Guilty pleasures Part 9: Breakdown

It’s not exactly a remake, but more like a parallel sequel. I’m talking about the Kurt Russell wife-was-kidnapped-now-I’m-being-run-off-the-road-by-an-18-wheeler thrill ride, Breakdown.

If you’ve seen it, no doubt it’ll have a very familiar feeling to it. That’s because in many ways, it’s the same plot as Steven Spielberg’s breakthrough movie of the week, Duel.

In that one, a driver played by Dennis Weaver is terrorized by a never-seen driver of an 18-wheeler who, for some reason, wants to run him off the road and kill him.

Maybe he’s seen Gentle Ben. Or McCloud.

Anyway, in Breakdown Russell gives his usual reliable performance as a husband who’s on a road trip with his wife, played by Kathleen Quinlan, when their Jeep breaks down (hence the name) in the middle of nowhere. A seemingly friendly trucker, played by the late, great J.T. Walsh, stops and offers to drive the wife to the next town to call for a tow. She takes him up on the offer, and that’s the last we see of her for the next couple hours.

The time in between is spent watching Russell try to find her, as he’s being hunted and terrorized for ransom by the truck driver and his band of merry yuppie-hunting, cash-extorting hillbillies.

They’d have never pulled this stunt with Snake Plissken.

Directed by Jonathan Mostow, who went on to direct Terminator 3: Rise Of The Machines, Breakdown is definitely one of the best B movies I’ve ever seen. And as a guy who likes to pull up close behind Smart cars in my Land Cruiser, I have a special appreciation for it (I don’t really do that, calm down).

If you have a chance, fire up the Netflix and take Breakdown for a spin.

Or better yet, see it at a drive-in.

The thrill of the chase

I've written here about how hard it is for agencies to let an account go, even when the hour is late and it's way past time for them to say goodnight.

The flip side of that, and no less sad and demoralizing, is when agencies somehow manage to get themselves an invitation to pitch an account they don't have a chance in hell of getting.

The advertising landscape is littered with storyboards from small, start-up agencies with one office, a purple bean bag chair, a five-year old laptop and a staff of three who all thought they had "just as good a chance as anyone" to land General Motors. Or American Airlines. Or Budweiser. Or Hilton.

It's only after these global accounts go through the review, and do what they were inevitably going to do in the first place - award their business to a global agency - that these agencies feel the cold water tossed in their face, and come to the grim and true-from-the-start realization they never had a chance.

Never. Had. A. Chance.

Despite the amazing creative they did. The unbelievably thorough presentation deck. And the supermodel receptionist, who's brother's cousin's nephew's best friend went to an improv class six years ago with one of the hundred and seventy brand managers, which is how they weaseled an invite to the dance in the first place.

Lot of good your principal involvement, unmatched agility, media agnostic positioning and social integration did you.

It's not hard to see why they take the shot. Every agency wants to play in the big leagues. They all want a showcase account they can hopefully do some killer work on, then use it as a calling card to get into pitches with other global clients they won't stand a chance with.

There's some lesson to be learned here about a sense of entitlement. And believing that just because you have some brilliant insights that's going to be enough get the job done.

Sometimes, many times, with clients that big, sad but true, great ads are the least of it. They're looking for infrastructure, global presence and some actual media leverage to support the effort. Or maybe they're just looking for an agency with some maturity, both figuratively and literally.

The point is, in every industry there's a hierarchy. Steps to climb. Dues to pay. Even if you've been in business a while, it still takes time to arrive.

Everyone wants to be the agency that has the insights the client is going to spark to. But even more valuable to them would be an agency who knows who they are. Knows what they can do and can't do.

Not that you asked, but my suggestion would be to play to your strength. Build your story by going after accounts you can actually win.

If you're as smart as the presentation deck says, you'll know who they are.

Cut to the chase

You'd think I live in a rusty Airstream trailer, strewn with beer cans, yellowed newspapers and cigarette smoke stains on the fake wood-veneer cabinets and shag carpet.

But God help me, I loves me a good high-speed chase.

I have a system - what I like to call my personal HSC Alert Hotline. Several friends and relatives are in place near their phones at all times. When they happen to come upon a HSC as they're switching channels, they immediately call and let me know.

I take it from there. I immediately leap into action. By action, I mean drop everything I'm doing, grab the remote, switch to the station(s) covering the chase, plant my ever expanding derriere on the couch then sit back, settle in and watch the chase until it reaches it's inevitable conclusion no matter how long it takes. And know this: the really good ones can go on for hours, especially if it's an SUV with a spare gas tank.

Now you might say to yourself, "How sad he has to watch his high speed chases all alone." First, thank you for your concern. But you'll be happy to hear I don't.

The other person in my house, the only other person who appreciates the extremely high entertainment value of them as much as I do is my 12-year old daughter. The apple doesn't fall far from the police helicopter.

As we switch back and forth between channels covering the chase, looking to see which news chopper has the best overhead shot, we always ask the same question: how does the guy driving think this is going to end? Does he think the police chasing him will:

A) Run out of gas

B) Get tired and go home

C) Get lost and have to pull over for directions

D) Not drive nearly as well as he can when he's that high

And by the way, what exactly does he think that bright white light shining down on him from overhead no matter which neighborhood, on-ramp or back alley he turns on to is. The sun? The angel on his shoulder?

Not so much.

The police helicopter pilots are the unsung heroes of the high speed chase. Oh sure, we all love seeing the perp narrowly avoid crashing into pedestrians, trash cans, trees and other vehicles. And what viewer doesn't get tingly at the prospect of seeing one of the several police cars in pursuit deciding to do the PIT maneuver.

By the way, only hardcore chase fans know that PIT stands for Pursuit Intervention Technique. Go ahead, impress your friends. Win bar bets. You're welcome.

Earlier I mentioned the inevitable conclusion: here's what it is, although you've probably guessed by now. After the suspect runs out of gas, crashes the car, turns on to a dead end street, drives the tires that have been flattened by a spike strip down to the wheels - which now look like sparklers riding on the cement, loses his buzz or jumps out of the car and makes a run for it, the chopper pilot just shines the light on him as a guiding beacon for the police to come and get their man (or woman - seen a few of those too).

Occasionally they won't come out of the car when asked, and that's when it gets tense. The police surround the car, guns drawn and make it very clear what they want him to do. It gets really good sometimes when the police are distracting him on one side of the car, and then more police open the door on the other side and drag him out (sometimes they just pull him through the window if he's pissed them off enough).

I've never seen a suspect get shot, which is a good thing since my daughter is almost always next to me watching. I suppose there's always the chance that could happen, and if it does I'll try to use it as a teaching moment. You want to play, you have to pay.

When it's all over, the feeling is exactly like coming home from Vegas. Everything seems a lot slower and a little duller.

The good thing is that this is Los Angeles, so high speed chases are like buses - miss one, there'll be another along any minute.

Many people think the saddest words are "what might've been."

For me, they're "we now return you to our regular programming."