When I got the Cindy Crawford Pepsi script, it had her getting out of a limo with high heels. Made no sense. Why would a limo be at a remote roadside diner with her inside. I’m not sure if there was an argument but I suggested a Lamborghini Countach sports car with her driving. I had already used my Ferrari Testarossa roadster for a Michael Jackson commercial so that idea didn’t work. At that time the Countach was the only alternative to a Ferrari, so… There was a provocative connotation as well, as the Lambo’s doors opened up, not out.
Because of Cindy’s schedule, we had to wardrobe her the same day, and the usual discussions used up a great deal of time and we finally decided on cutoff jeans and a cutoff t-shirt, something she would be comfortable in driving across a desert.
That issue, plus hair and makeup, used most of my time but we gotterdone in time for Cindy to get back to her Hollywood commitments.
The shot of Cindy getting out of the car was probably the most stunning image since Marilyn stepped on the subway grating. Still.
Some time goes by (years) and Pepsi wants to revisit the situation with Beyonce; same problems, what car, what wardrobe?
The challenge is to not copy the Cindy spot. Well, Beyonce is stopping at a service station in the middle of nowhere. After a few fights, the car becomes a Mercedes 300 SL with gullwing doors. Gullwing doors open up, not out, but differently than the Lamborghini’s. After some hours (using up a lotta Beyonce’s time commitment) we decide on a copy of Cindy’s wardrobe.
Same idea, same problems.
This stuff desn’t really matter because Beyonce’s fabulous smile saves the day.
Spike Lee gets pissed because they used me to do the spot, not him.
At dinner with Alan Parker, one night, Alan told me he worked on the spot for a while when Macauley Culkin was involved (with Michelle Pfeifer). They couldn’t resolve these various problems.
The cars won.