune five hundred companies. I've also been a cinematographer as well, in many instances shooting the very production I would then edit. All of the blog photos on both sides of this article are from some of the projects that I have been involved with.

It is difficult to describe how educational a process it can be to shoot, and then edit the footage that you shot. Being responsible to the decision maker in the editing room for the image and sound that was recorded on location is a type of education that is stimulating to say the least.

I've also been fortunate to have received bookend awards from the Academy of Television Arts and Sciences, first winning a position in their highly sought after Nationwide Internship Scholarship competition in the commercials category in 1985, and then winning an A.T.A.S. Regional Emmy in 2000.

I have had the unique experience of working with decision making creatives one on one in my own video editing studio that I built from the ground up. I have also learned how to handle both the technical and creative aspect of video editing while also being aware of the importance of respecting the goals and wishes of my clients.

I now offer my services as a commercials and television content consultant on either a yearly basis or per project basis. I will contribute fantastic insight into your creative projects, both completed and in production. I have now written several blog articles about commercials and television programs that I could help improve with my ideas.

For every insight that I have shared on this blog, I have another idea that I have written about but didn't reveal the solution. I can't give all of my ideas away here, but I definitely will share many ideas so that you know you can count on me for excellent analysis.

I understand that anyone who would hire me already has access to many intelligent minds. My perspectives are usually unique and in most instances should "add" to your existing concept in a constructive manner. I can be respectful of successful minds that are already involved in your project while still offering an innovative idea that WILL benefit you and your project.

I have no desire to compete with the production company or the advertising agency that you are already using. I thrive on contributing to existing good ideas. Knowledgeable third party consultants are ideal for this, especially when they are respectful of both the production company involvement and the agency that creates the spot. My purpose is not to knock down your team, but to strengthen your message.

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You can earn a 20% commission for any referrals that result in a consulting fee for Alessandro Machi. Learn more here.

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My inspiration to start my consulting business came from my wanting to take care of my my mother, and my father while he was still alive but terminally ill. I curtailed my own video production activities to be there for my parents. I know that the experiences I have generated in the past 20 years serve me well for providing excellent analysis of television productions and television commercials, and it is something I can from home.

Please go here to see actual projects I am looking to connect with. However, if your project is not on the list, that doesn't mean your project is less important, just that you found me before I found you.

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Two upcoming projects that both mean a lot to me are books that I am writing, however I have put both projects on the back burner to focus on my media consulting business.

One book is called "The Cat Who Ate Chase Bank".

The second book is called "What My Dad Left Behind" and explores all the wonderful surprises my recently passed dad left behind. Included are some amazing shots from the very yard garden he worked and proudly toiled over for 30 years while also working a day job and being there for mom.

My dad, Carmelo Machi, lived in Italy, in the Midwest of the United States, and finally in California. He lived in all three places for similar amounts of time. Each time my dad moved he had to basically start over, yet he did so happily and with renewed enthusiasm each and every time.

I believe my dad left a lot of great things behind, and I hope to cherish them and add to them as well.

If you are planning on creating or broadcasting a commercial and want an objective, outsiders point of view about your commercial, contact Alessandro Machi about his consulting services at...

info at alexlogic.com

You can also view more

commercial critiques

by Alessandro Machi at

Super Bowl Consulting