POM WONDERFUL PRESENTS THE GREATEST MOVIE EVER SOLD -- Morgan Spurlock

00:00 - 01:17 Intro and first question about the long-term effects of having lived on McDonald’s food for 30 days while making SUPER SIZE ME.

01:18 - 02:08 Took 14 months to lose all the weight. The most lingering effect is that he can now gain four or five pounds in a weekend, which never happened before. He then discusses the fact that once formed, fat cells never disappear, and influence his cravings. He tries not to let it influence him, but sometimes you just want that extra piece of fried chicken.

02:18 - 02:49 Discusses out innocent he was going into the film, and how innocent he was when he finished. Incredibly innocent going in. Documentaries, which is mostly what he makes, is the least commercial form of filmmaking. By the end, he wasn’t so innocent at all. As you see all the tools he talks about in the beginning are used in his film by the end.

02:56 - 03:53 Is this the start of a new income stream for documentary filmmakers? It works well for this film, but a film about Darfur, it might not work so well. He thinks it’s more a source for indie narrative films, and he’s fin with that as long as the camera doesn’t zoom in on a logo for an extended period of time. The biggest thing that has to happen is to get the marketing copywriters out of the writer’s room, which his what’s happening now.

04:04 - 04:34 He talks about that amount of control and influence. He makes a point that it didn’t happen in his film, he was able to maintain creative control, which is remarkable. Jokes that he and Spielberg are the only filmmakers who get that, and then notes that in Spielberg’s film, THE TERMINAL, product placement is rampant.

04:39 - 05:57 Discusses the history of product placement, including Jules Verne’s auctioning off the use of shipping company names in Around the World in 80 Days, and Edison advertising his own products in the films that he made.

05:02 - 05:39 Continues the discussion with television originating as a medium to sell stuff, including soap on soap operas. Shows were written by the copywriters at the ad agencies. Eventually, the creative talent began to get some power because they were the reason people were watching, and the ad agencies were out.

05:51 - 07:03 Describes what it was like to go through the “branding” process with the best consultants in the business, and what he makes of “mindful playfulness” as his unique brand. He then explains how that’s reflected in the kinds of films he makes.

07:14 - 07:57 Describes why he thinks that fear, craving, and sex, the three motives identified as irresistible to the consumer, are so irresistible, and the implications for how they are used to make the consumer feel worthless.

08:05 - 08:23 Gives his thoughts on whether or not there is any way to counteract that. It takes a real personal breatkthrough and confidence to realize that you don’t need these things. Relationships, not things make you happy.

08:35 - 09:19 Responds to whether or not after spending so much time coming up with pitches for prospective sponsors if he began to dream in commercials. Laughs. He felt like that from the beginning he was dreaming in a commercial. Managing a marketing campaign while making a film make for a lot of pieces to the puzzle. Twenty-three promotional partners make him a CMO now.

09:24 - 09:57 Recounts his attempts to get a meeting with product placement agencies, only two would talk to him on camera. Then how he eventually went directly to sponsors. He called about 600 to get those 23 sponsors. Discusses the fear he thinks the agencies have in having the wool taken off the eyes of the consumer.

10:27 - 10:48 Describes what it’s like to get that many Nos when making cold calls. He had trouble believing it when he got a Yes.
10:49 - 11:02 Turnaround time for contracts averaged 3 months.

11:05 - 12:24 Describes the contracts he was presented with, 50 pages in length, and the restrictions they prospective sponsors wanted to impose, including a “no disparagement” clause. All companies wanted final cut and final approval of every scene, which the didn’t get. He gave them instead creative consultation, and showed them the final cut before theatrical release, but at Sundance with an audience instead of a board room in order to give them the sense of what the effect would be like for viewers.

12:27 - 12:55 Describes the sponsor of his new film, completely paid for by a men’s grooming line founded by Jason Bateman and Will Arnett. The film will be about the men’s grooming industry.

13:00 - 13:37 Discusses the co-promoters who didn’t give money, but did give him a soft-money commitment, which includes access to mailing lists, got his name on products in stores. He wanted to create the Iron Man of documentaries, a documentary blockbuster, a docbuster, and that includes ancillary products advertising the product in the marketplace.

15:47 - 14:34 Says he knew from the beginning he would need to include Noam Chomskey and Ralph Nader in the film. Both have spent years uncovering corporate influence on media. He loves the sense of humor that the interviews allow people to see.

14:41 - 15:03 Describes the day I call the day Nadar was corrupted. He laughs and talks about how it was hard to coordinate schedules, but that he told Nadar he wanted to give him a present, which was a pair of shoes manufactured by one of the film’s sponsors.

15:14 - 15:36 Muses on how people not living in the Pennsylvania area will be able to get the collector’s cup series issued by one of the film’s sponsors. He may put something on the film’s Facebook page.

15:39 - 16:47 Details why he had to use a “stunt son” when his own son didn’t like having his hair washed in the bathtub scene with the Shetland pony. He then goes on to note that it ties in perfectly with one of the concepts introduced in the film, faction, fact mixed with fiction, as in “slice of life” commercials.

16:57 - 18:04 Describes what it was like to travel to Sao Paolo, a large city without any outdoor advertising. He goes on to describe the effect it has had on the population, and the reasons behind removing the advertising, including drawing attention to the pollution problem. He then says he’d love to see something like that in an United States city like Seattle or San Francisco, and that the business elements could be persuaded the way they were in Sao Paolo. The people there now love it.

18:04 - 18:11 Thank you and outro.