It's fair to say the commercial industry is based as much on reputation and the flavor du jour as it is on talent. Agencies frequently book a director based on industry cred and 'get me the guy'mentality. You'd be hard pressed to find an agency producer who would scoff at the idea of Frank, Bryan or Spike directing their commercial.

But even the best of the best had to start somewhere. While the current economy doesn't lend itself to launching new talent, diversity and depth of roster allow for quick response to creative and economic challenges. Investment is as crucial in rough times as it is in prosperity, and being poised with the next generation of heavy hitters is sure to help the bottom line.

"Developing new directors is a big part of our strategy," says Steve Wax, president of international Chelsea Pictures, based in New York, which has nurtured names such as Kieran Walsh. He says the "pure monetary" aspect is a big driver. These days agencies are trying to do more for less and, as a result, are willing to take risks on newer and cheaper directors.

"There's kind of a Titanic mentality right now," Wax says. "Agencies are saying: 'What the fuck - let's try anything.' I don't think that was true a year ago."

In addition, prodcos are averse to being held hostage by exorbitant fees demanded by some top-notch directors and their handlers. "Ever since [David] Zander [of MJZ] paid all that money for the Propaganda guys, the lawyers and managersrepresenting the top directors try to get large signing bonuses." For that reason alone, he says, building a second-tier 'farm team' can be more profitable in the long run than paying for top talent.

However, Wax believes balance is key to making the numbers add up. He favors a three-way mix of A-list players; second-tier directors who can consistently churn out the non-glam jobs; and up-and-comers.

While the marketplace demands young blood as well as established talent, Steve Dickstein, executive producer ofinternational Partizan's New York office, says his company views the up-and-comers as "solutions, rather than a hard sell, because there isn't a great demand fornew directors. There's just a demand for solutions."

In addition, bureaucratic decision-making - often a condition of an unsteady economy - can hamper risk-taking initiatives by agencies, Dickstein adds. He says the best way to deal with this limitation is to be completely sure of your draft picks' potential talent.

On that point, everyone concurs. "You have to [believe] in a person, otherwise it's not worth it," says Dan Roberts, executive producer at South Africa's Terraplane, who successfully launched director Daniel Levi (see First Boards, pg. 26).

Companies like Terraplane set the bar high, even for unknowns. "When I sign a director I'm looking for an arrogant sense of taste that will carry them through the rough times, an attitude that makes them easy to work with, talent, ambition and an interesting film," says Roberts. "More than anything, they have to be exceptional." Being established in another medium- short film, videos or agency life - alsocontributes to a higher ranking in thedraft order.

The costs of developing new talent fall into two categories: time and money.Opinions differ on this score.

"You don't need a lot of money. You have to put in the legwork, be passionate about the work and create a bit of a buzz," says Nick Sutherland-Dodd of London's Arden Sutherland Dodd, the Londonproduction home of directors like Happy.

Dickstein uses short films as a launch pad for new directors, while Wax prefers to source out under-funded boards that will eventually air. "We rarely do spec work. Instead, we do smaller creative work," Wax says. "I think it's important to have stuff that's been broadcast on adirector's reel." If specs are necessary, he pegs their cost in the $25,000 US ballpark.

Terraplane's Roberts prefers to get paid for development work, but he says he is willing to invest in a spec spot. General figures for a spec in South Africa ring in at around 100,000 rand (about $12,500 at press time) - a substantial figure in the South African market. His break-even point, covering developmental costs and the small salary he gives his directors, is approximately 2 million rand ($250,000).

What's interesting about Roberts' approach is despite the notion that balance makes perfect, he's built his entire roster on rookies. Choosing to take time off from his directorial pursuits, Roberts says he strives to offer a creative and convergent environment, spiced with a little "gray-hair experience".

Once a director's career has been built, how does amanager protect his investment? Keep your players busy, Wax advises. "Most directors will leave because they'renot working. A lot of director theft happens because the losing company is not doing its job."

Roberts offers his young recruits some diversity. "We put a lot of tools under one roof and let our directors play with editing and post-production" - a tactic that he says has the twofold effect of saving money and getting directors involved in the entire process.

Dickstein says loyalty comes out of growing with thetalent, while Sutherland-Dodd believes the key is not to rush them. "Don't be impatient. Quality above quantity in the early days will set the grounding for a career rather than a flash in the pan."

Roberts offers perhaps the most Zen approach to the director-prodco relationship: "If they're good enough, they're going to leave eventually. You can't kill yourself over it; you'd die a thousand deaths. You just have to make sure you provide a heady and challenging creative space."