Walter and me
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This document provides recollections and recommendations written by the author about their longtime friend and client, Walt Harris. Over their 15 year working relationship, the author created storyboards, sketches, and other artwork to bring Walt's advertising ideas to life for various automotive clients. The document reflects on their collaborative process, memorable projects they worked on together over the years for agencies like Saatchi & Saatchi, and how their relationship evolved as both their careers progressed. It concludes by expressing sadness at losing touch with Walt in recent years and only recently learning that he passed away.
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Walter and me
- 1. Walter and Me... Sketchy thoughts on my good friend and client of fifteen years.
- 2. This is a recommendation I wrote for Walt, May, 2009. I thought it was pretty darn clever of me. Had I known that he was going through such apparent turmoil, I might not have been so glib. But indeed, this perfectly illustrates how our relationship actually worked. Its ten pm on no particular evening and it is Walt on the phone asking me to help him concoct a new, fresh idea he needs by the end of the day tomorrow. "Hey Walt, it is ten pm man, this better be good!" He retorts, "Sorry man, I just got this idea and it is better than anything I have so far...it is perfect and you're the only one I trust to pull this off, you know!" I reply,"Yeh man, I appreciate the compliment, but geez, it is late and how much is this great, new idea gonna cost, man. "Hey, he says, "Don't worry 'bout it, I gotcha covered man, you know I do!" I reply, "Okay, okay, man, fax me the script... Walt, you owe me big time... again!" That's Walt Harris. Intense, dedicated to providing the best solutions to a client's need. No matter what it takes. You just have to respect someone that goes that extra mile, pushes the envelope. He's a talented designer, adept storyteller and a crafty salesman. Hell, he sells me into striving for the impossible just about every time he calls... And, more often than not, those insane moments turn into great commercials. I'd recommend him in a second. Walt, it has always been pleasure.
- 3. It is not my intention, now, to highlight my accomplishments through all the great art directors I have had the privilege to work with. Originally, I was going use the assembled work to promote my talents. It is a strange coincidence that Walt Harris was one of the first art directors I plan to incorporate for that purpose. Believe me when I say, I have almost every pitch I ever worked on with Walt, in some form or another. To add any more than I am showing here truly would be only selfserving. And that is not my intention
- 4. It was called Dancer, Fitzgerald, Sample When I first came to what would eventually be called Saatchi, I showed my student portfolio to Gale Napier and Ron Wolin. Barron Storey gave me a host of his contacts when we graduated from Art Center. About a year later, Gale was the first person to hire me for a storyboard though I dont remember the details. I later did some work for Ron, but I dont think it went to well. Ron and illustrator, Larry Salk, were SILA members and thats how I got my foot in to that door. I once brought my five or six year old son to deliver a job and crusty, but lovable Katherine Johnson took a liking to him. Though the dates are quite fuzzy, I am sure that thats how I was introduced to Walt through Katherine Johnson. I rarely worked in-house at the agency and never did for Walt. Reading between the lines, I now have a better understanding why.
- 5. Walt like big bosomed women I cant tell how many times we went over this. One time, in the pre dawn hours, I delivered a board for him and he was not happy with it because the babes werent buxom enough. There were three or four frames that he had me changed the women on. He must have known me well enough to know Id not appreciate his cut and paste approach to making a C cup a D cup on my art work because he gave me the option to fix it.
- 6. A really good idea, at the time, to show the go anywhere ruggedness of the FourRunner.
- 7. These hikers, bosoms aside, realize the Four Runner can go where only hikers can. Toyota
- 8. Walt also liked the cinematic approach I sometimes think Walt really wanted to be a film director because in many of the scripts he had me create the look of a film noir movie. Although I always complained when hed ask me to render that way, it was only because he squeezed me with the deadline. Actually, I rather enjoyed the look because my style of working was conducive to dark, moody forms that hid my line work. Heres one of my better interpretations to the script
- 10. Italian mafiaso types were used to represent the European car companies in this commercial which actually ran on tv. Walt and I had pretty good success on tv. Japan was always pitting their product against the BMWs, Porsches, Mercedes, Jags and Ferraris. This edited framed board was introducing the new Toyota Celica which was totally redesigned and hot Walt relished the role of the underdog
- 11. It was a rare event when Walt required tight sketches from me It kind of went like this. Walt would call me in to view a bunch of vids from the movies, or samples sent to him by various suppliers and wed kick it around. I dont remember having too many writers in these meetings. It was usually just Walt and me and my sketchpad. Walt rarely sketched his ideas for me, but preferred to talk it out with the script in hand as I scribbled out thumbnails for his approval. When he did require more detailed drawings before going to final, I knew it was only because his bosses were somehow calling him out. Maybe, it was for his style of presenting or not presenting an idea to the higher ups! But I could tell. His usual bravado was a bit turned down a few notches. It only drove me more to help cover his back and mine!
- 12. The script for 永姻艶厩庄温
- 13. Walts Art Directed Script Unexpected
- 15. Another Script... for Previa. I believe the Previa Mini Van debut in 90/91. I should remember because I was so busy illustrating from scripts that I started to employ other artists. Some of the titles included concepts about the cars handling in Stunt Driver, its performance as a family car, Family Car, its safety features in, Unexpected, its revolutionary design in, New Job and its versatility as in, New Addition. These titles were just Walters, but I was also servicing other art directors and their many concepts.
- 17. A rare Walt sketch. It is for a Previa concept entitled, Humpty Dumpty
- 18. Walt always wanted slick and hi-tech
- 19. And Slicker
- 20. Tight Running Shots for Storyboards
- 21. More Tight Beauty Shots I also did tight renderings for brochure designs as well as print ads and, as in this illustration, a double 5x7 storyboard frame. This is taken from a color xerox, which, at the time, was all the rage. If I did not shoot slides of the work in my studio, this is all Id have to show for my efforts.
- 22. The RAV4 is a crossover compact SUV that debut here in America in 1996. This is one of many print campaign ideas touting the uniqueness of the car and its owners.
- 23. Another RAV 4 界看稼界艶沿岳
- 24. Walt, stop asking me to make this the best thing Ive ever done! There were times when both of us were pretty stressed out! I believe it was in the late nineties. Because of Walts personality, he never led on that he was not under control, but it seemed every time we began working together, hed tell me over the phone that he needed this board to be the best thing Ive ever done. Many times, hed just give me scripts and let me run with it. We were a team, of sorts! It was not like he only used my services to help him produce a winner. Walt, with the many writers he worked with, was pretty prolific and even with my hiring artists to assist me, I could not always keep up with him. Maybe, he was starting to feel the pressure of the inner office politics. If I asked him about his status at Saatchi, hed blow me off. Computers made it easier to stay at home to work and then, just email the work to the agency. So it wasnt always necessary to come in and see Walt. But whenever I came in to see him, he just didnt look healthy to me. Early in the nineties, Gale Napier past away from a heart attack. Walt started to remind me of Gale and it was around that time that we all lost Ron Wolin, May 2000? I dont know why, but it never occurred to me that art directors were human and were susceptible to those normal human frailties like sickness and death. And, I dont know why, but late one night when he called me to work the weekend, I had to tell him to stop expecting a new impossibility from me. At this point, I was really starting to feel responsible if the concept I was working on for him, didnt sell. I really could not make the frames any more sensual and photographic than I had been making them in the time frame I was being allowed.
- 25. Possibly the last board I created for Walt at Saatchi Actually, there were a few more in-house jobs that I worked on, but I couldnt use our style. Another storyboard company came in and basically took over the artwork which was all done in-house and the agency wanted all one unified look for the presentation. Although most of the artists were very qualified, Walt had to work within the factory line style to get his ideas visualized. I dont think that it really mattered to him at this point of his career. Being expected to conform to the new way of working wasnt what I was interested in doing. Walt had to play the game and I didnt!
- 26. Making the most out of technology. Heres six of twelve frames for a storyboard entitled, Mower.
- 27. Walts loyalty was something I knew I could always count on In 2001, my wife and I cashed out of Southern California. I was quite ambivalent about the departure, but it seem the most prudent thing to do at the time. Before I left, I called some of my best and most loyal clients to alert them of my move. The computer had created new opportunities while wrecking other ones and one of those advantages was that I could work anywhere I chose and still make good art while meeting my deadlines. I suppose by that time, Walt was already through with Saatchi and had moved over to Y&R in Irvine. I had a pretty good working relationship there already. When I called Walt to let him know, he wished me well in our move and promised to call when he got some interesting projects. I did not hear from him for about a year or so
- 28. This is one of the first boards I did for Walt at Y&R/Irvine sometime in 2002. I didnt feel that Walt ever felt comfortable here in Irvine although he told me it was closer to home than Del Amo square. Here we tried to interject that cinematic feel, but by now, with tighter budgets and less patient clients, every board seem to have four frames of storyline and the rest of the eight frames were running shots of the vehicle plus a logo frame.
- 29. In the period of over a year, I had acquired a few reps to help me keep my name out and about, so I wasnt in dire need of work, but I did wonder about some of my loyal clients and wondered if out of sight, out of mind was a reality for me!
- 30. Benny Boy, howd you like to work with me on some Lincoln Aviator scripts? Me and Richard Pass have a bunch of work we need comped and we actually have some time on these ideas to cherry it up! These are some of those concepts we put together for presentation.
- 31. How appropriate that this board featuring my hometown, New Orleans was bought and shown on prime time television. He was excited at the prospect of getting together on Bourbon Street, but somehow, it never happened! It felt great to be back in the saddle again
- 33. Walt and I worked sporadically in 2003 on the Lincoln Towncar and sold a couple of ideas, one in particular highlighting Senator Robert Dole. But, in 2004, we barely worked together at all.
- 34. A few months after Hurricane Katrina, I visited SoCal just to let people know I survived. I made a point to visit Richard Pass, Elayna Rocha, Carolyn Clare, John Doyle and most importantly, Walt at Y&R/ Irvine. As sadly, it often happens, no one was there that I knew except Elayna and Walt. He looked as forlorn as I have ever seen him. I offered to take him to lunch, but he said he had two ADs under him and he needed to be there in case they needed some help. So, he took his pack of ciggies and a cup of coffee as we exited for a walk on the agency grounds. Ben, he said, Ive got these two guys working for me, but I can tell Im being put out to pasture. Those two guys dont need me to oversee their work! Whenever HR or a big wig is in the vicinity, I hide in the bathroom! It is only a matter of time, but I cant afford to lose my job right now! How can you tell, Walt, I asked. Easy, he said. Nobodys bought any of my ideas and now, there are meetings that Im no longer a part of. Kinda like Jim Doyles scene, huh? I said, acting like I had all the poop on what happen to him at Saatchi. We continued our walk and talked about the whereabouts of all the folks I hadnt seen in years. Apparently, he hadnt seen anyone either. He mentioned seeing Sherry Datwyler, who now was a freelance art director and a mother. Shes still as cute and as hot as she ever was, he quipped! After about twenty more awkward minutes, we shook hands and as we parted ways, I said to tell Sherry hello for me! I never saw Walt, ever again though I did hear from him again just one more time.
- 35. I called Walt a couple more times when I returned to SoCal with the U. S. Air Force Art Program in 2008 I cant even remember if I got a voicemail. I had Carolyn Clares number and spoke to her about Walts whereabouts, but she did not have any viable information. When I left him back in 06, his spirits were pretty down, but I had faith that hed bounce back just one more time. Being a freelance hired gun, you never really get to know well all the great people you work for and with. They are the people you bust your ass with to reach a common goal but when those horrendous deadlines are met, they and you are headed for hometill the next time! I knew he had triplets because he always made jokes about his virility! I dont believe Ive ever met Randaleigh, his wife, though Ive seen pictures of her and the triplets in his office! Thats pretty sad! Theres seldom any time to just chit-chat, so you really dont get to know too well the people you share these stressful days with. Ive worked with Walt for almost twenty years, off and on, and now Im told that he is no longer with us here on earth. I found out about Walts passing about two weeks ago from Al Abbott, who is someone Ive known for almost as long as I knew Walt. Upon further investigation, I read that the last two years of his life was not very pleasant. Ive yet to find out why his last years werent good for him, but regardless, there is a giant whole in my heart. I wish I could have been of some assistance or comfort for the big lug! I dont know, had I known something was wrong, I would have tried to fly back into SoCal ( I was just there at Christmas 2012! ) and spend some of that time that was lost so long ago. The last time I spoke to Walt was in 2009. He called me to tell me that he was working at an agency in Detroit and wanted me to recommend him on Linkedin. I told him that I was flattered that hed ask! I also teased him by asking, More cars, dude? You still doing cars? Well, you know whos the best sheet metal guy around! Just call me if you need any help! God, we were always so damn busy
- 36. Just wanna say thanks to all my Saatchi friends. You will always be in my heart, mind and soul Thanks to: Walt Harris, Terry Belagia, Jennifer Phillips, Virginia Witt, Al Abbott, Eric Gardner, Steve Wilson, Jim Doyle, Kevin Murphy, Sherry Datwyler, Pat Pellicano, Katherine Johnson, Eileen Turpin, Ron Wolin, Gale Napier, Doug Van Andel, Joe McDonagh, John Alexander, Dennis Millette, David Tanimoto, and Leo Circo, for being a part of my life. Those days and the people Ive met and worked with during those years at Saatchi will always be special to me. Like Ron, Gale and Walt Harris, I may never see any of these colleagues again, but I will always have those memories: the good, the bad, the ugly, the funny, the crazy, the stressful and the artistic.