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The battle cry for six :30 spots promoting a restaurant called FoodFetish? ”Bad is good,” says director Craig Tanimoto ofproduction company Japanese Monsters, Los Angeles. The racy spots weredesigned to replicate what Tanimoto calls “the cheesy look andfeel” of 1970s-era, 16mm porno films. They star real-life pornstars who appear to be on the verge of wild sex, and instead engage inwild eating of various food products from Food Fetish.


The "cheesy look and feel" of 1970s porno films inspires Food Fetishads.

Tanimoto says the plan in shooting the six spots in a single day wasto be “as true to the artform as possible.” That“artform,” in this case, required the production team tocapture grainy, poorly lit images on 16mm, and then “mess them upeven worse” in post, during the transfer at Riot, Santa Monica,and the edit at Lux, Santa Monica.

“One of the outdoor spots (‘Pool Boy’) was donewith the worst lighting we could create,” says Tanimoto.“We wanted sourcey, bad lighting for that stuff — tointentionally do things the wrong way. In other spots, you can seeshadows from the boom mics, and one spot, you can see the actual boommic itself. In the cut, we inserted continuity mistakes — anactress' left arm would be up, and then, on the closeup, it would beher right arm. A telephone jumps from the right side to the left sideof the desk, and so on. In the transfer, we added a red hue to some ofthe images, to make it seem like old 16mm, and in others, a blue hue,to make it seem sun-bleached.”

Glitches, scratches, crooked optical titles, and a series of bad,jittery cuts polished the piece to a fine ‘70s sheen.