Reginald Pike: Tough love, great rewards

In the 14 months since exec producer James Davis launched Reginald Pike, he's watched his humble Canadian brand grow into one with international clout. Thanks in no small part to star directors The Perlorian Brothers (whose ascent into the stratosphere has been so rapid that they waited all of six months for their first Gold Lion) and business relationships with Biscuit, Reginald Pike is now a proven commodity in global circles.

Davis' unequivocal success in a climate that many considered hostile has raised some obvious questions. Where did the talent come from? How has a small Canadian company found recognition so quickly? And, most importantly, how has Davis developed a creative roster while staying profitable?

Reginald Pike is an offshoot of Toronto's untitled, which Davis also oversees. Founded in November 2003 as a venue for "young, talented and ambitious Canadian directors", Davis conceived of RP to fully exploit opportunities in the global marketplace. "Untitled was almost like a domestic airline," he explains. "Ninety-nine percent of the work that we did was in [Canada] - we wanted to make Reginald Pike more international."

Davis has built his roster on a trio of unknown local talents - The Perlorian Brothers, Mark Gilbert and Yael Staev, colloquially referred to as 'The Pikes'. Although some had previous experience in the agency world, they were far from seasoned filmmakers. But, says Davis, "They understood that great advertising was about great ideas. You knew they got it."

Once onboard, Davis worked his recruits to the bone. His work demands were so grueling that co-workers affectionately began referring to his six-month regimen as 'Jimmy Davis Boot Camp'. "My philosophy for young directors is to work absolutely as hard as you can and then after that, double it," he says.

But more than securing talent with a hardy constitution, Davis knew he had to make a commitment to good work. "You can't go in with a crappy reel because they'll give you a crappy job," he reasons. "The reel's got to be better than their job."

Like many fledgling production companies before it, RP has grappled with the temptations of big-budget work. But no matter how big those margins are, Davis cautions, they're never worth diluting your brand. "There's no way we're going to be a company that people want to work with if we go out and do a really bad, big-money, packaged goods ad. If you do it, you're corroding yourself."

A year and a bit down the road, Davis' hardline stance appears to be paying dividends. Not only have The Perlorians blossomed, but Gilbert and Staev are doing strong work with international profile. For Davis, it's proof that there's more than one way to build a production company. "What made the difference was realizing that if we build a good enough reel, we'd be able to get work in a more lucrative market than here. It's an investment, and the return has been very good."