Perta got a little love from his high school alumni news letter in this nice post: Washington International School Alumni Spotlight: Micah Perta '98.
Perta teamed up once again with VH1 Creative to promote the new season of Martha + Snoop's Potluck Dinner. The rest is history, with a dash of sexy and messy. And it looks like it's going viral, from appearing on TMZ to being written about in Refinery 29, Buzzfeed, Huffington Post, Vogue, W Magazine, Bravo, Entertainment Weekly, The Today Show, among others.
From Buzzfeed: "Martha Stewart and Snoop Dogg recreated the sexy scene from "Ghost" and I'm crying."
Perta directed Martha Stewart for her new cooking show on VH1 with Snoop Dog, Martha & Snoop's Potluck Dinner. Martha had so much fun that she blogged about the behind the scene's work that went into making the spot here. And of course she gave more props to her design director than her promo director (Perta is standing right behind them):
Perta teamed up with TDA_Boulder and Dirty Robber to promote a way to save yourself from the man-barrassment of browsing Pinterest by using a MAN-O-FLAGE plug-in created for FirstBank. The spot and supporting website were featured in Adweek. Creativity Online, The Denver Egotist, Marketing Land, The Next Gag, and Marketing Dive.
From Adweek: FirstBank of Lakewood, Colo., wants to help you unleash your inner Martha Stewart while disguising the whole House Beautiful thing as a much more manly exercise. Just download a browser extension—themes include sports, meat and power tools—and "manoflage" your Pinterest page [...] Decorate to your heart's content, dude.
Perta worked directly with Trojan, and their PR company Edelman, to conceive of the "condom zone," for brevity's sake the "co zone." The spots he subsequently directed where written about by veteran advertising columnist Stuart Elliot in the New York Times.
From the New York Times: The central idea of the campaign is that a couple whose relationship has gone beyond the “friend zone” has entered a territory called the “co-zone,” short for “condom zone,” progressing to the point where they ought to consider using condoms regularly rather than occasionally or not at all. (If Rod Serling were around today, perhaps he would pitch CBS a series called “The Twi-Zone.”)
*Two more spots in the series.
Perta directed Ellen Page in one of her first public appearances after coming out. They improvised lines on set, which Page refers to in the cover story of the Hollywood Reporter.
From The Hollywood Reporter's 'X-Men's' Ellen Page on Life After Coming Out': "Page has made just two public appearances since her announcement -- presenting an award to transgender Orange Is the New Black star Laverne Cox at the GLAAD Media Awards on April 12 and introducing an X-Men clip at the MTV Movie Awards the following night. Shooting a promo spot for the awards, in which she and host Conan O'Brien were trapped inside an inflatable ball, Page improvised the line, 'This is why I stay away from balls,' then excitedly texted a friend about her joke. 'You know, all of those little things mean so much because it's so brand-new. It's so nice.' she says."
From the New York Times: ”These excesses bleed into Melgaard’s speechless, scene-stealing turn in the duo’s absurdist artist talk sendup, playing on a loop in the back room of White Columns. Shot in a Tarantinoesque carousel style, the video features a Prada-suited Bjertnes interviewing the Luxembourg & Dayan director Alissa Bennett, who answers questions as Melgaard, while he sits mute in fur coats and Adidas track pants, stroking Chihuahuas. 'Alissa didn’t even know one single question we were going to ask, but it was like she was me in a way,' Melgaard says. 'I’m sitting there looking like a mix between chronically bored and chronically depressed.' In other words, the two emotional states that are sure not to afflict anyone who sees this show.”
From Art Forum: "Do you ever question me and my loyalty as your friend?” Sverre Bjertnes asks collaborator Bjarne Melgaard in their video If You Really Loved Me You Would Be Able to Admit that You’re Ashamed of Me (2013). Melgaard is silent. Alissa Bennett, sitting beside him, responds in his place. The moving camera continuously circumnavigates the three individuals, whose lavish sartorial ensembles change with almost every successive scan. The work was filmed at White Columns—one can even see painters in the background preparing the walls for this collaborative exhibition of the same name—where it is now on view. The real and imagined identities that coalesce in this labyrinthine installation advance a narrative of tested devotions: a commitment not simply between the show’s Norwegian collaborators but more so to the labor of artistic production. In his essay, Joselit writes of painting that 'sutured spectators to extra-perceptual social networks.' Here, art’s capacity to act beyond itself pairs with resonating site-specificity and palpable artistic diligence."
Mountain Dew sponsored the behind-the-scenes spot that aired nationally to promote the "Daylight" music video.
Perta conceived of and directed the music video for Matt and Kim's breakthrough song, "Daylight," which has close to 14 million hits on YouTube.
From Stereogum: "The secret to their permagrins is more than just peppy, joy-punky piano jams, though — it’s making those peppy, joy-punky piano jams wherever they go. I’ll admit, sometimes their whole “we love each other and just want you to smile” can be too sugary for me, but this track and video pairing is pretty much just irresistibly adorable. Also there are some super high-budget flight sequences at the end."
The video spawned copycats in Mexico, Legoland, and beyond.
Perta and Rob Grobengieser directed this short documentary about John Pugh, the drummer of famed New York underground dance punk band, !!! (chk hck chk), and his side art/music project, Monger, where Pugh deconstructs and re-purposes vinyl records to create lo-fi beats.
From Res Magazine Vol .9 No. 3: "Comparisons to commercial shorts are inevitable. 'We are both well-versed in the 30-second spot and I do think it influenced the making of this doc,' confirms Perta. Shot on Super 16 with a mixture of film stocks that heavily rely on color reversal, the short is aglow with rich, organic hues. The duo also incorporated a Tashica Samurai half-frame still camera for the stop motion footage of Pugh's record player and used after effects to add delicate, skillfully placed graphics by designer Jess McGowan that whimsically mirror Pugh's energy and enthusiasm. '[The graphics] work so organically and subtly with what is happening on screen,' Perta says. 'We felt they helped bring an additional layer of understanding to this pretty experimental process.' While it's true that the design helps clarify Pugh's methods credit for the short's success and refreshing fluidity lies squarely with Perta and Grobengieser. Scratching never felt (or looked) so good."
Awards: Winner of the MTV Networks Desktop Film Festival, Anarchy/Slamdance On-Line Competition
Official Selection: SXSW, RESfest, Edinburough Film Festival, AFI/Silverdocs, Slamdance
Perta, along with Lindsay Ross and Traci Terrill conceived of Tracy Morgan's pioneering rap alter ego Scoopy Giles to celebrate 25 years of Def Jam Records. Scoopy was there for the founding of Def Jam. He was also the first to ever rap about butts. And Rett Bratner (Perta) was, of course, the first to ever direct a video about butts. Not just any butts. Dumpling butts.
Featured on Buzzfeed: "Tracy Morgan recorded “Dumplin’ Butts” under the alias Scoopy Giles. A video about dumplings [...] "
Perta also directed a series of spots with CNN's Nancy Grace that explore the mock controversy.