SHOOT Digital PDF Version, April 2016, Volume 57, Number 2

www.SHOOTonline.com April 2016

Up-And-Coming

Directors 21 Photo by Howard Wise/courtesy of DGA of Wise/courtesy Howard by Photo

DIRECTORS Spring 2016 Profiles of (top left, clockwise) Tricia Brock, the Daniels duo, Alejandro G. Iñárritu, Matthew Heineman, the Russo brothers, Andreas Nilsson and Sophie Muller. 6 4

Chat Room: Rob Griffin 4

Cinematographers & Cameras 18 SXSW: Directors 14

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© 2016 Sony Electronics Inc. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony and the Sony logo are trademarks of Sony. Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production April 2016 By Robert Goldrich Volume 57 • Number 2 spot.com.mentary www.SHOOTonline.com

EDITORIAL Publisher & Editorial Director Awards Recognition Roberta Griefer 203.227.1699 ext. 13 [email protected] Editor With this year’s Oscars tion with a rejuvenated Meet the Com- Guild. This year Pytka became the first Robert Goldrich 323.445.6818 [email protected] and Guild awards be- mercial Nominees panel discussion, mov- spotmaker to receive the DGA’s Lifetime hind us—and the AICP ing the venue from Theater 2 to Theater Achievement Award for Distinguished ADVERTISING Digital & Print Rates & Information Show, Cannes Lions 1 at the DGA headquarters in L.A., ac- Achievement in Television Direction. [email protected] and Emmys looming ahead—we are in an commodating a larger audience and the The Meet the Commercial Nominees 203.227.1699 ext. 13 www.shootonline.com/go/advertise interim stretch which allows for some re- screening of all this year’s nominated spot session was moderated by director Da- Advertising Production flection on the awards season. work on the Guild’s marquee cinema vid Cornell of Committee LA. This time Gerald Giannone [email protected] And strangely it’s not the gala award screen. Also for the first time, a montage around, four of the five nominated com- 203.227.1699 ext. 12 shows that stand out for me but rather a of entries from some 50 directors for this mercial directors were on hand for the OFFICES less heralded event Main Office 256 Post Road East #206 that took place two The creation of a DGA Award commerials category was a mile- Westport, CT 06880 USA evenings prior to the 203.227.1699 Fax: 203.227.2787 stone breakthrough for spot filmmaking. DGA Awards cer- West 323.445.6818 emony—the Guild’s Meet the Commercial year’s DGA commercials competition was panel discussion: Andreas Nilsson of Bis- Circulation Nominees session. showcased for the industry gathering, cuit Filmworks, Juan Cabral of MJZ, Tom 203.227.1699 ext 12 [email protected] I remember back in 1979 when the providing a taste of the high caliber work Kuntz of MJZ, and Miles Jay of Smuggler. Editorial Production Manager/Custom Reprints Michael Morgera Directors Guild of America opened up that was done in 2015. Not in attendance was nominee Steve 203.227.1699 ext. 11 [email protected] its awards to the ad industry with the cre- Another highlight of that evening Rogers of Biscuit. SHOOT Publicity Wire 203.227.1699 ext12 [email protected] ation of a commercials category. It was a didn’t materialize because director Joe In our Spring Directors Series, SHOOT milestone breakthrough in terms of rec- Pytka couldn’t appear as planned due profiles three of this year’s DGA Award © 2016 DCA Business Media LLC. All rights reserved. ognition for the art of spot filmmaking, to a shoot. Nonetheless the reason for winners: Nilsson, Alejandro G. Iñárritu SHOOT and SHOOTonline are registered U.S. trademarks. No part of this publication may be reproduced, stored in any with Rob Lieberman winning the inau- Pytka’s originally scheduled participation who took the feature honor for The Rev- retrieval system, or transmitted, in any form or by any means, gural award. also underscored how commercialmak- enant, and Matthew Heineman who won electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Now the DGA stepped up its recogni- ing’s stature has grown in the eyes of the for the documentary Cartel Land.

Print Issues Subscription Service [email protected] POV By Anthony Magliocco SHOOT (ISSN# 1055-9825) printed edition is published bimonthly for members by DCA Business Media LLC, 256 Post Road East, #206, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 “Make Goods”—What About Web Ads? USPS (06-234)

SHOOT ePubs If you know something viewers are dropping out of your pro- tory Compliance requirements for Closed The SHOOT >e.dition weekly ePub is published on about broadcast adver- gram, how will you tell why? Hardly any- Captions are always a possibility. What Friday. The SHOOT Dailies are published daily Mon.-Fri. Brand New[s] weekly ePub is published Wednesdays. tising, you know the one would imagine the program was well, are you doing to make sure your content SHOOT Screenwork published Mondays. www.shootonline.com/subscribe term “Make Good.” It boring, and people just tuned out. Maybe is streamed properly to your viewers and simply means if your commercial did not there was something wrong with the feed. that you are getting a proper return on SHOOTmobile air properly or not at all, you are due a If you are responsible for live video your advertising dollars? Get the latest. Anytime. Anywhere. Any Location. Get SHOOT & SPW News texts on your Smart- “Make Good.” A Make Good could be ful- streaming distribution, advertising dollars A new service that performs real-time phone by texting follow SHOOTonline to 40404 filled by the local station or the network. or any part of the food chain, you will want analysis of live streams was recently in U.S. Make goods are provided in the same to understand if your viewers are getting launched by Venera Technologies (www. SHOOT is printed in the U.S.A. program or program of equal viewer or the program and your commercials. veneratech.com). The early results are im- demographic value, However, what about In the broadcast TV world, you could pressive. If successful, this new tool could ads on the Internet? If something goes hire service companies to monitor the go a long way toward ensuring that adver- wrong with your web ad, will you get an local affiliates. How does that work in tisers get what they pay for. SHOOT is a member of: equivalent Make Good? Who is watching the Internet world. The Internet is ev- Anthony Magliocco (anthony@em- out for your advertising dollars? erywhere. The TV networks would find tminfo.com) is the founder of Entertain- Between the source and the viewer, out if their feed died at the local station ment and Media Technology Marketing. there are many devices and layers. Er- because people would call in. Whom will He’s held general management, sales and rors can happen at any point in the chain. Internet viewers call? Simply put as your marketing management positions for lead- Find SHOOT online at: www.SHOOTonline.com Those errors could affect the Quality Of content moves out across the Internet, ing suppliers of technology for the enter- or at: the Experience (QOE) for the viewers. Er- things can go very wrong. tainment and media industry. He serves as rors could include loss of audio or video, A poor QOE might cause your view- secretary/treasurer of SMPTE Hollywood, closed caption missing, frozen picture, ers to give up on the stream, and even is an active member of several HPA com- blocky video, green or black screen. If worse fines for not meeting the Regula- mittees and was a TV Academy governor. April 2016 SHOOT 3 CHAT ROOM Rob Griffin Head of newly formed Almighty(X) seeks ad agency transparency in relationships with brand clients

By Robert Goldrich strategy spans 20-plus years, most recently focused on developing Boston-based digital agency Almighty has launched Almighty(X), a dynamic creative optimization solutions that tapped into augment- division dedicated to advising advertisers on media buying and plan- ed and virtual reality for brands such as Kit and Ace, Dish Network, ning in the wake of what it contends is a lack of transparency relative Safelite, and Choice Hotels. Griffin believes that the traditional agency to certain services and technology consultation that agencies pro- model is ripe for change and he is dedicated to helping clients take vide to brands. ownership of their data, technology, and media. He sees Almighty(X) Named to head Almighty(X) while also serving as chief innovation as a vehicle for that progressive shift. officer of Almighty is Rob Griffin, who comes over from Havas Media With more control over data and technology, brand clients will be Group’s global network where he was EVP, media futures and innova- better able, said Griffin, to quickly and astutely adapt to disruptive in- tion. While at Havas for more than a decade, Griffin provided strategic novations and changing consumer behavior. Almighty(X) clients will guidance and leadership across all maturing areas of digital, as well as thus be able to optimize consumer touchpoints and give audiences emerging areas like social and mobile. His experience in digital media a more personalized, relevant brand experience.

SHOOT: Provide us with a better handle are aiming to address. and MediaContacts. We had some cigars, and a streamlined data ecosystem to en- on Almighty(X) and what it hopes to ac- As everything digitizes, digital is “tradi- grilled some meat, the kids played, and I sure proper attribution. complish. And does it apply primarily to tional-izing”. This is why there is so much told him what I was envisioning. Some At Almighty we start with strategic con- digital since Almighty is a digital agency attention paid to technology markup, re- months later, here we are. sulting plus auditing technology in play or is there a broader context? bates, arbitrage, viewability, privacy, etc. I am now building out Almighty(X) and and media practices to assess where we can Increasingly brands spend on “digital” tac- acting as chief innovation officer for Al- add value. The difference with us is that we Griffin: The mission is to help brands take tics and technology to leverage their data mighty. The beauty is that in this case 1+1 focus on adding strategic value. We depart ownership of their technology and data so is increasing so fast that it is being scru- adds up to more than two. The combined from legacy agency relationships because they can better utilize their first party data tinized. There was a time when WWW effort is about using data and insights we are not the bank in the middle and we to dynamically personalize their efforts stood for the Wild Wild West not the combined with agnostic and transparent are not the trading desk. Clients own their from programmatic media to their site, app, World Wide Web. Those days are gone. media technology with creative innova- own tech and data, pay their own bills. And CRM, and CMS. This includes helping tion and experience optimization plan- removing the agency trading desk and brands use this data to optimize their cus- SHOOT: What was your role at Havas ning to help brands achieve their goals. partnering with managed services that al- tomer experience and services from web to and how did you connect with Almighty? ready exist in the tech community, we can store to call center then feed this data back SHOOT: Your announcement of the drive better results more cost effectively. to media. The challenge really is about Griffin: I had been at Havas for over launch of Almighty(X) mentions in- extracting actionable insights from moun- a decade. Over the years I built their dustry criticism over agency practices. SHOOT: What were the prime lessons tains of siloed data in a timely manner. search practice, managed their analytics What are those practices and what will learned during your extensive tenure at As to “is it digital?”, everything is be- efforts, and helped launch a variety of Almighty(X) do to attain transparency? Havas Media Group? coming digital. Just like asking if some- new capabilities. In my most recent ca- thing is mobile. Increasingly how you de- pacity there I ran innovation and product Griffin: Brands need to own their tech- Griffin: My biggest learnings were about fine mobile and digital when everything development globally. nology and data. Brands need their agen- building and maintaining trust in the re- is accessed on a mobile device and all me- How Almighty(X) came to be is an cy to be an agent and an advisor, not a lationships you create and have. dia is being digitized becomes a hard an- interesting story. I was at a BBQ at middleman. This will increase the ratio of I have learned that going into meetings swer. Think about it, your big flat screen Chris’s (Chris Smith) house, the CEO their budget that makes it to working me- without a predefined script as to what I TV hanging on your wall is just a giant of Almighty. Chris and his wife used to dia. And, will also allow the organization plan to sell and focusing on what is keep- tablet. The real challenges are around the work with me at Havas when offline and to leverage their first party data (which is ing my potential client up at night and reverse of this question, which is what we online media were split between MPG their most valuable asset) across the en- what is blocking them from doing things tire organization. This centralization is the right way, is my way. And I like to think critical to dynamically optimize the cus- that my way is what they need and allows tomer experience across multiple touch me to offer the most value by bridging “Brands need their agency points. As long as this is outsourced to an consulting and agency approaches while agency, this is unachievable. offering clients the benefit of bringing to be an agent and an Also, it is more than just paid media things in house without having to bring advisor, not a middleman.” that makes a business work. Sometimes it it all in house. I like to think of myself as is prudent to not spend any more money Winston Wolf from Pulp Fiction. I clean on media and create a consistent baseline things up and fix problems. 4 SHOOT April 2016 THE BEAUTY SHOTS YOU EXPECT, WITH THE DIVERSITY OF LOCATIONS YOU DON’T. NEW! Filming in the U.S. Virgin Islands is one unbelievable shot after another. 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AGENCY: JW T/Atlanta SPECS: 4C Page Bleed PUB: SHOOT Magazine CLIENT: USVI TRIM: 9” x 10.875” DATE: April 2016 AD#: USVI16037 BLEED: 9.25” x 11.125” HEAD: “The Beauty Shots You LIVE: 8.5” x 10.375” Expect...” Short Takes DIRECTORS MICHELE ATKINS DIRECTS “LOVE + MEDICINE” Following last year’s well-re- Welcome to the Special Spring 2016 Edition of ceived Gundersen Health System SHOOT’s Directors Series. Our profiles include three of this year’s DGA campaign, Minneapolis agency Award winners: Alejandro G. Iñárritu who earned the feature film hon- Preston Kelly reunited with direc- or for The Revenant; Matthew Heineman who earned best documenta- tor Michele Atkins of kaboom to ry distinction for Cartel Land; and Andreas Nilsson of Biscuit Filmworks delve into what makes the pro- who topped the commercials competition with “Emily’s Oz” for Comcast/Xfinity out of vider so special: love + medicine. Goodby Silverstein & Partners, New York, “Dad Song” for Old Spice from Wieden+Kennedy, (Atkins is an alum of SHOOT’s Portland, Ore., and “Time Upon A Once” for GE out of BBDO New York. New Directors Showcase.) In- Also in the mix are a pair of directors who made a major splash with ambitious longer spired by actual experiences at Gundersen, three new commercials reveal form branded content: Sophie Muller of Wondros, and Tricia Brock of Hey Wonderful, a new small but mighty moments that are pivotal in effective, quality care. entry in the RSA family of companies. Included in this mix is “Glasses,” a spot which takes place inside a car Muller helmed a four-minute live music video/spot for Target which aired during Febru- parked at a snow-covered lot. We see how the elderly driver on a frigid day ary’s Grammy Awards telecast on CBS. Brock directed the eight-episode Nike online series doesn’t have to leave her vehicle as a Gundersen provider comes to her and Margot v. Lily. fits her for eyeglasses and the optical prescription she needs. Subtle details Rounding out our roster of profiles are two duos who have made their mark in features enhance the slice-of-life story—in this case a backseat vantage point of what and spots: Daniels of production house PRETTYBIRD; and Anthony and Joe Russo, aka the seems to be lone elderly woman on a winter’s day glancing in her rear-view Russo brothers, who are partnered in their own commercials/branded content production mirror at how a pair of eyeglasses look on her. The unique perspective takes company Bullitt. viewers from voyeur to participant in a lead-up to the moment that connects Consisting of Daniel Kwan and Daniel Scheinert, Daniels recently won the U.S. Dramatic health with caring. Directing Award at the Sundance Film Festival for Swiss Army Man, which marked their feature filmmaking debut. AFI ALUMNUS WINS BEST PICTURE OSCAR Anthony and Joe Russo’s recent endeavors include a couple of Super Bowl commercials as The American Film Institute highlighted the AFI Conservatory alumni fea- well as the upcoming Captain America: Civil War, looming as another potential Marvel/Disney tured in the 88th Academy Awards, headlined by producer Steve Golin (AFI box office blockbuster. Class of 1981) of Anonymous Content who received the Best Picture Oscar Meanwhile our lineup of promising, up-and-coming directorial talent includes: a London for Spotlight. The film’s credits also include cinematographer Masanobu advertising agency creative director who recently made his directing debut with a short Takayanagi (AFI Class of 2002) with a special thanks to Pulitzer Prize-winning film; a production designer/art director whose first feature as a director recently made its Boston Globe journalist Michael Rezendes (AFI Class of 1999), whose charac- world premiere at the SXSW Film Festival; a Paris-based duo whose experimental work has ter is played by Mark Ruffalo. opened up doors in the ad sector, as well as a new commercial/branded content production Collectively, four AFI Conservatory alumni received a total of five Oscar house affiliation in the U.S.; a feature filmmaker who just forayed for the first time into- com nominations. Golin was also a producer on Best Picture nominee The Reve- mercials with a campaign that broke on the Super Bowl telecast; and a Portland, Ore.-based nant. Also nominated for 2016 Academy Awards were Anomalisa director/ agency creative director who’s successfully diversified into directing and is looking to further producer Duke Johnson (AFI Class of 2006) for Best Animated Feature; AFI broaden his spotmaking/branded entertainment reach. Conservatory thesis film Day One, which was created entirely by AFI Class of And then in our Cinematographers & Cameras Series, we meet three DPs: a three-time 2014 alumni, for Best Live Action Short; and for Best Cinematography, The Oscar winner who just picked up his ninth career Academy Award nomination; the recent Hateful Eight’s Robert Richardson (AFI Class of 1979). recipient of his first ASC Award; and a three-time Film Independent Spirit Award nominee for Best Cinematography. PEOPLE ON THE MOVE... Both our Up-and-Coming Directors and Cinematographers & Camera Series feature sto- INNOCEAN Worldwide Americas has appointed Shamsa Jafri as sr. VP, data ries as well as several individual director profiles have been edited for the print issue. All these science. Jafri will be responsible for spearheading the analytics function and stories can be seen in their entirety in our April 4 Special Directors Series SHOOT>e.dition and designing models that will demonstrate and on SHOOTonline. improve the effectiveness of the agency’s in- So read on and enjoy. As always, we welcome your feedback. tegrated advertising efforts. She will report to COO Tim Blett. Jafri was most recently with Cramer-Krasselt in Chicago, where she worked with clients including Porsche, Heinz, —Robert Goldrich Kraft, Edward Jones, Panera Bread, Allstate, Editor and Vitamix....Prime Focus Technologies [email protected] (PFT), the technology arm of Prime Focus, Shamsa Jafri has expanded its board with the addition of Samu Devarajan as independent and non-executive director. In addition to his new position at PFT, Devarajan remains in his current roles as chairman of the board of directors at ADC India Communications Limited, independent Director Profiles Features director at Neilsoft Ltd., and founder and president of Transmation Consult- Matthew Heineman...... 8 Cinematographers & Cameras ing, his own strategy-consulting firm. Devarajan previously held the position Alejandro G. Iñárritu...... 9 Focused Perspectives...... 18 of CEO and managing director for Cisco Systems in India, successfully man- Tricia Brock...... 10 aging the company’s largest R&D center outside the U.S. and helping to build Daniels...... 10 Up-and-Coming Directors the organization from scratch to the 3,500 employees in India.... Sophie Muller...... 11 The Spring Collection...... 21 Andreas Nilsson...... 12 Anthony & Joe Russo...... 13 6 SHOOT April 2016 渀漀眀挀漀爀瀀⸀ 攀瘀漀氀甀琀椀漀渀⸀

琀栀攀渀漀眀挀漀爀瀀漀爀愀琀椀漀渀⸀挀漀洀 DIRECTORS Matthew Heineman DGA winner For Cartel Land makes foray into spotmaking

By Robert Goldrich the border to the U.S. became murkier, darker. It turned into a There was no way to predict what would Later Heineman received an article much greater story in scope where the lines come from the documentary that was from his father about vigilantes in Mexico between good and evil became quite blurry. percolating in Matthew Heineman’s fighting against the drug cartels. These It was a complicated story to navigate. mind and heart. For one, who would have vigilantes were led by small-town physi- “Even in that part of Arizona, you feel thought that Cartel Land would end up cian Jose Mireles. The movement was like you’re on the edge of the world, a landing him the DGA Award in February similar to what was going on in Arizona, lawless zone controlled by cartels,” con- ment unit that was established to develop for Outstanding Directorial Achievement sparking the documentarian’s desire to tinued Heineman. “This was amplified and produce original, non-branded enter- in Documentary. Cartel Land also earned capture these parallel stories about vigi- extraordinarily when I went down to tainment. a Best Feature Documentary Oscar nomi- lante groups on both sides of the border. Mexico. I wasn’t prepared for some of the nation, among assorted other accolades. While its subject matter entails major situations I wound up being in—shootouts John Lesher But arguably far more unpredictable issues—including border security and in the middle of streets, a meth lab, risky As for what’s next, Heineman wasn’t at was the path that Cartel Land took which the drug wars—Cartel Land is actually a situations that end up being sort of the liberty to yet discuss publicly any films he made it far different from what director character-driven film about the two in- crux, the meat and flesh of the film.” has in the offing, only noting that he’s de- Heineman originally envisioned. It all credibly complex men who are leading That meat and flesh helped Heineman veloping one project with producer John started when he read an article about the these groups. The film became a verite last year earn the prestigious Courage Lesher whose credits include Black Mass, Mexico/Arizona border fight to protect portrait of these two men and the move- Under Fire Award from the International Fury, and the Best Picture Academy America. Heineman found himself im- ments they lead. “I’m fascinated by what Documentary Association. “One of the Award-winning Birdman or (The Unex- mediately drawn to that world. Though provokes men and women to take the law things I love about documentaries is the op- pected Virtue of Ignorance), he knew little about border militia groups into their own hands,” said Heineman. portunity to sort of dive into a world I don’t Lesher is also playing a role in Heine- and vigilantes, he became fascinated “We see the drug war glorified in TV, understand—to gain access to that world, to man’s foray into commercials and with them. He spent several months in movies and media coverage. I really want- be in that world, to live in that world.” branded content. The director has joined Arizona gaining those people’s trust and ed to bring a human face to the subject. the roster of Superprime Films, a spot/ ultimately access to chronicling them, in- There’s this conflict in the country next A return to Sundance branded entertainment company in cluding Tim “Nailer” Foley, an American to us, Thousands of people ‘disappear’ Cartel Land debuted at last year’s Sun- which managing director Lesher, man- veteran who heads Arizona Border Re- every year. We fund the war with our con- dance Film Festival. It marked a return aging director/EP Rebecca Skinner, and con, a paramilitary group looking to stop sumption of drugs. I wanted to show how engagement for Heineman at Sundance managing director/sales Michelle Ross Mexico’s drug wars from seeping across the drug war is affecting everyday people, who back in 2012 was there to premiere are partnered. the response of those people to fight Escape Fire: The Fight to Rescue Ameri- “What I love about filmmaking is how back, and what happens when citizens can Healthcare. Heineman and Susan Fro- it shows me that there are different ways take on that fight.” emke directed and produced Escape Fire, to tell a story, including commercials and What Heineman discovered was an eye which examined the country’s healthcare short-form content,” affirmed Heineman. opener. “The story in Mexico took an un- crisis, underscoring a much needed shift “Through Superprime, I hope to contin- believable arc that I never imagined when from disease management to prevention, ue to challenge myself as a filmmaker and I started,” he related. “I originally thought and to placing focus on patients rather as an artist. I’d also like to continue mak- I was telling a story of good versus evil, than profits. ing documentaries, perhaps even moving citizens rising up against the murderous Escape Fire also marked the debut of at some point into narrative feature film- Cartel Land villainous cartels. But the story shifted and Aisle C Productions, an Ogilvy Entertain- making as well.”

8 SHOOT April 2016 DIRECTORS Alejandro G. Iñárritu An historic Oscar and DGA Awards run

By Robert Goldrich Steven Soderbergh’s Traffic in 2001, and ist. He doesn’t just want to make a movie. With Birdman or (The Unexpected Virtue nominated for Iñárritu’s Babel in 2007 He wants to make something very special. of Ignorance) in 2015 and The Revenant and The Revenant. And I wanted to help him do that once this year, Alejandro G. Iñárritu has made Underscoring how much Iñárritu val- I learned more about the film and saw industry history, becoming the first direc- ues his collaborators, he observed during what he is about.”

tor to win the DGA Award for Outstand- the DGA Meet The Feature Nominees ses- West also shed some light on Iñár- Wise/courtesy of DGA Howard by Photo ing Achievement in Feature Film two sion in February, “Editing is rewriting the ritu, describing him as “an auteur, a where Glass climbs out of a horse’s car- consecutive years—and the third filmmak- film.” Iñárritu described himself as “a true metaphorical, metaphysical director who cass which protected him during a brutal er ever to earn the Best Director Oscar in believer in that process,” affirming that responds to things viscerally, especially storm,” said West. “It’s almost like Glass is back-to-back years (the others being John editing is akin to music and that finding costumes. His career is about delving into reborn. He can stand up again and touch- Ford for The Grapes of Wrath in 1941 and the right rhythm is essential to the suc- the inner workings of characters psycho- es the horse in a tender manner, thank- How Green Was My Valley in ‘42, and Jo- cess of a film. Iñárritu added that he and logically. This journey of [legendary fron- ing it. He’s thankful for the animals. For seph L. Mankiewicz for A Letter to Three Mirrione have “developed kind of a silent tiersman Hugo] Glass [an Oscar-winning Glass, wilderness is his cathedral. For that Wives in 1950 and All About Eve in ‘51). communication” starting with the 2003 performance by Leonardo DiCaprio] is reason, I chose an almost spiritual monas- Yet while heralded for his individual release 21 Grams. Mirrione has cut every marked by enlightenment through pain tic costume for him, with a hood. Alejan- achievement, Iñárritu is quick to point Iñárritu film from that point on. “He has and suffering. And part of what I had to dro responded to it—it was one of the first out the collaborative nature of filmmak- great taste. He understands what I like,” do was metaphorical, portraying all that costumes I showed him...This was a very ing, citing such steadfast compatriots as said Iñárritu of Mirrione. in the costumes Glass wore. Alejandro spiritual journey for Glass—as it was for cinematographer Emmanuel “Chivo” Iñárritu noted that The Revenant was responds to costumes; his body language Alejandro, and he wanted it to be like that Lubezki, ASC, AMC, and editor Stephen “inspired by painting.” In fact he envi- changes when he likes something. I had for all of us who were making this film.” Mirrione, ACE, among others. Lubezki sioned the look of The Revenant as akin to work to get that feeling from him. It Iñárritu shared, “For over five years, is on a run of his own, winning the ASC to a chiaroscuro painting. “Chivo has goes beyond historical detail, which he this project was a dream for me. It’s an Award and the Best Cinematography played an incredible role in creating this cares about very much. But he also cares intense, emotional story set against a Oscar three straight years—for Alfonso film as a visual work of art,” said the di- deeply about the emotions that he feels a beautiful, epic backdrop that explores Cuaron’s Gravity in 2014, followed by rector. In his Oscar acceptance speech, costume is portraying, reflecting the char- the lives of trappers who grew spiritually Birdman in 2015 and The Revenant this Iñárritu said to Lubezki, “Thank you for acter’s inner being.” even as they suffered immensely physi- year. Mirrione is a three-time Best Film bringing the light to this journey.” Iñárritu had the poetic idea that Glass cally. Though much of Glass’s story is Editing Oscar nominee, winning for would wear a bearskin that’s left behind apocryphal, we tried to stay very faithful New collaborators in camp when his fellow trappers aban- to what these men went through in these The art of collaboration also extends to don him. The director was drawn to the undeveloped territories. We went through brand new relationships as Iñárritu part- irony that what almost killed Glass, a difficult physical and technical conditions nered for the first time with production bear, ends up saving him in the wilder- to squeeze every honest emotion out of designer Jack Fisk and costume designer ness. The bearskin protects Glass and this incredible adventure.” Jacqueline West, both nominated for Os- gives him buoyancy down the river. Iñárritu is a three-time DGA winner. cars for The Revenant. The love and appreciation Glass had With his recent success, it’s often over- “I met Alejandro in his office about two for the wild and its creatures informed looked that his very first DGA Award

Photo courtesy of Twentieth Century Fox Twentieth courtesyPhoto of years before we made the film,” recalled Iñárritu’s decisions, observed West in re- came in 2012 for a commercial, Procter & The Revenant Fisk. “I realized he was a passionate art- flecting on the director. “There’s a scene Gamble’s “Best Job.”

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April 2016 SHOOT 9 DIRECTORS Tricia Brock Breaking new ground with Nike web series; starting new career chapter with Hey Wonderful

By Robert Goldrich just a prison set. Jules told me she had sual, The Walking Dead, Mr. Robot and There’s something about breakthrough just gotten this really cool Nike branded Mozart in the Jungle. Now she can add to series and director Tricia Brock. One day project and asked about my availability.” that impressive mix the recently debuted while shooting an episode of Netflix’s Or- While Brock’s upcoming schedule was Margot vs. Lily. Produced by RSA Films, ange is the New Black, Brock got a phone pretty tight, it began to loosen considerably the eight-episode original series follows call. She looked down at her cell phone as Daly shared details of the Nike gig—an the journey of a fitness-obsessed YouTube and saw that it was from Jules Daly, presi- online series titled Margot vs. Lily, written star named Lily and her exercise-averse the first episode, the sisters return home dent of RSA Films. The timing was right by Jesse Andrews, author of the novel and party girl sister, Margot. Every Monday, for the holidays.On New Year’s Eve, ten- in that the call came in during a lighting adapted screenplay for Me and Earl and the over an eight week stretch which was still sions boil over and the sisters make a bet setup so Brock was able to answer. “I re- Dying Girl, the feature directed by Alfonso unfolding at press time, viewers can catch which calls for them to step out of their member telling Jules ‘I’m in prison right Gomez-Rejon who was exec producing a new episode of the show along with comfort zones—the onus being on Margot now’—which I was but luckily I was on Margot vs. Lily. He had been slated to also Lily’s latest fitness blog, which walks view- to improve her fitness while Lily has to direct it but a movie he was developing had ers through a workout. It’s entertainment cultivate more true friendships. just been greenlit so there was an opening with a built-in exercise installment. Brock worked closely with Gomez- for a director to take on the Nike series from Throughout the eight-episode season, Rejon, the Wieden+Kennedy creative Wieden+Kennedy, Portland, Ore. 24-year-old Margot (portrayed by Brigette ensemble, RSA’s Daly and EP Jen Den- “The more Jules told me, the more I Lundy-Paine) and Lily (Samantha Marie nis, and cinematographer Mott Hupfel to knew I wanted to do this,” recalled Brock Ware), age 22, learn to find a balance be- develop an approach to shooting Margot who’s directed some of this decade’s most tween exercise and a social life—billed as vs. Lily like an independent film or cable groundbreaking shows such as Girls, Or- a true transformation whereby each sister series instead of a traditional commercial Nike’s Margot vs. Lily ange is the New Black, Silicon Valley, Ca- walks a mile in the other sister’s shoes. In Continued on page 12 Daniels Duo earns U.S. Dramatic Directing Award at Sundance

By Robert Goldrich fall and ultimately rise of a film—at least behind such recent significant titles as For Daniel Kwan and Daniel Scheinert, from our perspective.” Room and Amy, offers additional valida- known as the directing duo Daniels, this Daniels not only directed but also tion regarding the convention-defying year’s Sundance Film Festival was a roller wrote Swiss Army Man which stars Paul merits of Swiss Army Man. coaster ride—the ups and downs generated Dano as Hank, a hopeless suicidal man The biggest creative challenge posed by Swiss Army Man, their feature film- stranded in the wild. He discovers a flat- to Daniels by Swiss Army Man was mak- making debut. ulent human corpse (played by Daniel ing its offbeat premise, with gas passing Daniel Scheinert (l) & Daniel Kwan “It was a crazy journey within a tight Radcliffe) that’s washed ashore and finds and all, “somehow relatable and mean- Instead the story would make them shed timeframe,” related Scheinert. “You’re himself trying to convince this body that ingful to audiences,” said Kwan. “This a tear or two. The real trick was to move smashed by a critic in the morning, then life is worth living, coaxing a revival that wasn’t meant to be a film that was just through the joke and make a drama out get high praise from another that after- contains lessons for us all. The corpse also esoteric and weird for the sake of being of what seemed like nonsense.” noon. There’s a great Q&A, then another proves to be a jet ski-like vehicle which esoteric and weird. It was a difficult bal- The Daniels have a history at Sun- session not so good. But ultimately the leads Hank back to civilization. ancing act. We were never at a point in the dance. Three festivals ago, their draft of award was kind of validating.” While offbeat, comedic, surreal and re- process where we felt comfortable. Dur- the Swiss Army Man script was accepted The U.S. Dramatic Directing Award al- quiring a leap of faith—which some critics ing the writing, we’d take a step back and into the Sundance Lab. luded to by Scheinert capped a whirlwind refused to take—Swiss Army Man made say we’re not there yet. Same for during “It was a great experience to have your Sundance Festival experience that Kwan its mark as a drama with Sundance Film the shooting, the editing. The movie was script pored over by industry profession- referred to as “the quickest rise, fall, rise, Festival audiences who at first expected kind of terrifyingly ambitious.” als and to co-exist with other people like sophomoric humor but instead gained in- Scheinert chimed in, “It was messy but us trying to do the same thing with their sights that tugged on the heartstrings. It’s we are drawn to messy ideas because they projects but in completely different ways,” a unique film that also received its share set us up with hurdles we have to clear. said Kwan. of favorable reviews and which A24 re- Making this story palatable was a big part Scheinert and Kwan returned to Sun- cently took on for North American repre- of the challenge. It is an action/adventure dance last year with an interactive short sentation with a limited release scheduled movie, musical, comedy and surreal exis- film, Possibilia, which was commissioned for June 17th before going wide over the tential film all at once. I think that what by Xbox Live and first premiered at the

Photo courtesyPhoto of A24 ensuing weeks. helped us is that people would come to a 2014 Tribeca Film Festival. Featured as Swiss Army Man The commitment of A24, the company screening expecting a divisive fart movie. Continued on page 30 10 SHOOT April 2016 DIRECTORS Sophie Muller Going live and staying on Target for Gwen Stefani, Deutsch

By Robert Goldrich Lennox’s “Why” and No Doubt’s “Don’t production value, for everything to be lit Sophie Muller is an accomplished direc- Speak, and assorted UKMVA and MVPA beautifully, to do full filmic justice to the tor best known for her music videos span- Awards. Muller has also earned Director performance. At the same time, you need ning collaborations with such artists as No of the Year distinction from the MVPA. to retain the excitement of being live, feel- Doubt, Shakira, Blur, Beyonce, Kings of Yet with all her experience, Muller ac- ing a little afraid.” Leon, Garbage, The Killers, Coldplay, Ali- knowledged being “a bit terrified” over a Helping on all these fronts was the cia Keys, Beck, One Republic, James Bay, recent high-profile project involving her director’s history with Stefani, including The song for the live video via agency Sam Smith, Rihanna and Sade. Muller long-time collaborator Gwen Stefani—a videos (“Spark The Fire,” “Used To Love Deutsch turned out to be “Make Me won a Grammy Award for her work on four-minute live music video/spot for You,” “Cool”), commercials (for L’Oreal, Like You.” Shot on a 32,000-square-foot Annie Lennox’s “Diva” video album, Target which aired during February’s MasterCard) and four concert tours. “We soundstage on the Warner Bros. lot in followed up with a Brit Award for Shake- Grammy Awards telecast on CBS. “I had know each other so well—for 20 years,” Burbank, Calif., backed by a crew of some spears Sister’s “Stay,” MTV Awards For never done anything quite like that ever said Muller. “I know Gwen’s capabilities, 250 people, the video entailed a number before,” she said, noting that the biggest her penchant for costume changes, how of set and costume changes (seven by Ste- challenge was not only making the live to make her shine. Neither of us had fani) in real time, as well as a daring roller performance viable, immediate and en- worked with Target before. They wanted skating sequence during which Stefani tertaining but also ensuring that it would to do this live video and we weren’t even falls down, a planned stunt which tapped translate into a worthwhile music video sure what the song would be at that point. into the sensibility of the live experience unto itself in perpetuity. The only requirement was that the end produced seamlessly by Wondros, the “Live filmmaking is not just live—that’s shot had to resemble the circular Target production house which handles Muller not enough,” affirmed Muller. “As a direc- logo. With Gwen, I knew this would be an in the U.S. market. (Her U.K. production Gwen Stefani in Target’s live spot tor you want it to be filmmaking, to have exciting adventure.” Continued on page 12

April 2016 SHOOT 11 DIRECTORS Andreas Nilsson DGA commercials winner taps into a youngster’s “vision”

By Robert Goldrich Goodby Silverstein & Partners New York, KK and DP Matthew Libatique and I had First-time nominee Andreas Nilsson of the spot illustrates what a blind person to make some creative decisions to be able Biscuit Filmworks won the DGA Award sees in her head when she “watches” her to tell the story in images. But we always for Outstanding Achievement in Com- favorite movie, which for Emily is the made sure the tone was true to the infor- mercials in February on the strength 1939 classic The Wizard of Oz. mation we got from our discussions with of three entries, one of which—”Emily’s Nilsson shows us Emily’s vision of what Emily. It was basically like playing a story- Oz” for Comcast/Xfinity—is atypical in the Tin Man, the Cowardly Lion, the Scare- telling game with a kid and then use the camera and After Effects I started doing the sense that a Guild honor is usually crow and Dorothy look like. “The concept outcome of that to create the script of the music videos for friends who played in reserved for recognition of a director’s vi- was to re-create what she had in her mind spot. Quite a fresh and rewarding experi- other bands in Gothenburg.” Nilsson also sion. However, “Emily’s Oz” instead show- and to really be serious about that,” said ence I must say. She didn’t care so much worked as a theatre production designer. cases the vision of a seven-year-old girl, Nilsson. “The way my production designer about target groups and things like that.” “That was actually a great film school for Emily, who was born blind. Conceived by KK Barrett and I created the images was Nilsson’s other two DGA entries me, watching the actors work with the by playing audio from the movie while were Old Spice’s “Dad Song” from director at the rehearsals and figuring out talking to Emily. We asked her questions Wieden+Kennedy, Portland, and GE’s the staging. My breakthrough in commer- about the images she visualized when “Time Upon a Once” out of BBDO NY. cials was when I was invited to that world hearing certain scenes from the movie. Of his career beginnings, Nilsson by Wieden+Kennedy. They had a Nike I think the thing that helped my process recalled, “I went too many years in art project that was like a music video and the was the fact that I had never seen the school and made installations and video creatives Brandon Pierce and Mike War- movie either, so when we started working art at small galleries and institutions in zin had seen my videos and took a chance on this I was as clean from actual visual Scandinavia...At the time I was also play- on hiring me. Five years later I’m still do- “Emily’s Oz” for Comcast/Xfinity reference as Emily was. Then of course ing in a band and since I had a cheap DV ing it and still loving it.” Tricia Brock Reflects On Nike’s Margot vs. Lilly Series Continued from page 10 Twin Peaks, AFI women currently working in the industry Diller, which premiered at SXSW. Taking campaign. “The joy for me in this job was Brock began her career as a writer, either in TV or features came through this notice was Showtime which brought in the collaboration,” affirmed Brock. “It the big break coming when she got the AFI program. It has a cache in the indus- Brock to direct several episodes of The pushes me to be the best.” The series is chance to pen two episodes of David try and means a great deal in terms of ca- L Word, starting her successful TV run. connecting with millennials as episode Lynch’s Twin Peaks. While she continued reer building. At that time, they gave you Brock, who recently helmed an episode one has generated some 16 million views. to write, Brock harbored filmmaking aspi- $5,000 to make a short film and you could of the NBC series Blind Spot, is develop- Meanwhile Brock’s bond with RSA rations which led her to target getting into raise another $15,000. For my short film, I ing with Rashida Jones a TV series called continues with her joining its new sister the AFI Directing Workshop for Women. got some great actors—James Franco, Brad Rush. The show is based on a Brock doc- shop Hey Wonderful, an integrated spot “I applied and was rejected twice,” she Renfro, Meat Loaf.” umentary about Sorority Rush Week at production company headed by manag- said, getting in on the third try. “It’s a real- That short film, The Car Kid, was then Ole Miss. Additionally Brock is develop- ing director/EP Michael Di Girolamo. ly great program. A very large number of developed into Brock’s first feature, Killer ing a TV project with Steven Soderbergh. Sophie Muller Generates Live TV Excitement For Target Continued from page 11 moment when Gwen stood by the piano control of everything from a postproduc- Live and NBC’s The Wiz Live!—garner company roost is RSA Films.) singing. We showed her in a closeup as we tion point of view. We were doing a live impressive ratings and much chatter on Adding to the live excitement was the got her shoes off and roller skates on. The production, live cutting. There was no social media sites. Making the live Stefani fact that the video wasn’t overly rehearsed. roller skates were being put on her while post protection for what we shot.” video an event sparked audience inter- “With seven costume changes and the she was performing.” Being experienced in live production, est in anticipation of its airing and then multiple sets—in a 1950’s motif—it took Muller related, “Then once you go live, though, helped Muller immeasurably. after its showcase on CBS. Working with way too long to reset each time for more you roll with it. You watch everyone else do- She was accustomed to turning out qual- Target and Deutsch adds to Muller’s ad rehearsals. We had done one run through ing something such as the costume chang- ity live concert shows centered on quality credentials which also include spots for and prepared as thoroughly and meticu- es and set transitions. It’s like looking at an performances in varied venues. Lexus, a MasterCard/J.Crew tie-in, MTV, lously as possible,” said Muller. “Most of ant colony working together for a common The live dynamic is the first such en- Reebok and L’Oreal. She said that the my work was in the weeks of prep. Deutsch cause. It was absolutely lovely to see.” deavor for Target but was well timed, tap- live Grammy experience has whetted her was completely involved. The transitions Muller also had to adapt from her pro- ping into the trend which has seen live appetite for more creative collaborations were carefully planned. There’s a quiet duction norm of being “so used to having musical TV events—such as Fox’s Grease with agencies and brands. 12 SHOOT April 2016 DIRECTORS Anthony and Joe Russo From superheroes to the Super Bowl

By Robert Goldrich Pieces caught the eye of Steven Soder- He makes a choice for himself for the first It doesn’t get much more patriotic than bergh whose Schizopolis opened the time in his life. By the end of the film, we Captain America and the Super Bowl. Slamdance Fest that same year. Soder- want audiences to walk out of theaters And that’s just part of the creative range bergh and the Russo brothers developed and make their arguments for and against of work being turned out by the Russo a creative rapport. Soderbergh later pro- each character, who was right and why.” brothers—Anthony and Joe—whose di- duced an indie feature Welcome to Collin- Joe Russo noted that pitting super- rectorial exploits encompass features, TV, wood directed and written by the Russos. heroes against each other has become Anthony (l) and Joe Russo commercials and branded content. Meanwhile TV was starting to tap into a bit of a trend, with director Zack Sny- Part II, with Part I slated for release in On the long-form front, the filmmak- indie filmmakers. This translated into An- der’s Batman v. Superman. “The heroes 2018. “Audiences have so much invested ing duo was in post at press time on Cap- thony and Joe Russo getting the opportu- fighting each other represents a mature in these characters that we feel the re- tain America: Civil War, which pits super- nity to direct the pilot for Lucky, a darkly evolution of the form. The concept is sponsibility to immerse ourselves fully heroes against one another, bringing a comic FX network series which became more complex, dictating a different struc- in these movies and make them the best new dimension to the saga started by An- an industry favorite though it only lasted ture. We are deconstructing the structure they can be,” said Joe Russo. “We want thony and Joe Russo in the 2014 release one season. Among those who appreci- which has become tiresome to people. We to grow the fascinating serialized story- Captain America: The Winter Soldier. ated the work were the folks at Ron How- are showing the humanity of the heroes. telling that Marvel has introduced into As for this year’s Super Bowl fare, the ard’s Imagine Entertainment, resulting As the world becomes more complex, features. There are a lot of people with a Russo brothers directed the high-energy in the Russos getting the opportunity to we’re putting more meat on the bone for great deal of emotional investment in the action trailer for Captain America: Civil direct the pilot and multiple episodes of viewers. There’s more gray area.” characters and these culmination films. Wa r , as well as a “Coke Mini” commer- Arrested Development. As for what’s next, the Russo brothers As filmmakers we want to honor that cial featuring the Hulk and Ant-Man for The Emmy win for Arrested Develop- will focus on the Avengers’ culmination emotional investment and embrace the Wieden+Kennedy, Portland, Ore. The ment built momentum for the Russos films: Avengers: Infinity War—Part I and responsibilities that this entails.” Russos’ spotmaking endeavors are done as TV comedy directors who went on to through their commercials/branded con- direct numerous episodes of Happy End- tent production house Bullitt which they ings (ABC) and Community (NBC), both launched about a year and a half ago with shows for which the brothers also served NOW HIRING director Justin Lin (Fast & Furious). Bul- as EPs. The Emmy also sparked interest litt represents select TV and feature direc- from the ad community as Anthony and tors in the ad arena. Joe Russo served as a directing duo with DIRECTOR OF SALES The Russos’ TV expertise also extends a small now defunct commercial produc- from commercials to the primetime pro- tion house, then later joined RSA before Superlounge is seeking a full time in-house Director grams themselves. Back in 2004, for ex- going entrepreneurial with Bullitt. of Sales. ample, Anthony and Joe Russo shared a Community along with their mix of primetime Emmy for Outstanding Direct- other endeavors landed on the radar of The ideal candidate should have at least 3-5 years ing for a Comedy Series on the strength Kevin Feige, president of Marvel Stu- of the pilot for Arrested Development. dios. “At some point we wanted to segue experience as a successful Director of Sales at a This diverse quilt of production disci- back into features and Marvel contacted commercial production company, post or music house. plines was woven by the Russos initially us out of the blue to talk about Captain from threads which took the form of a low America. When Kevin and his team are Please email your resume to: budget experimental film, Pieces, which looking at a movie, they develop a list of [email protected] in 1997 debuted at the Slamdance Festi- filmmakers they want to talk to,” related val. “That movie was our film school,” ob- Anthony Russo. “We were lucky enough Superlounge is a boutique production company, served Anthony Russo. “We directed, we that Marvel had fans of Community and did the camerawork, operated the lights, Welcome to Collinwood.” based in Los Angeles, with a roster of award-winning everything. We worked off and on over The Russos treated Captain America: commercial directors that includes Jordan Brady, three years to finish that film.” The Winter Soldier as a film, not a comic Daniel Sheppard, Brett Wagner, Jeff Aron Lable, and book movie, with sensibilities akin to Barton Landsman. 1970s thrillers like Three Days of the Con- dor. As for the major creative challenge posed by Captain America: Civil War cur- rently in post, Joe Russo shared, “This is a story of hero against hero. Audiences www.superlounge.tv will see their favorite protagonists go- ing up against each other—making them

Photo by Zade Rosenthal/courtesy Zade by Photo of Marvel more like antagonists...This is the most Captain America: Civil War flawed Captain America has ever been. EOE April 2016 SHOOT 13 DIRECTORS: SXSW

William A. Kirkley Jeff Dupre Maro Chermayeff A scene from Soundbreaking Firsts Last At The 2016 South By Southwest Film Festival Event highlighted by debuts of theatrical features, TV documentary series, directorial talent

By Robert Goldrich for his collaborations with Andy Warhol. colony that had a magic quality for me. ducers Debra Maniscalco and Andrew The South By Southwest Film Festival is Kirkley’s documentary, narrated by Steve “I had heard stories about the Broth- Fuller. Additionally Kirkley collaborated a place for world premieres—and for that Buscemi, interviewed Mead in his legend- erhood of Eternal Love when I was in with Master of Shapes, a Venice, Calif.- matter the debut of major directorial tal- ary cluttered apartment in NYC. high school,” continued Kirkley. “It was based company, to produce an offshoot ent. Testament to the latter is this issue’s Fast forward to today and Kirkley again strange that they came together and all 3D virtual reality experience tied to the SHOOT Directors Series in which our made the SXSW cut, a far more difficult this happened in Orange County which origin of the Brotherhood. Titled The rundown of Up-And-Coming Directors, feat than his first time around. Orange has been known as a kind of conservative Beginning, the Kirkley-directed VR piece Spring edition, introduces us to Kasra Sunshine, which he wrote and directed, region. My wife is from Laguna Beach. We played in the interactive section of SXSW, Farahani, whose first theatrical feature, was one of 10 world premieres in the Doc- moved to New York together to do Exca- placing viewers into the high-stakes drug The Waiting, was rolled out at the recent- umentary Feature competition. Those vating Taylor Mead. While there my fa- trade before transporting them into a psy- ly wrapped SXSW as part of its Narrative 10 films were selected from 1,013 feature ther-in-law would write me letters telling chedelic desert retreat. Spotlight program. The Waiting is a thrill- documentary submissions in 2016. stories about when he was in Laguna in Kirkley said his ad experience over the er about two high school filmmakers, Orange Sunshine, which was nominated the 1960s and ‘70s. He knew some of the years (Heineken, Chevrolet, Petco, Ree- portrayed by Keir Gilchrist and Logan for the SXSW Documentary Grand Jury Brotherhood guys and told me this has to bok, Amazon) helped him with Orange Miller, who try to convince an unsuspect- Prize, delves deeply into the never-before- be your next film. After Excavating Taylor Sunshine which entailed “a lot of lifestyle ing neighbor (James Caan) into thinking told story of the Brotherhood of Eternal Mead premiered in 2005, we moved back and capturing people, intimacy and beau- his home is haunted. Love, a spiritual group of surfers and hip- to California to pursue the Brotherhood ty. Also pretty much all of my crew has Farahani came up the art direction pies in Orange County, Calif., who became as a documentary film.” worked with me on commercials.” department ranks on assorted features, the largest suppliers of LSD and hashish in Kirkley said it was particularly gratify- Kirkley, who’s handled for spots and working with the likes of Steven Spiel- the world during the 1960s and ‘70s. This ing to have Orange Sunshine gain inclu- branded content by NY-based Washing- berg, J.J. Abrams, Tim Burton and story, though, is ultimately about friends, sion into the SXSW showcase. “It’s the ton Square Films, cited as an example David Fincher. Farahani cut his directo- deftly told by Kirkley who put many years perfect fit for us as a festival. We have Rudi Barth who’s served as a produc- rial teeth on a pair of short films, Noon into the project, the most daunting chal- a documentary that plays like a narra- tion designer on many of the director’s and Concerning the Bodyguard before lenge being to gain access to the married tive feature. In addition to the content ad assignments. For Orange Sunshine, graduating to feature-length fare with couple who headed a band of idealistic, al- which I hope connects with audiences, Barth additionally was a DP, lensing all of The Waiting. He is also on the directorial most communal families, smuggling hash- the music plays a big role in our film. the interviews. “But when it came to re- roster of Chromista, the commercialmak- ish from Afghanistan to fund manufactur- Composer Matt Costa, a fantastic musi- creations and additional visuals,” noted ing/branded content production house ing of LSD which they would give away for cian from Orange County, did an incred- Kirkley, “we decided it would be best if launched in 2013 by director Darren free or at minimal cost. ible score, creating 40 original pieces of Rudi were production designer on these Aronofsky, and exec producers Sandy “They were not-for-profit drug smug- music. It’s a score that’s not a hippie car- sequences while I DP’d them.” Haddad, Ted Robbins and Scott Franklin. glers. They even paid rent for people in toon caricature. I wanted something that Kirkley tapped into another spotmak- Yet while Farahani is a newcomer to their community,” said Kirkley. “They felt contemporary and relatable. There’s ing collaborator, Chris Catanach, to edit SXSW, William A. Kirkley just enjoyed had families and were trying to change ‘60s folk rock that sounds contemporary, Orange Sunshine. Catanach is with edito- a return engagement. His first film at the the world. It’s a multi-dimensional story. I some old West Coast early ‘60s jazz stuff. rial house Stitch. Austin festival, Excavating Taylor Mead, knew it could be so much more than some Music is a driving force for the film just screened some 10 years ago, after its sort of fun drug smuggling tale. It’s a story as it was in the artists’ community in Soundbreaking TV world premiere at the Tribeca Film Fes- I’ve always been fascinated with. I’m from which the story is set.” Television fare was also part of the tival. Mead, who passed away in 2013, was Orange County. I grew up in Newport Orange Sunshine was produced by SXSW mix, a prime example being a poet, actor and performer best known Beach, with Laguna Beach as an artists’ Kirkley with EP Mike Manser and pro- Soundbreaking—Stories from the Cutting 14 SHOOT April 2016 DIRECTORS: SXSW

Edge of Recorded Music. The first two Wiley’s process from concept to canvas, the worlds of art and haute couture. ity Programming. Chermayeff addition- installments of the eight episode PBS se- including his scouting for and finding Kehinde Wiley won the Grand Jury ally served as one of the producers/di- ries were screened for festival audiences women subjects from everyday life on the Award at SXSW in 2014 in the Documen- rectors of the PBS series Frontier House, as part of the SXSW’s 24 Beats Per Sec- streets of Harlem, Brooklyn and Queens, tary Short competition. in which three modern families become ond program which showed the sounds, NY. Like Wiley’s prior works, his models Soundbreaking continues a track re- homesteaders, experiencing life as it was culture and influence of music and musi- were street-cast in NYC and posed to re- cord that Chermayeff and Dupre have in the American West circa 1883. Cher- cians, with an emphasis on documentary. semble 18th and 19th century portraits built with PBS. Chermayeff directed all mayeff and Dupre also created and direct- Soundbreaking was directed by Jeff of society figures. But for this initiative, 10 episodes of the PBS series Carrier, ed Circus, a six part documentary series Dupre and Maro Chermayeff who main- instead of posing the women in their own which chronicled life aboard the nuclear- which debuted on PBS in 2010. The show tain Show of Force, a production com- clothing as he’s done with his male sub- powered aircraft carrier the USS Nimitz. followed a season with a traditional Euro- pany which has produced assorted docu- jects, Wiley envisioned each of his female She was also a co-creator and co-EP of pean style one-ring circus. And Cher- mentaries for the likes of HBO and PBS. models in an original couture gown. He that series which premiered on PBS in mayeff directed and produced the feature Additionally, Chermayeff and Dupre are joined forces for this project with Given- 2008 and was honored with an Emmy documentary Julliard which aired as part represented as individual and co-directors chy’s Riccardo Tisci, bringing together for Outstanding Cinematography/Real- of the PBS series American Masters. (a duo with the moniker Show of Force) for commercials and branded content by Superseed Content, a production house headed by EP Pola Brown. Dupre said of Soundbreaking, “We explore the art of music recording, how UNIVERSAL STUDIOS it has evolved over time, how technology has transformed the sound of pop music, record making and producing. We cover a hundred years of artistry and technol- ogy but the sweet spot is the 1960s, ‘70s STAGES & BACKLOT and ‘80s when so many innovative things were happening in recording studios.” Some 250 artists were interviewed for the documentary series (including such notables as legendary Beatles producer Sir George Martin, who recently passed away at the age of 90, Cat Stevens, Joni Mitchell). Anywhere from 50 to 100 songs were cleared per episode. “We went for storytelling from the artists themselves,” said Chermayeff. “And the depth of the archive of music in this series is huge.” For Soundbreaking, Show of Force en- tered into an international partnership and distribution deal with Fremantle Media. The series is being broadcast in Europe and is scheduled to premiere on PBS in November. Dupre and Chermayeff are no strang- SCOUT OUR ers to SXSW. Dupre attended SXSW in 2014 to debut Kehinde Wiley: An Econo- SOUND STAGES my of Grace, which he directed and Cher- mayeff exec produced. The documentary AND short focused on what was then the lat- Featuring est project of Wiley, a NY-based visual BACKLOT LOCATIONS artist known for his vibrant, larger than life reinterpretations of classical portraits featuring young African-American men. Wiley, whose portraiture has taken the art world by storm, took a new turn in this documentary, his first series of clas- DOWNLOAD FROM filmmakersdestination.com APPLE APP STORE AND sical portraits featuring women. Kehinde GOOGLE PLAY STORE 818.777.3000 800.892.1979 Find Us Wiley: An Economy of Grace document- ed this project as it unfolded, tracking April 2016 SHOOT 15 Universal Studios_Stages & Backlot Ad_Shoot_1.17.14 DIGITAL WORKFLOW SOLUTIONS SPONSORED CONTENT Workflow into the Future

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Workflow has always been a key com- company is dynamically adjusting and Fox-owned STAR TV, Warner Bros. Tele- Why today’s ponent to production and post. In fact, growing to keep its clients on the cutting vision Studios, CBS Television Studios, as digital took over from analogue, the edge of the asset life cycle. 20th Century Fox Television Studios, Rel- digital media shifts in workflow were all pain points Prime Focus Technologies (PFT) has ativity Media, Legendary Pictures, Starz that took years to resolve. The same thing pioneered virtualizing the content sup- Media, Lionsgate, A&E TV Network, require integrated happened when standard definition ply chain. “Automation is the key to what Crown Media Family Networks, FX Net- switched to high definition, a path that we offer in terms of value,” explains PFT works and many others. services relied on manufacturers to upgrade ex- president, Americas Patrick Macdonald King says that the biggest trend he’s isting gear and manufacture new equip- -King. The company’s core offering is its noticed over the last year is the increase By Debra Kaufman Wment, and for all the connective points to CLEAR Media ERP Suite, that creates a in over­-the-top (OTT). He notes that be made at every step of the workflow. As connected enterprise and digital ecosys- the rise of OTT isn’t simply because those digital assets became increasingly tem. CLEAR offers such key advantages more content is created natively for the “virtual”—as opposed to physical assets— in a complex and competitive market- Internet but, rather, because previously workflow famously became a snowflake, place—cutting 30 percent of operational linear TV programming is being distrib- every one different from the next one. costs and gaining 40 percent more ef- uted to a multiplicity of platforms. “The Since the end of celluloid’s dominance, ficiencies—that nearly all the leading model has changed,” says King. “Now it’s production and post companies, content companies of Hollywood rely on it. PFT’s hyper ­digital, and these online distribu- creators, owners and distributors have client base includes Disney, 21st Century tion platforms need to get the content longed to return to a simpler, more stan- quickly and efficiently.” That means dard and reliable workflow. Now, much turning around programs not just for of that promise is being realized through dozens of online platforms from Hulu to the implementation of such technologies Netflix and Verizon but also for different as the cloud, even as the number of for- territories. “Different metadata, promo- mats, standards and platforms multiply. tional materials and so on are distributed The pace continues to quicken, as Ultra- on a global basis,” King adds. “It’s done HD 4K, high dynamic range, over­-the- in these quick sprints to get the material top content and even virtual reality grow, out before it’s pirated, so automation is creating new workflows. critical to monetize their content in the Unlike past transitions, however, speed best possible way.” is of the essence. We simply can’t wait to PFT has also developed an equation distribute assets and prevent their piracy. for the all-important use of metadata Here’s a story of how one international with OTT content: Content + Tags = As- 16 SHOOT April 2016 DIGITAL WORKFLOW SOLUTIONS SPONSORED CONTENT

set. “With its detailed and multila­ yered for Lionsgate with With the prolif- out content to hundreds of people with- smart metadata, PFT enables its client regard to that com- eration of digital out the hassle and risks of mailing DVDs. base to fully monetize their assets via pany’s marketing piracy, screeners Then there’s Media Asset Manage- what it calls the DEE (Discovery, Engage- materials. “Many have also become ment (MAM), that has grown, notes ment and Experience) moment.” “In- times they want to a flashpoint. Prime King, who reports that a major content stead of arranging logistics for every sin- get published as Focus Technologies owner can have up to 50 MAM deploy- gle provider in terms of video, metadata quickly as possible. recently launched ments. “Controlling all that is extremely and marketing requirements—all those For Nerdist, as an ex- SecureScreener, an difficult,” he notes. “If your asset man- localization requirements, with CLEAR ample, we’ve used it application that is a agement system in Burbank doesn’t talk we have the ability to package them au- so they can upload a substitute for easily- to the one in London which doesn’t talk tomatically, streamlining the distribution single episode of the pirated DVDs and is to the one in Singapore, how do you find of content,” says King. show and package Patrick Macdonald-King distributed online the files you’re looking for?” That PFT has adapted so readily to it for eight sites, vir- as part of CLEAR. As a virtualized end-to-end work- the needs of its client base now shifting tually, through the “SecureScreener flow provider, PFT is well positioned to into streaming platforms speaks to the [CLEAR] software.” http://primefocustechnologies.com is a highly scalable centrally store and manage metadata, strength of CLEAR Media ERP suite’s Being able to handle such massive secure application that people are using enabling companies to fully monetize distribution capabilities. King also points amounts of media for digital outlets to securely view content online,” says their assets. “We hope this is the next out that CLEAR has given multi­channel around the world in a cost-effective King. “We have dual authentication, wa- evolution,” says King. “We’re looking at networks such as VICE and Nerdist the manner is in large possible because termarking and viewing it through the metadata for archiving and preservation kind of speedy turnaround they need. PFT’s CLEAR Operations takes place piracy-proof Secure Player saves the re- of assets and it is a high priority for any- “These networks create an abundance of in the cloud. PFT can also provide a va- curring costs of DVDs.” He calls Secure- one in this industry. With our true cloud- content all the time,” says King, who re- riety of tasks, from transcoding to stor- Screener a “simplification tool” in that based applications, we have a competitive ports that PFT has a similar application age, on the cloud. it enables a production to securely send advantage in the marketplace.”

April 2016 SHOOT 17 CINEMATOGRAPHERS & CAMERAS

Robert Richardson, ASC Vanja Cernjul, ASC, HFS Frankie DeMarco Focused Perspectives On Features, TV, Directorial Colleagues DPs provide insights into Tarantino’s The Hateful Eight, Netflix’s Marco Polo, ABC’s Madoff

By Robert Goldrich back because it was a photochemical meter film. And it’s that vision which we closer in terms of collaboration,” ob- One cinematographer recently earned his film, no digital intermediate,” said Rich- followed.” That path included a limited served Richardson. “There’s a degree of ninth career Oscar nomination. ardson. “It’s been quite some time since roadshow engagement/presentation akin shorthand but Quentin is always extraor- In February, another DP won his first I’ve done a film straight chemically with to the historic movie palace era, replete dinarily specific about what he wants. ASC Award on the strength of his second full release. I had to get my rhythm and with an overture and an intermission for He specifies exactly what he envisions career nod. balance back. What a rare opportunity to the film. for each shot. So the shorthand is more And our third cinematographer has be given as a DP, to go back to the chemi- Richardson noted that 70mm film about friendship and trust. If I say I can three career Film Independent Spirit cal process—the folks at Fotokem were so stock provided great clarity—not HD get something, he trusts me to know I Award noms for Best Cinematography happy to help make this happen.” clarity but rather a film clarity that has a will get it,” continued Richardson. If I say over the years. His recent credits include Richardson has been Tarantino’s cine- softer quality. “The imagery is quite rich something will take about 25 minutes, he yet another feature, a broadcast network matographer of choice ever since Kill Bill: but still has a velvety feel. It is stunning,” knows that’s how long I will need.” miniseries, and a TV pilot. Vol. 1 in 2003. Their collaboration evolved said Richardson who described it as “an As SHOOT went to press, Richardson Here are insights from cinematogra- for The Hateful Eight to Richardson actor’s format” in that you can see facial had wrapped shooting on Live By Night, phers Robert Richardson, ASC, Vanja shooting 65mm for 70mm release with gestures, small movements and nuances directed by and starring Ben Affleck. In Cernjul, ASC, HFS, and Frankie DeMarco. images captured through wide-angle Ul- that bring another dimension to perfor- sharp contrast to Richardson’s extensive tra Panavision 70 lenses going back some mance. The platform also adds to The filmography with Tarantino, Live By Robert Richardson, ASC 50 years to movies like Khartoum (1966). Hateful Eight story which is primarily set Night marked the DP’s first collaboration For The Hateful Eight, Robert Richard- Richardson added that there were some in Minnie’s Haberdashery, a large room with Affleck—as a director and/or actor. son, ASC, garnered his ninth career Best lenses deployed which were used on the in which the different characters interact. Yet in a relatively short time, Richardson Achievement In Cinematography Oscar classic Ben Hur in 1959. With a 2.76 to 1 aspect ratio (as compared struck up a rapport with Affleck. “Ben nomination, and the third for a film di- Richardson quite by happenstance to the 1.85 to 1 or 2.35 to 1 aspect ratios was fantastic to work with,” said Richard- rected by Quentin Tarantino, the previous stumbled onto a few near antique Ultra conventionally seen), much of the room son. “It was almost as if he’s a brother. It two being for Inglourious Basterds in 2010 Panavision Lenses at Panavision’s facility appears on screen in one fell swoop, was a great joy.” and Django Unchained in 2013. Richard- in Woodland Hills, Calif. He was intrigued meaning that viewers’ eyes can be on all Live By Night is a Prohibition Era dra- son has thus far won three Oscars—in by the lenses and what they could deliver, or most of the characters at once. ma. Richardson deployed an ARRI AL- 1992 for Oliver Stone’s JFK, in 2005 for setting into motion an exploration of glass The ultra wide angle catches so much EXA 65 with vintage Panavision lenses. Martin Scorsese’s The Aviator, and in from yesteryear in terms of what it could of the set that Tarantino could position ac- “The combination of the two was very 2012 for Scorsese’s Hugo. bring to The Hateful Eight. tors all over the frame in various ways to successful in my opinion,” assessed Rich- Richardson’s first Academy Award “The lenses yielded quite beautiful help propel the visual storytelling. Actors ardson. “The lenses softened the digital nomination dates back to 1987 for direc- imagery but they hadn’t been used for so interacting in the background can hold element, making it ideal for the story.” tor Stone’s Platoon. Richardson’s other long that it took some time and effort to viewer interest simultaneously with fore- Richardson said that among the chal- Oscar nods were for the Stone-directed get them up to date,” related Richardson. ground action and interaction, with one lenges of Live By Night was “to not treat Born on the Fourth of July in 1990 and “That was the main challenge posed by able to add meaning and perspective to the period film with kid gloves. You need the Scott Hicks-helmed Snow Falling on the lenses. We had some older ones that the other. to treat it in a more contemporary man- Cedars in 2000. needed to be modified and some new Richardson said that Tarantino was the ner. You try to come up with a look that In some respects, The Hateful Eight lenses that had to be manufactured.” personification of creativity unbridled, will support the material yet keep it pres- is reminiscent of some of Richardson’s Richardson noted that it was “in Tar- exploring assorted options 360 through- ent and not past. You need to allow the earliest industry recognized cinematic antino’s mind from the beginning that out the haberdashery. past to still be felt. But it still has to feel endeavors. “The Hateful Eight took me The Hateful Eight would be a 65 milli- “Quentin and I have grown closer and relevant to our time.” 18 SHOOT April 2016 CINEMATOGRAPHERS & CAMERAS

Richardson’s artistry has long lasting won his first ASC Award on the strength As for camera choice on Marco Polo, gig, Cernjul conjectured, “I have worked relevance as evidenced by not only his of his second career nomination, which Cernjul explained, “It was required that with Netflix previously on season one of aforementioned Oscar chronology but was for “The Fourth Step” episode of the show gets delivered to Netflix in 4K. Orange is the New Black, which probably also his stellar ASC Award showing over Marco Polo (Netflix). Cernjul topped the We also knew that we will need to shoot helped. I also knew the showrunner Dan Episode of a Regular Se- a lot of slow motion sequences for the Minahan. We worked together a few years ries ASC Award category martial arts scenes so Sony F55 became before in New York. I was very excited to and it’s an honor that’s a logical choice. I normally use the Alexa have had the opportunity to shoot a big close to his heart. “Many and I couldn’t use any of the LUTs I have period costume drama with lots of action, of the cinematographers previously created with my DITs and it it was very different from everything I I studied and admired was a challenge to come up with a LUT have done previously.” since I was a film student, that is right for the show. Eventually we Cernjul’s first career ASC Award nomi- as well as some that are used everything we learned and created nation came in 2012 in the Half-Hour making the most visu- a unique show LUT which was applied to Episodic/Pilot Television category for the ally exciting films today, all our dailies.” “Forget the Herring” episode of Bored To are voting for the ASC The adventure series about famed 13th Death (HBO). Award,” said Cernjul. explorer Polo is from directors and execu- Cernjul additionally has two primetime “This is why the award tive producers Joachim Roenning and Es- Outstanding Cinematography Emmy has such a very special pen Sandberg (who received a 2013 Best nominations to his credit—in 2008 for the

Photo courtesy of The Weinstein Company Weinstein The courtesyPhoto of meaning.” Foreign Language Film Oscar nomina- “Rosemary’s Baby” episode of 30 Rock, The Hateful Eight In terms of the cre- tion for Kon-Tiki), executive producer/ and two years later for the “Apple Bong” the years. While he has yet to win an ASC ative challenges posed to him by “The episode of Nurse Jackie. Award, Richardson has been nominated Fourth Step” episode, Cernjul related, Cernjul initially established himself in 10 times for the honor, starting in 1990 for “We had two full units with two different indie features, the nature of which didn’t Born on the Fourth of July. This was fol- DPs and directors shooting season one seem conducive to his making the transi- lowed by ASC noms in 1992 for JFK, Rob simultaneously. The first episode was still tion to comedy on television. “I remem- Reiner’s A Few Good Men in ‘93 Stone’s being shot while we started filming The ber telling my agent years ago that maybe Heaven and Earth in ‘94, Robert Red- Fourth Step and the challenge was to cre- I should try something different like com- ford’s The Horse Whisperer in ‘99, Snow ate a visual identity of the show without edy. My agent couldn’t believe it, saying Falling on Cedars in 2000, The Aviator in having a pilot to refer to. I worked closely my look was ‘so dark and depressing. No ‘05, Robert De Niro’s The Good Shepherd with the other DP Romain Lecourbass one would ever hire you for comedy.’” in ‘07, Inglourious Basterds in 2010, and and we came up with an initial approach But lo and behold he got a call in 2006 Hugo in 2012. and we were looking at each other’s dai- from director Richard Shepard (Dom While Richardson said his focus re- lies to get inspired by each other. The first Hemingway, HBO’s Girls) who was work- mains shooting creatively ambitious and step was to agree on the color of different ing on the pilot for Ugly Betty. Shepard challenging projects, he continues to take light sources. It was a drama that takes had remembered Cernjul from the two Photo courtesyPhoto of Netflix on occasional select directing gigs via place in the 13th century so we only had A scene from Marco Polo films the cinematographer had in com- Tool of North America, the production three different light sources to play with: creator John Fusco and EP Minahan. petition earlier that year at the Sundance house which represents him as a helmer daylight, moonlight and fire. Once we Roenning and Sandberg are known in Film Festival: Forgiven and Wristcutters: A for commercials and branded content. agreed on how much green or blue we ad industry circles as the directorial duo Love Story. will use for moonlight and how much red Roenberg (handled by production com- “Richard fought for me and I got to Vanja Cernjul or yellow for the fire, we were closer to pany Sandwick Media). shoot the Ugly Betty pilot,” said Cernjul. In February, Vanja Cernjul, ASC, HFS, our own unique look for the show.” Regarding how he got the Marco Polo Continued on page 20

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April 2016 SHOOT 19 CINEMATOGRAPHERS & CAMERAS DeMarco Teams With Director De Felitta On Madoff Continued from page 19 tions with Michael and Jenji about the lard) and Rimmel Cosmetics (with Kate Madoff chronicling the rise and fall of Ber- “When the show became a success, it three distinct looks. We decided to shoot Moss). nie Madoff whose Ponzi scheme bilked opened up a lot of opportunities for me.” the prison life hand held and as close to DeMarco has found additional value in some $65 million from unsuspecting in- One such opportunity was Cernjul natural, existing lighting as possible. his commercialmaking exploits, sharing vestors. shooting 25 episodes of 30 Rock. “We built sets to accommodate this for example that his spot experience was Starring Richard Dreyfuss as Madoff helpful on All Is Lost which centered on and Blythe Danner as his wife Ruth, the Redford in a tour de force performance as project marked DeMarco’s first collabo- a man at sea. ‘ ration with director Raymond De Felitta. “You’re shooting a guy on a boat alone “He’s an actors’ director,” assessed De- with absolute minimal, if no dialogue,” re- Marco of De Felitta. “He has a good idea lated DeMarco. “He reads a letter over a ti- of how things should be shot but as usual tle sequence and cusses once, I think. For I always try to challenge the director to go me, it was like shooting a silent film, get- further. I found him very open to different ting to use the camera and this excellent ideas. We wound up shooting this very actor to convey what’s in his mind so that much like a theatrical feature.” the audience can think what he’s think- Madoff is driven by extensive narration ing. I’ve watched silent films my whole life. from Dreyfuss in character as the sophisti- I’m a big fan of Chaplin, Arbuckle, Lloyd. cated con artist. I’m pretty familiar with this mode of silent “It’s kind of like Scorsese’s Good Fel-

Photo by Daniel Daza/courtesy by Photo of Lionsgate filmmaking.” las where character narration is explain- Robert Redford in All Is Lost DeMarco further observed, “Some of ing what’s happening, meaning that the Later helping to open the door for approach, with natural sources of light. the best commercials are actions, looks, camera has to show you what they’re Cernjul on Orange is the New Black was Life outside prison was a more traditional thoughts—not necessarily words. There’s talking about. In this situation, the camera Michael Trim, a cinematographer turned studio approach with a more controlled an economy of words in 30 seconds so it’s becomes more of an active player or char- director who ended up directing the pilot look, more lit and designed. And for the a great discipline for conveying a lot that’s acter in what’s happening,” observed De- for the breakthrough show as well as a flashbacks to Piper’s previous life, we were unspoken. It was great schooling for work- Marco who opted for the ARRI ALEXA number of selectepisodes. also in a studio mode but the lighting was ing with J.C. on All Is Lost.” to shoot Madoff. Trim and Cernjul have a shared history. more romantic and colorful, a sharp con- During season one of 30 Rock, cinema- trast to her current existence.” tographer Trim had to leave the series for a stretch during which Cernjul filled the Frankie DeMarco void. “Michael brought me up to speed With a filmography spanning features, on 30 Rock, his approach and so on, so TV, commercials and music videos, cine- that I could transition more easily into the matographer Frankie DeMarco is perhaps show,” recalled Cernjul. “We later met at best known for work which has earned the Emmy Awards—he was nominated for him three Independent Spirit Award nom- shooting Weeds and I was nominated for inations for Best Cinematography: direc- Nurse Jackie. We spent some time togeth- tor Larry Fesenden’s Habit in 1998; John er, got to know one another. I joked that he Cameron Mitchell’s Hedwig & The Angry took the Emmy Award from me that year. Inch in 2002; and J.C. Chandor’s All Is Lost He then went on to direct during the final starring Robert Redford in 2014. DeMarco season of Weeds.” also lensed Chandor’s feature filmmaking Trim introduced Cernjul to Orange is debut Margin Call. Blythe Danner (l) and Richard Dreyfuss in Madoff the New Black creator Jenji Kohan. “It The DP’s track record with director DeMarco’s penchant for the advertising The DP additionally deployed older was very early on. Jenji didn’t have a script Mitchell is extensive with Shortbus (2006), industry also encompasses his television Cooke lenses for the portion of the mini- yet—just the book,” recollected Cernjul. Rabbit Hole (2010) and the upcoming exploits which include a pair of episodes series focused on Madoff’s career begin- “Jenji already had a vision of how she How to Talk to Girls at Parties, which stars for the first season of Mad Men—one of nings in the 1980s. wanted to tell the story. She gave me the Nicole Kidman, Elle Fanning and Ruth which was directed by Lesli Linka Glatter. Also in the recent mix for DeMarco is book to read and said she was interested Wilson. DeMarco shot the latter with the DeMarco recalled that his Mad Men gig an ABC pilot, The Jury. “It was a pilot that in three distinct looks for the show. I read ARRI ALEXA, sprinkling in some 16mm was a great experience, particularly get- was more like a movie,” said DeMarco of the book and liked it a lot. It was interest- film lensing for portions of the story set in ting to work with such stellar actors as Jon the TV project which centers on a mur- ing and well written. The three looks were the 1970s. Hamm, John Slattery and Elizabeth Moss. der trial as seen through the eyes of indi- for the three storylines—prison life, life in DeMarco’s working relationship with Generally on the TV front, DeMarco vidual jurors. New York City outside of prison, and flash- director Mitchell also extends to shorter tends not to take on series, gravitating Directed by Neil Burger, The Jury was backs to Piper’s life before prison as part form fare, including commercials for Rev- more to pilots, telefilms and miniseries. written by Mark Bianculli and VJ Boyd, of New York’s middle class. I was fortunate lon (with Emma Stone, Halle Berry, Olivia Among DeMarco’s most recent endeavors and sports a cast which includes Archie enough to get the job and had conversa- Wilde), Lady Dior (featuring Marion Cotil- is the recently aired ABC-TV miniseries Panjabi, Jeremy Sisto and Eve Harlow. 20 SHOOT April 2016 UP-AND-COMING DIRECTORS The Spring Collection

SHOOT’s spring season ensemble of up- myself quitting without another job to go would come to life. I kind of re-conceived and-coming filmmaking talent includes: to. I took some time out. I went to film the film and started learning more about Promising a U.K. ad agency creative director who’s school. I wrote on some shows at the BBC. what I had written. I had originally writ- made a major splash with a short film And so now I have this situation where I ten Lesley because I wanted to get some- Talent Comes he wrote and directed; and a creative di- do a couple of things with my time. thing made. So I stripped everything rector in Portland, Ore., who has landed One such “thing” was the alluded to down to one character, one location and From Agency, production house representation after di- short, titled Lesley, which he wrote and a phone.” recting varied projects on the agency side. directed. The film introduces us to an Ainsley noted, though, that “when it Feature Also in the mix are: a feature art de- aspiring actor who makes a half-hearted came to directing, this set-up was more Spartment veteran who’s come up the attempt to get away from civilization by challenging than I had expected. First of Filmmaking, Art ranks, successfully transitioning to the trekking to a remote forest. However his all, we were lugging equipment through a director’s chair with his feature filmmak- escape is only partial as he’s tethered to forest. But also, I was relying on one actor. Direction and ing debut unspooling at last month’s the big city and his acting career via a cell I had no one to cut to. Luckily, he was re- South by Southwest Festival; a duo whose phone, which offers intermittent service ally great. I knew his voice and had writ- Experimental experimental film fare in Paris is gaining in the great wild. He’s either calling or be- ten it with him in mind, so it felt right.” momentum in the ad arena; and a feature ing called by Lesley, presumably his talent Also contributing to that “right” feel- Sectors director who scored his first commercial- agent and friend. ing were Ainsley’s many years of experi- making gig, which rolled out during this Production company Blink produced ence collaborating as a creative with tal- year’s Super Bowl telecast. Lesley. “I’m not repped by Blink,” said ented filmmakers. “I’m lucky enough to Here’s our spring collection of some Ainsley who at this point has no produc- have worked with some directors that I By Robert Goldrich promising directors to watch. tion house affiliation. “I’ve just worked really admire and I suppose when you’re with them a lot and they’re really great. a creative you get to mooch about on set Craig Ainsley I had this script that I’d written. I had the and stick your nose into many aspects. Three days a week, Craig Ainsley actor [Arnab Chanda] involved already And you’re involved in the whole pro- works as a creative director at Anomaly because I’d written it for him, and I was cess, from writing right through to post, London, a schedule which allows him to trying to get someone to make it. So I so you learn certain things. Luckily, at the accommodate other endeavors ranging showed it to [EP] James Bland at Blink same time I was prepping, I was working From far left, clockwise: director from serving as a BBC TV comedy series and he said, ‘why don’t you make it?’ with Ringan Ledwidge—he was directing Luke Greenfield; the directing duo writer to recently making his directorial “So then I panicked and started from an advert I had written. So I pestered him Cokau; a scene from The Waiting, the debut with a well-received short film. scratch, prepping as much as I could,” re- during the shoot and picked his brain and feature directorial debut of Kasra “I used to work full-time as a creative called Ainsley. “It was actually a lot of fun probably really annoyed him, but he was Farahani; Craig Ainsley; a short at Mother London. It was brilliant there going through the script again and think- pretty damn helpful.” introducing Vicis’ Zerol football and I learnt a lot, but one day I just found ing not just about the writing, but how it Continued on page 22 helmet; and director Travis Hanour April 2016 SHOOT 21 UP-AND-COMING DIRECTORS Chromista’s Farahani, Anonymous’ Greenfield Make Continued from page 21 ing education,” continued Farahani alties of a bodyguard entrusted with the vitations to direct other projects, spurring Ainsley has worked as an ad creative for who’s used these learning experiences protection of a dubious world leader. Coquerel and Kauffmann to form their about a decade, starting at St. Luke’s and in the art department as a path to the di- A prior Farahani short, Noon, marked own studio, Cokau Lab in Paris. coming to realize that he prefers smaller rector’s chair, most recently culminating his debut as a writer/director. The 2013 The Cokau duo went on to put its independent agencies. As for how the ex- in his feature helming debut The Wait- sci-fi short, upon its premiere online, was graphic signature across varied work perience of making Lesley has impacted ing, which made its world premiere last optioned by Chernin Entertainment and for the likes of Mercedes-Benz, Pernot him, Ainsley noted that he has since had month at the SXSW Festival. The Waiting Twentieth Century Fox where it is cur- Ricard, L’Oreal, Infiniti, and Yves Saint- “some offers of help to make another is a thriller about two high school film- rently in feature development. Laurent. Cokau’s fusion of editing, mo- short film, so I’m going to do that. I was makers, portrayed by Keir Gilchrist and The success of Noon and Concerning tion design and sound design with their actually due to shoot my first commercial Logan Miller, who try to convince an the Bodyguard also demonstrates Farah- live action is a prime driving dynamic recently, but as is the way sometimes in unsuspecting neighbor (James Caan) into ani’s expertise in short-form storytelling, behind their films. our industry, the whole project is dead in thinking his home is haunted. which he hopes to parlay into a career as A French piece for Nissan’s Pulsar a ditch somewhere. A production compa- Farahani said he was drawn to the a commercials director through Chrom- showcases how folks can personalize the ny affiliation would be great, but I’m just ista, the production house launched in look of their automobile—and captures going to carry on making films that I feel 2013 by director Darren Aronofsky (a how they feel as a result. Titled “Person- are fun and see what happens.” Best Director Oscar nominee for Black alization,” the meticulously designed spot Ainsley shared, “I made Lesley because Swan), and EPs Sandy Haddad, Ted Rob- is a visceral experience for which Cokau I liked the idea and I wanted to make bins and Scott Franklin. Farahani noted tapped into its digital wherewithal for something. But I kind of thought that I’d that Aronofsky “is also an alumnus of TBWA Paris. put it on the Internet and then everyone the MoMA New Directors/New Films Also in the car arena, Cokau wrapped would just call me an asshole in the com- program and it’s that sense of filmmaking a Volkswagen spot shot in Shanghai for ments, because, well, it’s the Internet. that has shaped Chromista. Commercials the Chinese market, meshing live-action But that didn’t happen. Nowness.com and the emergence of branded content reflections of the Coupe GTE with CG en- premiered it and Vimeo made it a Staff give great narrative value to the short hancements, bringing a new dynamic feel Pick. And some people wrote to me out form. Sometimes there are emotional to sheet metal photography. of the blue to say nice things. One person spaces you want to be in only for a shorter The blending of different production even sent some fan art—a painting, which Kasra Farahani amount of time—branded entertainment disciplines is additionally evident in a I think is a really cool painting. The fact script for The Waiting, penned by Mark allows for that.” promo spot for Biotherm’s Aquasource that some people liked Lesley or connect- Bianculli and Jeff Richard. “This is not a moisturizer which incorporates exper- ed to it makes me excited to direct again.” tawdry or exploitative story. It has some- Cokau tise in tabletop, live action, and fashion/ thing to say that’s worth hearing—some- The Devil You Know—a Santa Monica, beauty. “We didn’t want to do the water Kasra Farahani thing I can add to the conversation about Calif.-headquartered integrated produc- via CGI,” explained Coquerel. “We love “Art directing on a major studio mo- the modern world,” related Farahani. tion house founded by executive produc- to shoot everything as real as we can, tion picture is the best film school any- “We’re in a time when adolescence and ers Don Block and Simon Wallon last with water churning and flowing into the one can have,” assessed Kasra Farahani technology have converged. Teenagers summer—recently brought the Cokau moisturizer jar. The nature of shooting whose work in the art department has are staggeringly intelligent and adept duo consisting of Achille Coquerel and in the studio and working with real ele- had him collaborating with the likes of technologically. They can do so much at Thomas Kauffmann aboard its directorial ments often lends itself to happy surprises David Fincher (Farahani served as con- such a young age. They can shoot and roster for exclusive U.S. representation. which we love.” ceptual illustrator on The Curious Case of edit a film in middle school. But all this The signing is in line with the company The norm for Cokau’s international Benjamin Button), Steven Spielberg (as- doesn’t mean they have fully developed mantra of connecting with artists from work initially had the duo handling not sistant art director on The Terminal), Tim brains. They haven’t cultivated empathy. varied disciplines and bringing their only production but the entire postpro- Burton (assistant art director on Alice in There are habits and behavior that are talent to bear in commercials, branded duction process. But Kauffmann noted Wonderland), Sam Raimi (concept artist stifling the cultivation of empathy more content, and other forms of filmmaking that this has changed to better enable on Spider-Man 3), Michael Mann (con- than ever before.” across different platforms. Cokau to take on more assignments as a ceptual illustrator on the feature Miami The Waiting is just part of what’s been Coquerel and Kauffmann met in 2006 separate editor drives the post, bringing Vice), Barry Sonnenfeld (art director on a fruitful month of March for Farahani and worked together for several years as another perspective and dimension to Men In Black 3) and JJ Abrams. For the who has also seen his short film Concern- editor and motion designer in a Parisian projects. This way of working is also more latter, Farahani was an art director on Star ing the Bodyguard honored at MOMA’s audiovisual studio. They began directing in line, he reasoned, with the stateside Trek Into Darkness, part of a team which 45th annual New Directors/New Films in 2010 as Cokau and produced numer- modus operandi. earned an Art Directors Guild Excellence event in New York. Concerning the Body- ous experimental videos pushing creative Kauffmann and Coquerel aspire to In Production Design Award nomination. guard debuted at last year’s Toronto Film and visual boundaries. step up their activity in the U.S. The Devil “Interpreting the written word and Festival where it was seen by a MoMA In 2012, Cokau won the Vimeo Award You Know is looking to meaningfully translating it into the world in which the curator, leading to its selection for the for best experimental video on the introduce the Paris-based Cokau to the story takes place, solving all sorts of cre- MoMA showcase. Based on a short story strength of Prie Dieu which captured the American ad market. Cokau continues to ative problems, the practical aspects of by Donald Barthelme, Concerning the fantastical world of the preying mantis be handled in the U.K. by Bang TV and picking locations and doing ambitious Bodyguard explores dictatorship and and other insects. The whimsical, visually in France via Gang Films for spots and stage builds, makes for a great filmmak- overthrow through the thoughts and loy- arresting short served as a catalyst for in- branded content. 22 SHOOT April 2016 UP-AND-COMING Hot Locations Reed to keynote AFCI’s Global Finance Conference The Association of Film Commissioners International (AFCI) has Major First Impression set its keynote speaker and confirmed panelists for its first-ever Global Finance Conference taking place during its Locations & Kauffman said that he and Coquerel Shock Top opportunity. He credited such Global Finance Show, April 21 – 23, in Burbank, Calif. Jason Reed, feel an affinity for Block and Wallon, key contributors as EP Gina Zapata of executive producer of the ABC TV Network series Of Kings and which figured heavily in the directors’ Anonymous Content, Anheuser-Busch Prophets, filmed in South Africa, will deliver the keynote address. decision to join The Devil You Know. entertainment marketing exec Jim Hol- Jason Reed Reed is scheduled to speak on Friday, April 22 at 9:30 a.m. with a “We also love the fact that there aren’t too leran, and TJ Miller himself. Miller has keynote address focusing on his international experience with co- many directors on the roster, that there gained plaudits for his role as Erlich production and utilizing incentives. Reed previously served as the general manager is a real link between the producers and Bachman in the HBO comedy series Sili- of Walt Disney Studios International Production, a division focused on producing in directors at the company plus we love the con Valley. “I had worked with TJ before, China, Russia, India and the Middle East. work of the other directors here. They briefly years and years ago on a TV pilot International film finance leaders from China, Latin America and India will pres- don’t do exactly what we do so there’s no when he was just breaking out as this ent, discuss co-production opportunities in their territories and present an array of conflict. Instead there’s more of a comple- new wild comedian,” recalled Greenfield. multiple funding sources. Confirmed Global Finance panelists at the AFCI Locations mentary feel.” “He has become one of the most gifted & Global Finance Show include: Rick Ambros, partner at both Lightsource Asia Media Group and Benchmark Studios; Catherine Bates, head of incentives, New Zealand Film Cokau’s commercialmaking and other comic actors out there—and I think we’re Commission; Robert Cain, partner, Lightsource Asia Media Group, and president of Pa- paid gigs finance their ongoing personal going to find that he’s capable of much cific Bridge Pictures; Aoni Ma, COO, Film Finances Asia; Raghav Mani, global media and projects at Cokau Lab. The duo has spent more than comedy. It’s just a matter of entertainment knowledge leader, Ernst & Young; Arnold Peter, founding partner, Peter the past year-plus on an undisclosed digi- time before film studios and networks see Law Group; and Steve Solot, president of the Latin American Training Center. tal interactive experience which is sched- him for his dramatic talents as well.” uled for release in the next month or so. Holleran is a friend of Greenfield. “Jim FLICS sets new leadership team knew I enjoyed Shock Top and asked if I Film Liaisons In California Statewide (FLICS)—the coalition of 42 regional film offic- Luke Greenfield would be interested in doing a campaign es working together to enhance California’s status as the film/TV production capital— For director Luke Greenfield, breaking for the brand,” recalled Greenfield. “I had has put its new leadership team in place for 2016. The new FLICS board includes: Presi- into feature films proved easier than es- been trying to get meaningfully into com- dent—Cassandra Hesseltine (Humboldt-Del Norte Film Commissioner); VP—Geoff tablishing himself as a commercialmaker. mercials since I got out of film school. I Alexander (Santa Barbara Film Commissioner); Secretary—Alicia Vennos (Mono Film His movie career was catapulted by the told him, ‘tell me when and where and Commissioner); Treasurer—Tasha Day (Long Beach Film Commissioner); and Immedi- breakout hit teen comedy The Girl Next I’ll be there.’”And Zapata, said Green- ate Past President—Janice Arrington (Orange County Film Commissioner) Door, a 2004 release that launched the field, “has believed in me and my ability After playing a key role advocating passage of California’s expanded film and TV tax careers of Emile Hirsch, Olivia Wilde, to translate my filmmaking successfully credit program, FLICS and its 2016 leadership team are focused on finding new ways to Paul Dano and Elisha Cuthbert. Green- into commercials for some time.” Zapata ensure California retains and attracts production. field’s other film credits over the years first connected with Greenfield at Won- include Let’s Be Cops, Role Models and dros, They then again came together at NY State Launches Film Good/Do Good Initiative Something Borrowed. He diversified into Anonymous Content. Empire State Development (ESD) and the New York State Commission on National TV with a couple episodes of the critically The Shock Top experience also re- and Community Service announced the launch of Film Good/Do Good, a first-of-its- acclaimed series Aliens in America. And lieved any anxiety Greenfield had about kind partnership that will connect film and television productions with volunteer currently he is attached to direct several commercialmaking. “All my filmmaker service opportunities throughout NY State. The program will encourage cast and crew other features as well as a cable TV series buddies and friends who were doing members to volunteer at non-profit organizations that are fighting hunger, homeless- he’s created, The Greener Grass. commercials told me these horror sto- ness and other root causes of poverty in some of the state’s neediest neighborhoods. But while he has long eyed commer- ries about creative clashes and politics. “We attract film and television productions from around the world to shoot in New cialmaking, dating back to when he was But my experience on Shock Top with York State, and today we are launching a program to help them lift up the communities a young student “pounding on the doors the creatives at Anomaly Toronto was ex- in which they film,” ESD president, CEO and commissioner Howard Zemsky said. of Propaganda, RSA and Satellite in the tremely positive. We had the same sense Hillarie Logan-Dechene, chair, New York State Commission on National and Com- 1990s,” it wasn’t until this year—via Anon- of humor, the same kinds of goals, and munity Service, said, “This program will bring volunteers with specific skills to commu- ymous Content—that Greenfield entered worked cooperatively towards helping nities where those skills are needed. Craft services workers can cook nutritious meals the ad arena, auspiciously on the indus- the campaign stand out from the other at a soup kitchen and teach the basics of cooking on a budget. Skilled carpenters can try’s biggest stage with the wryly come- more massively budgeted Super Bowl train and assist neighborhoods to build safe and inviting playgrounds for their chil- dic Super Bowl spots featuring TJ Miller commercials. It was like working well col- dren. Expert programmers can create modern online tools that will help nonprofits for InBev/Anheuser-Busch’s Shock Top laboratively with a co-writer on a movie.” reach those needing assistance. The impact will be significant.” brew. “I’ve had a deep respect for years for Greenfield is no stranger to short-form The New York State Commission on National and Community Service will hire a the big commercial directors like Adrian fare. Upon graduating from USC Film consultant to help develop and coordinate the program. Film Good/Do Good will be part of the Commission’s Volunteer Generation program, which focuses on using vol- Lyne, Mark Pellington, Craig Gillespie, School, he sought a means to showcase unteers to combat poverty. It is funded in part by a grant from the Corporation for Na- David Fincher and Ridley Scott. Their his filmmaking sensibilities to the market tional and Community Service in Washington. work gives me chills and they all went on at large. That calling card turned out to be The Governor’s Office of Motion Picture & Television Development, a division of to feature film success,” said Greenfield The Right Hook, a short film focused on a ESD, will partner with the Commission to shape Film Good/Do Good into a one-stop who ironically is seeking diversification guy’s fears of approaching single women shop for productions interested in contributing to local communities above and be- in the other direction, adding spotmak- at bars and clubs. The short delves into yond the economic impact of hiring local businesses and vendors, and employing ing to his feature exploits. what’s the best “hook” or line to break background actors and crew members. Any film or television show shooting in New Several dynamics fell into place to the ice. The Right Hook went on to win York State may participate in Film Good/Do Good. translate into Greenfield landing the Continued on page 29 April 2016 SHOOT 23 TOP TEN TRACKS MUSIC & SOUND TITLE MUSIC/SOUND AUDIO POST AGENCY PRODUCTION Fiat Chrysler Hum Music, Santa Monica, Calif. Cutting Room, New York iris Worldwide, New York Catch&Release, bicoastal Automobiles/Jeep’s Track Title: “Aerial”; Kristin Dyrudm composer; Jim Cox, performer; Scott Glenn, creative Walter Bianco, mixer (creative research, clearances & “Portraits” director; Debbi Landon, exec producer; Jeff Koz, executive creative director. licensing services) 60-plus photographs take a look 1 back at Jeep’s historical influence in the military as well as our CLICK HERE TO VIEW SPOT > culture. Audi’s “The Song: “Starman” by David Bowie Formosa, West Hollywood, Calif. Venables Bell & Partners, San MJZ, bicoastal/international Commander” Agoraphone, New York John Bolen, mixer Francisco Craig Gillespie, director Dawn Sutter Madell, music supervisor 740 Sound Design, Los Angeles 2 Chris Pinkston, Rob Marshall, sound designers; Scott Ganary, exec producer; Jeff Martin, producer. CLICK HERE TO VIEW SPOT > Honda Ridgeline’s “New “Somebody to Love” Lime Studios, Santa Monica, Calif. RPA, Santa Monica Hungry Man, bicoastal Truck To Love” Written by Freddie Mercury, 1976 Queen Music LTD. All Rights controlled by EMI Music Dave Wagg, mixer; Susie Boyajan, exec Bryan Buckley, director Publishing, administered by Sony/ATV Music Publishing. Performed by Queen. Courtesy producer of Hollywood Records. 3 Beacon Street Studios, Venice, Calif. (record & sound design) Adrea Lavezzoli, exec producer; Brian Chapman, sound designer CLICK HERE TO VIEW SPOT >

M&Ms’ “Candy Man” Modern remix of Sammy Davis Jr.’s “The Candy Man” song Sound Lounge, New York BBDO New York Smuggler, bicoastal (music video) Zedd, EDM artist and producer; Aloe Blacc, singer Tom Jucarone, engineer; Kate Albers, Melissa Chester, executive music Stylewar, director Celebrity Talent, Music Licensing, and IP Rights Acquisition Brad Sheehan/The producer. producer 4 Marketing Arm CLICK HERE TO VIEW SPOT > Facebook’s “Three Yessian New York Yessian New York Facebook, Menlo Park, Calif., and TwinGroup, Munich Million Advertisers” Brian Yessian, chief creative officer; Marlene Bartos, exec producer; Emily Smith, sr. Weston Fonger, mixer New York Esteban, director 5 producer; Naren Rauch, composer; Weston Fonger, sound designer. CLICK HERE TO VIEW SPOT >

Under Armour’s “Rule “The Last Goodbye” by The Kills Sound Lounge, New York Droga5, New York Epoch Films, bicoastal Yourself|Michael Q Department, New York (sound design) Chris Azfal, mixer Martin de Thurah, director 6 Phelps” CLICK HERE TO VIEW SPOT > Intel’s “Anthem” Musikvergnuegen, Glendale, Calif. Sonic Union, New York mcgarrybowen, New York Superprime, Culver City, Calif. Song: “Symphony In Blue”; Walter Werzowa, John Luker, composers/arrangers/orches- Michael Marinelli, engineer; Justine Cortale, Jean Scofield, sr. music producer Samuel Bayer, director trators; Alan Steinberger, orchestrator. studio director. Wiener Musikverein, Vienna, Austria 7 recording studio Capitol Studios, Los Angeles CLICK HERE TO VIEW SPOT > Mixed by Dennis Sands; Mastered by Robert Vosgien Zillow’s “Home Is” Elias, bicoastal Barking Owl, Los Angeles Deutsch LA Epoch Films Jonathan Elias, composer; Vicenzo LoRusso, music executive creative director; Vicki Patrick Navarre, mixer; Morgan Johnson, Dave Rocco, music director Jeff Preiss, director Ordeshook, music executive producer; Katie Overcash, music head of production assistant mixer Barking Owl, Los Angeles 8 Michael Anastasi, sound designer CLICK HERE TO VIEW SPOT >

Gatorade’s “Messi Don’t Barking Owl, Los Angeles Formosa, West Hollywood, Calif. TBWA\Chiat\Day Los Angeles Imperial Woodpecker Go Down” Kelly Bayett, creative director; KC Dossett, producer. John Bolen, mixer; Hermann Thumann, Stuart McIntyre, director stimmung, Santa Monica, Calif. second mixer; Lauren Cascio, exec producer 9 Gus Koven, sound designer; Kristina Iwankiw, producer CLICK HERE TO VIEW SPOT >

National Basketball “(You’ve Got) The Magic Touch,” performed by The Platters Heard City, New York Translation, New York Arts & Sciences, Association’s “Hands” Phil Loeb, mixer; Gloria Pitagorsky, exec West Hollywood, Calif. 10 producer; Sasha Awn, producer Matt Aselton, director CLICK HERE TO VIEW SPOT >

24 SHOOT April 2016 Music Notes MUSIC & SOUND Lennertz Scores My Big Fat Greek Wedding 2 Composer Christopher Lennertz (Agent Carter, Horrible Bosses) scored My Big Fat Greek Wedding 2, the much anticipated follow-up to one of the highest-grossing Hum Scores Jeep’s “Portraits” romantic comedies of all time. The film opened in theaters last week (3/25). Directed by Kirk Jones (Nanny McPhee, Waking Ned Devine), the film shows a Ad headlines quarterly Top Ten Tracks Chart Portokalos family secret that will bring everyone back together for an even big- ger and “Greeker” wedding. Written by Academy Award nominee Nia Vardalos A SHOOT Staff Report that we felt would amplify the emotional (nominated for Best Original Screenplay for One of the highlights of this year’s Su- resonance of the spot. As such, we sent a the original My Big Fat Greek Wedding), who also per Bowl was “Portraits,” a stirring ad for diverse range of tracks for iris to use for stars alongside John Corbett, Rita Wilson, and Jeep with more than 60 curated images their pitch and for their edit. much of the returning cast, the sequel movie ranging from everyday people to celebs, “The HUM team was thrilled with iris’s tabbed Lennertz for music. For inspiration, the from pop culture to historic moments. selection as this composition [‘Aerial’] had Christopher Lennertz composer cited his Sicilian roots and family. The images unfold to narration which been one of our very favorites,” contin- Lennertz said of the sequel, “This is both funny, full of heart and the ethnic na- reads, “I’ve seen things no man should ued Glenn. “Additionally, it was created by ture of it is really touching. I come from a big Italian family on my mother’s side, bear. And those that every man should one of our very own in-house composers so this felt familiar to me. Being able to continue this story and take it further in dare. From the beaches of Normandy, to [Dyrud], a singular talent who has lent her a more emotional direction with their daughter was special to me. I have two, so the far reaches of the Earth...I’ve faced the music to many high-profile campaigns as I could really relate.” faces of fear and fortitude, and witnessed well as to television and film.” In addition to incorporating traditional instruments, Lennertz used Greek in- great beauty in the making. I’ve kept the Still the track carried an inherent struments in various unconventional ways to give a subconscious feeling of the company of kings and queens but I’m challenge, said Glenn. “Since this piece ethnic influence. “I didn’t write just Greek music,” Lennertz said. “I wrote music no royalty or saint. I’ve traveled, trekked, of music existed before the spot was cre- that concentrated solely on the emotion of the characters, and augmented ev- wandered and roamed only to find myself ated, it required some customized adjust- erything with Bazouki and Baglama instruments. The first cue I wrote was when right where I belong.” ments to work with the final ‘Portraits’ Nia finds her glasses at Zorba’s after a very long time. It was a perfect place to A parting super conveys the simple :60. This proved somewhat challenging, establish the film’s main theme, and really define her emotional arc in the film. message: “We don’t make Jeep. You do.” because what makes this piece of music We used a medium sized orchestra of strings, winds, and recorded overseas for Conceived by NY agency iris World- so uniquely powerful is the way in which the majority of the score.” wide, “Portraits” pays homage to the the piano arpeggio accelerates and decel- Lennertz has another theatrical release in the offing. He scored Universal’s Jeep brand on its 75th year anniversary, erates while all along still maintaining a The Boss, a comedy starring Melissa McCarthy, which goes wide on April 8. carrying a reflective tone which stood sense of meter within the track. It’s this out during the Super Bowl. Contributing very quality that strongly contributes to Butter Boards “Food Truck” for Bud Light significantly to this feel was a score from the beautifully tumultuous human emo- Butter Music + Sound teamed with Wieden+Kennedy New York and Caviar Hum Music employing the existing track tion encapsulated within the music. This LA directors Neal Brennan and Evan Goldberg to visualize America’s diversity “Aerial.” The Hum ensemble included ‘bending of time,’ to use a term that iris through the eclectic range of culinary options at our fingertips in the new :30 composer Kristin Dyrud, creative direc- coined to describe such flexible pacing, “Bud Light Party: Food Truck” for Bud Light that debuted during the recent tor Scott Glenn, EP Debbi Landon and is very much a reflection of the original Oscar telecast on ABC. In the spot, Bud Light Party political candidates Amy executive creative director Jeff Koz. composer’s personal sense of feel, the nu- Schumer and Seth Rogen are joined by actor and “Super-delegate” Michael Glenn noted that “iris reached out to ance of which is not so easy to rerecord, Peña in exploring America’s diversity through a “Korean taco of togetherness,” Hum during the pitch phrase after de- which nonetheless was essential for the an “everything bagel of unity,” a “gumbo of coexistence” and more, until the veloping the concept for ‘Portraits’ and spot. Knowing this would prove challeng- spokespeople simply cannot handle any more melting pot references--or food sharing boards with our team. They de- ing, we brought in a brilliant studio and in their stomachs. scribed the emotion they were looking to concert pianist for a custom performance, The Butter ensemble on “Food Truck” included composer/creative director convey with the music that would accom- making sure that the ebb and flow of the Joel Dean, CCO Andrew Sherman, EP Ian Jeffreys and producer Ryan Faucett. pany the visuals, but they were also very music would work in conjunction with open to hearing any other ideas HUM had the visual and voiceover narrative.”

April 2016 SHOOT 25 TOP TEN VISUAL EFFECTS & ANIMATION TITLE VISUAL EFFECTS/ANIMATION AGENCY PRODUCTION UNICEF’s House of Colors, Los Angeles 180LA House of Colors, Los Angeles Malak and the Adhemas Batista, designer/character/storyboards/concept art; André Holzmeister, script, director, CGI, visual direction, character; Jonathan Marshall, Andre Holzmeister, director Boat (short character/concept art/storyboards; Ricardo Almeida, Guilherme Neder, animatic; Luiz Abud, project manager; Rodrigo Henrique, render wrangler film) (Rendering sponsored by RebusFarm GmbH/Reederservice) 1 (Toolbox: 3D Studio Max, After Effects, Corona Renderer, Zbrush, Rebusfarm) CLICK HERE TO VIEW SPOT >

Great Clips’ Jamie Shannon, puppetmaster Periscope, Minneapolis MJZ, bicoastal/international “Benny & hutchco/serious electronics, Los Angeles The Perlorian Brothers, directors Lenny” Austin Hickman-Fain, VFX artist 2 (Toolbox: Adobe Premiere Pro, After Effects, Photoshop, Mocha Pro) CLICK HERE TO VIEW SPOT > Mars/Snickers’ The Mill New York BBDO New York O Positive, bicoastal “Marilyn” Adam Isidore, exec producer; Michael Scarcella, producer; Nathan Kane, VFX supervisor/2D lead artist; Heather Kennedy, 2D artist; Aran Quinn, Jim Jenkins, director designer; Fergus McCall, colorist. 3 (Toolbox: Flame, Nuke, After Effects, Baselight) CLICK HERE TO VIEW SPOT > letgo’s Method Studios LA CP+B, Miami MJZ, bicoastal/international “Space” Stephanie Gilgar, sr. executive producer; Michelle Machado, sr. producer; Ben Walsh, VFX supervisor; Ian Holland, compositor Craig Gillespie, director 4 (Toolbox: Maya, Mari, VRay, Houdini, Mantra, Flame Nuke) CLICK HERE TO VIEW SPOT > Coca-Cola’s Luma Pictures, Santa Monica, Calif. Vincent Cirelli, sr. VFX supervisor; Jay Lichtman, managing dir; Louisa Cartwright, Michael Wieden+Kennedy, Portland, Ore. Bullitt, West Hollywood, Calif. “Coke Mini” Perdew, producers; Matt Lydecker, CD; Justin Johnson, digital FX; Raphael A. Pimentel, animation dir; Jared Simeth, Brendan Seals, Loïc Zimmermann, Anthony Russo, Joe Russo, Alexandre Cancado, Andrew Zink, Oded Raz, Pavel Pranevsky, Thanapoom Siripopungul, supervisors; Catherine Hughes, Justin Porter, Beth Senn, directors Cole Darby, Sheldon Neill, Timothy Bond, Celine Lam, Austin Baker, prodn; Daniel Kepler, Andrew Kalicki, tech coordinators; James Waterson, David 5 Larochelle, Michaela Danby, Chris Fung, Christopher Miller, Garrett Wycoff, Gregory Ng, Joe Censoplano, Joey Sila, Jun Eun Kim, Marc Schoenbeck, Mat- thias Dolphens, Michael Yates, Jonathan Harkes, Will Lovett, Cameron Sorgi, Andrew Alevizos, Christian Salvador, Marcel Martins, Matt Bacon, Meagan CLICK HERE TO VIEW SPOT > Green, Shawn Sahara, compositors; Claire Pereira de Souza, Flame. (Toolbox: Maya, Arnold, Nuke, Flame, Houdini, Mari, Zbrush, PF Track) St. John Blinkink, London BBH London Blinkink, Londonn Ambulance’s Becky & Joe (Becky Sloan and Joseph Pelling), directors; Joseph Pelling, character design; Rose Popham, art director; Jonny Sabbagh, Will Harper, pup- Becky & Joe (Becky Sloan and The Impossible pets build, puppeteers; Becky Sloan, puppets build; Baker Terry, puppeteer; Simon Cartwright, puppeteer; Steph Bolduc, Isobel Irwin, art department; Joseph Pelling), directors Nursery Rhyme Daniel Britt, 2D backgrounds & animation. 6 (short film) (Toolbox: After Effects) CLICK HERE TO VIEW SPOT > Morton Salt’s Blacklist, New York; Studio AKA, London none Blacklist, New York; Studio AKA, Neighbors Marc Craste, director (Studio AKA); Olga Stern, art direction; Steve Small, character design. Adina Sales, executive producer (Blacklist); Solana Payne, London (short film) Justin Harris, producers (Blacklist). 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Element X Embarks On Oreo Adventure For Chili’s Nice Shoes Competes With Five Projects at SXSW Dallas advertising agency, MindHandle, tapped animation shop Element X to create a new NYC-based post house Nice Shoes collaborated with a talented array of filmmakers and crea- spot celebrating the reintroduction of one of Chili’s most requested items. tives on five pieces in competition at the 2016 SXSW Film Festival. Editor Gabriel Britz Brings Storytelling Skills To Stitch FxFactory Debuts Color Constancy Plugin for Final Cut Pro X Editor Gabriel Britz, who revels in a tale well told, has joined the roster at the L.A.-based creative FFxFactory announced an industry-first digital color processing algorithm that processes editorial shop Stitch. digital video imagery to appear as it would as seen through the human eye - Xe8472. Cortex Debuts IMF Support, Dead Pixel Detection/Correction, Dolby Top UK Colorist Adam Inglis Launches U.S. Career Via Post Factory NY Vision Support, UpRes to 4K, Edit Tool British colorist Adam Inglis, whose credits include such features as Far From the Madding At NAB 2016, MTI Film will launch the latest version of its groundbreaking dailies and media Crowd, Mr. Turner and Sherlock Holmes: A Game of Shadows, as well as the television mini-series management software Cortex with new features for IMF deliveries, dead pixel correction, Wolf Hall, has allied with Post FactoryNY, a SIM Group company, for U.S.-based feature and tv Dolby Vision, 4K up-resing and editing, as well as many UI improvements. projects. Indie Film Star Mel England Joins “Child Of The ‘70s” Ditch Welcomes New Editor Aaron Nelson; Promotes Ben Thompson Indie film star Mel England (“Ron and Laura Take Back America”) has joined the cast of the hit Ditch Owner/Editor Brody Howard has expanded the company’s talent roster by welcoming TV series “Child of the 70s” written by and starring Michael Vaccaro. Creative Editor Aaron Nelson and promoting long-time Assistant Editor Ben Thompson to a “Teachers” Web Series Director and Developer Matt Miller Talks Direct- full Creative Editor position. This expansion comes just on the heels of Howard entering into a ing for Web Series, Spots and More new partnership to launch the new interactive studio Ditch Creative. Over the past 15 years, Matt Miller has built a very successful career as a stage director in Lance Acord Directs Oscar-Worthy Acceptance Speeches for Kohl’s Chicago. His critically acclaimed production of The Seafarer for Seanachai Theatre received four Park Pictures director Lance Acord and Anomaly New York employ lip-synched Oscar accept- stars from the Chicago Tribune, two extensions, and a Jeff Award for Best Ensemble... ance speeches delivered by regular people in a humorous new campaign for Kohl’s. dick clark Screening Room Adds 4K Digital, Partners with Riverbed Post ShotOnWhat? Becomes Production Industry’s Go-To Site For Tech Data dick clark productions Screening Room (DCPSR) and Riverbed Post are now co-located to Motion picture and television professionals hungry to know what gear was used to shoot the jointly provide a wide range of services for feature film post-production and presentation. latest Star Wars epic or Netflix’s hottest new show are quickly turning ShotOnWhat? DCPSR contributes its ultra well-appointed 21-seat theater and associated rooms at Lantana, New IT Staffing Agency Breed Connects Entertainment Industry Compa- as well as it’s just installed Christie CP-4220 4K Digital Cinema projector and other 4K upgrades. nies with Tech Talent Riverbed’s Chris F. Woods manages... Breed, a technical staffing agency focused on recruiting tech talent for careers in the entertain- Conceptual Design Studio Leviathan Adds Talent ment industry, has launched in Los Angeles. President Chad Hutson, executive creative director Jason White and their colleagues at Graeme Parcher Joins SIM Digital, LA, as GM conceptual design studio Leviathan are very proud to announce the addition of associate pro- The SIM Group has appointed former Kodak executive Graeme Parcher as GM of the Los An- ducer Erica Grubman, editor Kirill Mazor and creative developer geles office of its SIM Digital division, a supplier of camera systems Chris Hall. and related gear to motion picture and tv productions. FuseFX Goes To War Toot Your Own Horn! AMC’s critically acclaimed Revolutionary War drama TURN: Veteran Industry Exec Reid Burns Joins Cognition Washington’s Spies transports viewers back to the cities, villages, Hybrid post production facility Cognition has appointed Reid plantations and battlefields of colonial America. Burns as President of Post Production. publicity wire Blackmagic Design Announces URSA Mini 4.6K Jordan Brady Rolls Into ‘I Am Battle Comic’ on a Tour for U.S. Troops and Micro Cinema Camera Now Shipping pr.SHOOTonline.c Blackmagic Design announced that Blackmagic URSA Mini 4.6K It is a commonly held belief that few things are more terrifying and the Blackmagic Micro Cinema Camera have commenced shipping and that the specifica- than telling jokes in front of a roomful of strangers. Filmmaker Jordan Brady, director of the tions of the two cameras have been changed. seminal standup docs I AM COMIC and I AM ROAD COMIC, ups the ante this month when Lucky Post’s Logan Hefflefinger Finds Infinite Possibilities With Fiat Toro he begins filming I AM BATTLE COMIC, a documentary that will take Brady and a squadron of Fiat Toro’s new spot for Brazil is a symphonic fusion of moments that express the wonder of stand-ups overseas to perform for troops serving in the U.S .Armed Forces. “Infinite Possibilities.” Lucky Post’s Logan Hefflefinger traveled to Brazil along with The Richards Ripcord Creative Creates Epic Super Bowl Open For CBS Sports Group creatives Tim Tone, David Morring and director Warren Fischer to capture life’s rich Ripcord Creative recently worked with CBS Sports to create the celebrity-driven Game Open pageant ... (or “Tease” ) for Super Bowl 50. The promotional centerpiece of the pre-game broadcast, it FxFactory and Dashwood Cinema Solutions Will Debut New Cinematic highlighted the significance of the game not only to American culture, but also to the players 360VR Post Production Tools at NAB 2016 who earned their spot on professional football’s largest stage. FxFactory and Dashwood Cinema Solutions , creators of award-winning Mac OS X apps and Mobius Awards Announces 8 Best of Show Awards post production plugins, have partnered to debut updated and new 360-degree Three Paris agencies are among the eight Best of Show-Grand Prix winners in the 2015 Mobius FxFactory Partners with CrumplePop to Deliver Audio Plugins Awards international competition. Other winners come from Germany, United Kingdom, FxFactory announced it has partnered with CrumplePop to deliver powerful, simple audio United States, Amsterdam and Melbourne, Australia. plugins for Final Cut Pro X and Premiere Pro video editors - AudioDenoise and EchoRemover. The Elements Music Expands Into UK With New Partnership Incendio’s Luis Silva Colors Gymkhana Eight for Hoonigan and Ford The Elements Music, the LA-based music and sound company, has partnered with industry A video that opens with a camel, a hawk and a cheetah might suggest a desert theme, but veterans Andy Carroll and Dan Bewick to expand operations into the UK. with its myriad locations, “Ken Block’s Gymkhana EIGHT: Ultimate Exotic Playground; Dubai” PULL Makes Music And Lyrics Magical For Qualcomm, Ogilvy & Mather feels much more like a race around the world. The humor behind a new :60 spot for Qualcomm, “Prequel,” called for a very special song to Rampant Design Launches Entire New Library of Drag-and-Drop, Real make it work: Custom-made music and lyrics were a must, yet it still had to feel familiar. Muzzle Flashes and Smoke Effects for Editors and VFX Artists Rampant Design announced it has completed a brand new library of real muzzle flash and For the full stories [and many more] and contacts and SPW videos with credits, smoke effects for editors and VFX artists creating their next big action film. visit SHOOT® Publicity Wire (spw.SHOOTonline.com). SPW is the best place to Roundabout Provides Sound Services For SXSW Short “SETH” post your news or video release to amp up the “buzz” among the entertainment Roundabout Entertainment provided sound design, sound mixing and DCP services for SETH, & advertising industries motion picture segments’ movers and shakers from director Zach Lasry’s short film screening at last month’s SXSW Film Festival. Hollywood to Bollywood and from Madison Avenue to Cannes and beyond. To get more info on how to “Toot Your Own Horn” via SPW visit pr.SHOOTonline.com

28 SHOOT April 2016 UP-AND-COMING DIRECTORS Cinco Creative Director Hanour Rides With The Cavalry the Short Film Grand Prize at the Man- motion comics, helping to create a new nology at CES, and a film for startup VI- running back Tony Dorsett. hattan Short Film Festival in 2000, and animation form via Double Barrel Mo- CIS promoting its Zero1 football helmet, EP Ross Grogan, who heads The Cav- the Grand Jury Prize-Short Film at the tion Labs in Portland. He then went on looking to address the sport’s concussion alry Productions, described Hanour as a 2001 New York International Indepen- to serve as co-founder/creative director at issue. The highly designed piece articu- promising newcomer to the marketplace dent Film & Video Fest. The short helped design/creative studio Finn, later landing lates the conceptual and scientific under- based on his mix of visual acumen, de- to open up doors on the feature filmmak- at Cinco where he brought his expertise pinning for the helmet while bringing in sign sensibilities, storytelling prowess and ing front, leading to Greenfield directing in art direction, concept development the human aspect with observations from agency experience, noting that the lat- the Rob Schneider-starring comedy The and branding strategy to content for cli- a nueroscientist as well as such football ter gives the director “a polished under- Animal, and then The Girl Next Door. ents ranging from EA Sports to Intel. icons as quarterback Roger Staubach and standing of the advertising world.” The latter caught the attention of Ste- The transition from design and anima- ven Spielberg who met with Greenfield tion to agency creative evolved naturally for for several hours. Years earlier Green- Hanour. “I noticed I could design creative Flash Back field’s mom had written Spielberg about direction and get more into strategy and her aspiring filmmaker son. Her letter brand, using animation and design skills to March 24, 2011 was accompanied by two of Greenfield’s help dictate what the creative should be. All Jill Applebaum, former creative director at Y&R/Brandbuzz, has joined short films from high school. Amazingly, along, it’s been a self-taught approach. Not Draftfcb New York as sr. VP/group creative director. At her new roost, Apple- back then, Spielberg responded, encour- going to film school so I could play college baum will helm creative efforts for key accounts including Oreo and Gevalia. aging the young Greenfield to continue basketball turned out to be a backdoor ap- Applebaum’s appointment comes on the heels of Roald van Wyk’s hiring as a making films. While Greenfield getting proach to film and directing in general. My sr. VP/group creative director last month from Publicis Modem. Both report the chance to meet Spielberg would sug- film school was through experience, land- to Darren Moran who was recently appointed Draftfcb New York’s CCO.....Ani- gest that their relationship had come full ing in Portland to delve more deeply into mation studio Passion Pictures has formed a live-action commercials division, circle, there’s still more. At that initial animation, design, branding, strategy and Passion RAW, under the aegis of exec producer Dan Scott-Croxford, former- meeting, Greenfield pitched Spielberg eventually directing.” ly with Stink. The new venture will sit alongside Passion’s animation and a movie titled Destiny. Circumstances, Hanour’s visual sensibilities honed in live-action documentary departments and be based in the company’s London offices.....Craig Love and Shayne Millington, a creative duo at Wieden+Kenne- though, undermined it at the time in animation and design can be seen in a dy, have come aboard JWT New York as creative directors on the Macy’s and that Greenfield was under contract to music video he directed for Bethel Music Bloomberg accounts, respectively. At W+K, Love was a senior copywriter and Fox. Fast forward some dozen years to that features a ballet dancer lofting color- Millington a senior art director since 2008, partnering on notable campaigns today and the script for Destiny is being ful Holi powder during her performance. for Target, Nike and Coke. Love and Millington represent the first new creative finished. Spielberg and Amblin Partners The record label came directly to Hanour hires of Peter Nicholson since he became JWT New York’s CCO in January.... are attached and Greenfield hope to soon to direct the choreographed piece of art go into pre-pro on the film which he de- which brings the Bethel collective’s track March 24, 2006 scribes as “a supernatural dramedy” cen- “Seas of Crimson” to life. The New York Assembly’s proposed state budget for fiscal year 2006-’07 tered on a roller coaster designer who is Hanour’s visuals combine a keen eye includes language that would establish tax credits for filming of commer- able to remember his own future as if he for detail, brought further to life with cials. The Assembly now joins the State Senate in incorporating the tax credit has already lived it. Greenfield is co-writ- the animation prowess he honed early incentives into its budget....Director Dana Adam Shapiro--who served as a ing the screenplay and will co-produce in his career. “My work is purposeful, it co-director (with Henry-Alex Rubin) of Murderball, an Oscar-nominated fea- with Spielberg and Robert Zemeckis. cues from a design background, a sense ture documentary about quadriplegic rugby players who go on to compete in of strict composition and use of negative the Paralympic Games in Athens--has joined the roster of Little Minx for spot Travis Hanour space,” said Hanour. “But my work also representation.,,,Stink, London, and DDB London topped the 2006 British Like up-and-comer Ainsley, Travis Ha- has cues to more authentic and free-form Television Advertising Awards, being named, respectively, the top production nour too continues his gig as a creative lifestyle. Obviously it depends on what company and ad agency of the year in the U.K..... Director Chris Applebaum director—specifically at ad agency Cinco the brand wants to communicate, but my has joined Reactor Films for exclusive representation. He comes over from Design in Portland, Ore. where he’s con- personal aesthetic tends towards the aus- Partizan....Director Eric King has signed with Tate USA. He had been with the ceptualized varied projects and at times tere. My background in design taught me recently shuttered Headquarters....Director Gavin Bowden and exec producer gone on to direct them, including as- there’s no accidents, you handcraft every Beth Pearson have joined Santa Monica, Calif.-based Plum Productions...... signments for Nike, EA, Microsoft, Smith visual and put every element where it Optics and Intel. Hanour recently signed needs to be.” with The Cavalry Productions, Los Ange- Via Cinco Design, those directorial les, for broader representation as a direc- pursuits include: a piece showcasing EA tor of commercials and branded content. Sports’ Madden NFL 2016 video game See indepth He is looking via Cavalry to extend his featuring football players Odell Beckham directorial reach to different clients, agen- Jr., Rob Gronkowski, Jameis Winston and Calendar of Industry Events cies and narrative opportunities while he Patrick Petersen: an EA Sports promo IndustryEvents.SHOOTonline.com remains available at Cinco to helm proj- tied to the 2014 World Cup in Brazil and ects in which he’s had a creative hand. starring soccer’s Landon Donovan; a Hanour’s industry roots are in anima- stunning brand video for Smith Optics; a tion and design as he got involved in short introducing Intel’s RealSense tech- April 2016 SHOOT 29 DIRECTORS

COMPANY, headed by executive producers Robin Benson and Daniels’ Feature Debut Richard Goldstein, has signed director Michael Shapiro for Continued from page 10 different talent to their roster like Tim & commercial representation. Shapiro’s storytelling has recently been highlighted in work for GAP, Goodyear, SIRIUS, JCPenney and part of the 2015 New Frontier installa- Eric. We found what has proven to be a Bank Of America....Venice, Calif.-based branded and immersive tions at Sundance, Possibilia starred Alex wonderful home.” storytelling studio OffAbbot has been launched. The new venture is Karpovsky (Girls) and Zoe Jarman (The At that home, Daniels has made its led by executive producers Justin Towery and Scott Flor, with Andy Mindy Project) on the verge of a romantic mark across different disciplines. They Cohen named to serve as head of VR production. OffAbbot opens breakup while the audience explores the earned a Grammy nomination for their with a directorial lineup which includes Brendan Beachman, Julian assorted possibilities stemming from the Foster the People “Houdini” music video. Whatley, Jason Z. Wong, Ryan Pesecky, Andrea Ball, Matt Celia, Ryan couple’s decision. Daniels has won three MTV VMAS, in- Turner and Sabyn Mayfield. Celia recently wrapped two projects for cluding for Best Direction for DJ Snake OffAbbot: Paranormal Activity Seance, a 360 VR narrative horror PRETTYBIRD and Lil’ Jon’s “Turn Down For What.” story created as a co-branded production for gaming network IGN.com and Scheinert and Kwan first met at film Daniels’ Manchester Orchestra “Simple for the on demand/digital HD release of the latest feature in the horror series school in Boston. Scheinert moved into Math” clip scored the UK MVA for Video Paranormal Activity: The Ghost Dimension; and LA RiVR: A Virtual Journey Along the comedy troupe community while of the Year and their “Cry Like a Ghost” The Los Angeles River, an educational journey produced for Friends of the Los Kwan became immersed in animation. for Passion Pit won the UK MVA for Best Angeles River, an advocacy group looking to restore the river and develop it so “In some ways we started collaborating Alternative Video. it is again more readily accessible for Los Angeles area residents....San Francisco- because Daniel [Kwan] was teaching me Daniels has also successfully diversi- headquartered Wikia, which recently launched entertainment website Fandom, After Effects, and we found that surreal fied into commercials for such brands as has now opened an office in Santa Monica, Calif., featuring a video production comedic content with visual effects set a Levi’s, Toyota, Weetabix and J20, as well facility. Anthony Cava heads up the new content studio and will serve as head of different, strangely heightened tone,” re- as an Instagram micro-series Dress Nor- video. Eric Moro, who currently serves as VP of content for Wikia, will be based in called Scheinert. mal for Gap. the new office and spearhead all editorial content. Before joining Wikia, Moro was They began creating and posting mu- And the directing duo’s creative reach the editor in chief of the movies, TV, Blu-ray and DVD channels for entertainment sic videos on Vimeo and in a matter of also extends into TV with episodes of website IGN.com. Moro said that the Southern California office enables Wikia to weeks got a fortuitous phone call in 2010 Children’s Hospital and NTSF:SD:SUV:: be closer to leading entertainment industry entities, opening up opportunities to partner with them.... from the folks at production company for Adult Swim. PRETTYBIRD who were attracted to a Kwan and Scheinert added that even particular clip. though PRETTYBIRD wasn’t directly Scheinert was a runner at The Mill LA involved in Swiss Army Man, the people at the time while Kwan was interning at there have been incredibly supportive of animation studio DreamWorks where he the film. had just gotten a staff position in the con- “When we needed favors to make sumer products department. Their day things work, they were always there,” jobs turned out to be short-lived when said Kwan, citing in particular VP/EP Ali Cinematographer Mattias Montero, FSF, production designer PRETTYBIRD came calling. Brown. Scheinert described PRETTY- Laura Fox and stylist Kimberly Willess have signed with The “For such a swank commercial pro- BIRD as our “backseat producers/sup- Gersh Agency for exclusive representation....Dattner Dispoto and duction company as PRETTYBIRD to porters sneaking in a commercial for us Associates (DDA) has signed cinematographer Mikolaj Lebkowski, reach out to us was pretty shocking,” said when we would run out of money, always whose credits include 11 Minutes directed by Jerzy Skolimowski, Kwan. “But that was at a point where they supportive of us despite all the time we and editor Brad McLaughlin, who cut director Debra Eisenstadt’s were looking for people like us, adding were ‘wasting’ on our movie.” Before The Sun Explodes....DDA has also booked the feature films The Italy Project (director Jeff Baena) for DP Quyen Tran, Beirut for production designer Arad Sawat, and San Bernadino Bound (director Chester Tam) for producer Rick Bosner. On the TV front, DDA has booked Sherlock, Season 4 (BBC/ PBS) and Travelers (Netflix) for DP Neville Kidd, The Man in the High Castle, Season Coming April-September 2016... 2 (Amazon) for DP Jim Hawkinson, the Shots Fired pilot (Fox) for Tami Reiker, ASC, High Profile Marketing Opportunities the Making History pilot (Fox) for DP Xavier Grobet, ASC, Gaffigan, Season 2 (TV Land) for DP Niels Alpert, the Drew pilot (CBS) for DP Stefan Czapsky, ASC, the online, The >e.dition, Magazine Transylvania pilot (CW) for DP Bob Gantz, ASC, the Channel Zero series (Syfy) for Digital & print platforms conducive to raising awareness of your company, roster, DP Noah Greenberg, the Chad pilot (Fox) for production designer Tad Dennis, and services, software, equipment, fyc messages, award noms/wins & announcements Fear The Walking Dead, Season 2 (AMC) for editor Tad Dennis....Maria V. Elgar of Bring great exposure, new connections & business your way with Hardtribe Creative Representation in Hollywood, has taken on overall repping 24/7 website, weekly epub, custom email blasts & print issues... for Second Sense Creative, an L.A.-based house that writes, produces, and creates SHOOTonline.com The SHOOT>e.dition SHOOT Magazine audio advertising and promotional spots for radio and digital platforms, as well website with 40,000 unique visitors per month weekly email newsletter with 28,000 subscribers May/June Issue + PDF version as native advertising, long form digital podcasts and other branded content. Co- Start a 7 or 30-day banner April 1,8,15,22,29 May 6,13,20,27 Ad Space Deadline: May 10 founded by creative directors Eric Poole and Jason Nutile, Second Sense has clients any day of the month June 3,10,17,24 July 1,8,15,22,29 Aug./Sept. Issue + PDF version SHOOT Custom e-blasts Aug. 5,12,19,26 Sept. 2,9,16,23,30 Ad Space Deadline: Aug. 2 that include FOX Broadcasting Co., Nature Box and Wix.com....Cooke Optics’ ZGC, Reach 45,000+ with your unique message the American distributor for the multi-award winning manufacturer of precision For more info, please visit: For print, online/>e.dition banner & custom email rates, https://www.shootonline.com/go/advertise contact: [email protected] | 203/227-1699, x13 lenses for film and television, has appointedRich Eilers as its director of sales....

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