SHOOT Magazine | December 2019 Issue

www.SHOOTonline.com December 2019

TV Awards Preview 12 The Road To Oscar Part 9 of Series 5

The Year In Perspective Survey 14

Ad Agency of the Year 19 Chat Room 31

The Best Place To Put Your Work To Work To Find You New Work.

My.SHOOTonline.com FOR YOUR CONSIDERATION IN ALL CATEGORIES INCLUDING BEST PICTURE BEST DIRECTOR - NOAH BAUMBACH GOLDEN GLOBE® NOMINATIONS INCLUDING ) ma Dra 6BEST PIC TURE ( CRITICS’ CHOICE AWARD NOMINATIONS INCLUDING BEST DIRECTOR NOAH 8BEST PICTURE BAUMBACH “A LIFE-AFFIRMING, PROFOUNDLY AFFECTING CLASSIC. This ﬁ lm feels equally personal and universal in its searing intensity and its brilliant willingness to entertain. NOAH BAUMBACH’S DIRECTION IS FLAWLESS. The deeper his story goes, the bigger it gets.”

WINNER BEST BEST FEATURE PICTURE

NETFLIXGUILDS.COM

SHOOT MAGAZINE, DECEMBER ISSUE REVISION 7 NETFLIX: MARRIAGE STORY PUB DATE: 12/16/19 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” Perspectives The Leading Publication For Film, TV & Commercial Production and Post December 2019 spot.com.mentary By Robert Goldrich Volume 60 • Number 6 www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Fiction/Nonfiction Roberta Griefer 203.227.1699 ext. 701 [email protected] Editor Robert Goldrich This issue’s installment his clients, opening our eyes to such is- social outcast Fleck who lives in a world 203.227.1699 ext 702 [email protected] of our Road To Oscar sues as judicial reform, the death penalty of despair, alienation and bullying, which ADVERTISING Series includes a DP and racial profiling. sheds light on how the Joker came to be, Digital & Print Rates & Information [email protected] and an editor affirm- Sanders said, “People might think it even evoking empathy for him at times. 203.227.1699 ext. 701 www.shootonline.com/go/advertise ing the importance of doing justice to a was heavy or depressing to be working Sher said that Joker affirms that “you Advertising Production character--whether fictional or real. On on such intense subject matter but it can combine art and commerce. We were Gerald Giannone [email protected] the latter score, editor Nat Sanders, ACE was actually kind of the opposite. It felt able to be artful and put that side of film- 203.227.1699 ext. 700 reflected on Just Mercy (Warner Bros.), di- inspiring. We had a sense of purpose, re- making to the forefront and it didn’t hurt OFFICES rected by Destin Daniel Cretton. sponsibility and pride, feeling the call to the commerce. Art at times can feel self- Main Office 606 Post Road East #650 Just Mercy stars Westport, CT 06880 USA 203.227.1699 Fax: 203.571.3355 Michael B. Jordan as "Audiences are cool with being challenged--they don't just West Bryan Stevenson, a 203.227.1699 ext 702 want things to be cotton candy easy." --Lawrence Sher, ASC Harvard Law School Print Production grad who co-founded Alabama’s Equal get Bryan’s message out there to a larger conscious and isolating to the audience. Jim Theodorou [email protected] Justice Initiative in the 1980s to defend audience.” But in this film, we were able to combine Circulation death row prisoners, mostly people of However, there can also be a higher these two forces--great mass appeal serv- 203.227.1699 ext 4 [email protected] color. Among them is the wrongly ac- calling for telling a fictional character’s ing the commerce side while also feeling SHOOT Publicity Wire 203.227.1699 ext 700 [email protected] cused Walter McMillian (played by Ja- story--in this case Arthur Fleck whom uncompromised from the artistic side. As © 2019 DCA Business Media LLC. All rights reserved. mie Foxx) who in 1988 was sentenced we see evolve into the Joker. Lawrence challenging and difficult as it was at times, SHOOT and SHOOTonline are registered U.S. trademarks. to death for the murder of a local young Sher, ASC lensed (Warner Bros.) for this movie has resonated for audiences. No part of this publication may be reproduced, stored in any Joker retrieval system, or transmitted, in any form or by any means, white woman. Based on Stevenson’s 2014 director Todd Phillips, starring Joaquin The big picture takeaway is that audienc- electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. book “Just Mercy: A Story of Justice and Phoenix as Fleck/Joker. Phillips and es are cool with being challenged--they Print Issues Subscription Service [email protected] Redemption,” the film does justice to this Sher departed from the comic book mov- don’t just want things to be cotton candy Find PDF Versions activist attorney, and his commitment to ie norm, teaming on a character study of easy. They want something different.” and order issues backissues.SHOOTonline.com

SHOOT (ISSN# 1055-9825) printed edition is published bimonthly for members by DCA Business Media LLC, 606 POV By Luis Ribeiro Post Road East, #650, 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 USPS (06-234) Ciclope Celebrates Craft & Artistic Innovation SHOOT ePubs The SHOOT >e.dition weekly ePub is published on Friday. The SHOOT Dailies are published daily Mon.-Fri. The theatre held a those primarily in the trenches of opera- The conversation at Ciclope reinforced Brand New[s] weekly ePub is published Wednesdays. SHOOT Screenwork published Mondays. crowd of industry pros tions, the festival hones in on the creative for me that creative potential in the ad- www.shootonline.com/subscribe so large many were talent, fostering opportunity to discuss vertising game is growing larger than forced to stand at Ci- industry direction and trends. ever. What was once uncharted territory SHOOT is printed in the U.S.A. clope Festival’s 10th Anniversary event At what other festival would you find is now open for exploration, inspiring cre- in Berlin. Featuring incredible work, with a “no logo” awards category? With a goal atives to integrate new tactics within the noteworthy standouts including BMW’s of recognizing artistic breakthroughs, Ci- storytelling process. Surrounded by in- “The Small Escape,” FKA Twig’s “Cello- clope 2019 celebrated creative vision and novators from all corners, the festival was phane,” and Bianco’s “The Lift,” the fest production separate from brand identity. a meeting ground for continued growth SHOOT is a member of: celebrated the artistic highlights of the This year, the festival once again touched in the artistry of great advertising. And year. I’ve always found this gathering to upon the unspoken and rule-bending tac- what’s more is that this conversation is be unique in celebrating the artistic craft tics that lead to great work. continuing to expand on a global scale, at the core of our industry--beyond the The stand-outs included a talk on the with Ciclope growing into additional ar- Follow SHOOT via hashtag #SHOOTONLINE at: scope of branded advertising. Cannabis industry in advertising, and eas including the Asian, African, Latin Coming from the creative side of this how new sectors--especially the previous- and U.S. markets. This facilitates a broad- industry, I’ve found that larger festivals ly controversial--call for innovative story- er international appreciation for the deep often attract a muddled crowd, with a big- telling and messaging to reach audiences. level of nuanced craft that goes into our Cover photo credits for The Road To Oscar Series (top left, ger presence of tech and consultancy rep- Emerging platforms play a large role too, industry and allows us to challenge each clockwise): Little Women, Sony Pictures; The Irishman, Netflix; The Two Popes, photo by Peter Mountain/Netflix; resentatives and an emphasis on the busi- as Anomaly CPO Chad Hopenwasser can other within the industry to push creative Joker, photo by Niko Tavernise/Warner Bros.; Just Mercy, ness side of our industry. At Ciclope, the attest with his hilarious IGTV channel boundaries and reach audiences with sto- photo by Jake Giles Netter/Warner Bros. TV Awards Preview: Fleabag creator Phoebe Waller-Bridge, Amazon. audience is more intimate and therefore “‘Life As Big Man,” and his discussion on rytelling that inspires and sparks mean- Chat Room: Cinematographer Dick Pope, BSC (l) and director Edward Norton on location for Motherless Brooklyn, conducive to deeper artistic discussion how these outlets serve as a dynamic test- ingful change in the world. Warner Bros. and networking. Without the presence of ing ground for new creative approaches. Luis Ribeiro is EP/partner at LOBO. December 2019 SHOOT 3 “FERNANDO MEIRELLES DELIVERS A JAW-DROPPING MASTERPIECE OF A FILM. Genius filmmaking takes what could have been an ordinary story and turns it into something illuminating, TOUCHING, FUNNY AND COMPLETELY UNEXPECTED, ushering audiences into far more depths than they could have thought even existed. Fernando Meirelles does exactly that in a film that is stunning on every level.”

FOR YOUR CONSIDERATION BEST PICTURE BEST DIRECTOR - FERNANDO MEIRELLES

NETFLIXGUILDS.COM

SHOOT MAGAZINE REVISION 1 DECEMBER ISSUE: ROAD TO OSCAR FEATURE NETFLIX: THE TWO POPES PUB DATE: 12/16/19 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125” ROAD TO OSCAR Direction, Cinematography, VFX, Editing, Design Insights into Little Women, The Irishman, Joker,

Photo courtesyPhoto of Netflix Just Mercy and

Photo courtesyPhoto Pictures of Sony The Two Popes

Photo by Nick Tavernise/courtesy of Warner Bros Warner of Tavernise/courtesy Nick by Photo By Robert Goldrich, The Road To Oscar Series, Part 9 Photo courtesyPhoto of Netflix Bros Warner courtesyPhoto of Bros Warner courtesyPhoto of Bros Warner Jake by Giles Netter/courtesyPhoto of

Last year when accepting her DGA nomi- woman ever to be nominated for the Best sitivity to every aspect that matters to me- nation medallion for Lady Bird, Greta Director Oscar. And Little Women could -language, rhythm, acting, storytelling. Gerwig said to her peers in the audience, make her the first woman to be nominat- He’s utterly relentless, doesn’t ever say “Storytellers are healers and I am so hon- ed twice for that coveted honor. Gerwig ‘uncle.’ This was a complicated movie at ored to be included among you.” already has two career Academy Award every stage, with multiple timelines, mul- Storytelling can indeed be healing--by nominations, having also earned a Best tiple characters over eight years, many raising awareness of peoples’ circum- Original Screenplay nod for Lady Bird. seasons. It was a beast. We knew going stances or plights and in turn fostering For Little Women, Gerwig assembled into the edit that it would be a long care- empathy for others, even helping us to a team of artists consisting of ongoing fully calibrated process.” look at ourselves and life differently. collaborators as well as those she worked Gerwig jumped into cutting the day LBy continuing her healing ways, Ger- with for the first time. Among those in after she stopped shooting. “The heart wig may soon be receiving another DGA the former group are Ronan, a Best Ac- of the movie, the core, the essence was medallion as director of Little Women, tress nominee for Lady Bird, and editor always there. But everything around it for which she also wrote the screenplay Nick Houy, who garnered an American took a long time,” she recalled. “We went based on the classic novel and other writ- Cinema Editors’ Eddie Award nod for through many versions. Small changes ings of Louisa May Alcott. Lady Bird as well. had a ripple effect that was large. I knew From top left, clockwise: Greta This latest cinematic version of Little The relationship between director and Nick had the ability to never let go of a Gerwig (l) and Saoirse Ronan on Women stirs our empathy, introducing us editor is “intimate,” said Gerwig, explain- project until we explored every avenue. the set of Little Women; Joaquin to the aspirations of and adversity faced ing, “You spend so much time alone to- He’s a great human being with great taste. Phoenix as the Joker; Robert De by its protagonists, including Jo North gether, locked in a room trying to hear I feel this trust with him.” Niro and Joe Pesci in The Irishman; (portrayed by three-time Oscar nominee the same music that doesn’t exist yet. It’s Meanwhile Little Women marked Michael B. Jordan (l) and Jamie Saoirse Ronan), an ambitious, talented been said you write a film three times-- Gerwig’s first collaboration with cinema- Foxx in Just Mercy; Joker DP writer whom Gerwig describes as her when you write it, shoot it and edit it. In tographer Yorick Le Saux, production Lawrence Sher, ASC; Just Mercy personal “North Star.” a way it (editing) is letting this one person designer Jess Gonchor, twice nominated editor Nat Sanders, ACE; The Two Reaching for that star has seen Gerwig, into this process of rewriting.” for an Academy Award, and costume de- Popes production designer Mark with Lady Bird, become just the fifth Gerwig observed that Houy has “sen- Continued on page 8 Tildesley. December 2019 SHOOT 5 “One of the Year’s Best Films.”

“A stunning adaptation that is as relevant “Greta Gerwig’s tour-de-force adaptation of as ever, filled with impeccable craftsmanship ‘Little Women’ is so rich and thrillingly and beautiful performances.” personal that...it feels like an alignment of stars.” Kate Erbland, INDIEWIRE Devika Girish, FILM COMMENT HHHHH “Important and daring...A superb adaptation... Greta Gerwig is the real deal.” Helen O’Hara, EMPIRE

FOR YOUR CONSIDERATION

FROM THE WRITER/DIRECTOR OF LADY BIRD

BEST PICTURE BEST DIRECTOR GRETA GERWIG

SonyPictures-Awards.com

LW_Shoot_FP4C_Dec.Issu_04.indd JOB # 38397:44 DATE 12-9-2019 3:40 PM FINAL Scale 1” = 1” Revisions Notes Production Artist 11.125” h x 9.25” w 11.125” h x 9.25” w Bleed add additional publication logos SHOOT - FP 4C - December Issue Production Manager Trim 10.375” h x 8.5” w 10.375” h x 8.5” w Live 10.375” h x 8.5” w 10.375” h x 8.5” w Proofer 1 Proofer 2 Project Manager LW_Shoot_FP4C_Dec.Issu_04.indd “One of the Year’s Best Films.”

FOR YOUR CONSIDERATION

FROM THE WRITER/DIRECTOR OF LADY BIRD

BEST PICTURE BEST DIRECTOR GRETA GERWIG

SonyPictures-Awards.com SonyPictures-Awards.com

LW_Shoot_FP4C_Dec.Issu_04.indd OUATIH_Shoot_FP4C_Dec.Issu_01.indd JOB # 38397:44 DATE 12-9-2019 3:40 PM FINALJOB # 38397:44 DATE 12-9-2019 6:44 PM FINAL Scale 1” = 1” Revisions Notes Production Artist Scale 1” = 1” Revisions Notes Production Artist 11.125” h x 9.25” w 11.125” h x 9.25” w 11.125” h x 9.25” w 11.125” h x 9.25” w Bleed add additional publication logos SHOOT - FP 4C - December Issue Production Manager Bleed None SHOOT - FP 4C - December Issue Production Manager Trim 10.375” h x 8.5” w 10.375” h x 8.5” w Trim 10.375” h x 8.5” w 10.375” h x 8.5” w Live 10.375” h x 8.5” w 10.375” h x 8.5” w Proofer 1 Live 10.375” h x 8.5” w 10.375” h x 8.5” w Proofer 1 Proofer 2 Proofer 2 Project Manager Project Manager LW_Shoot_FP4C_Dec.Issu_04.indd OUATIH_Shoot_FP4C_Dec.Issu_01.indd ROAD TO OSCAR ILM's Helman Discusses Breakthrough VFX For The Irishman Continued from page 5 like homes,” observed Gerwig of the their own clothes,” related Gerwig. Being mentary Rolling Thunder Revue: A Bob signer Jacqueline Durran, a six-time Os- work. “I never feel like I’m looking at slightly “off” and “odd” helped the audi- Dylan Story by Martin Scorsese, and the car nominee who won in 2013 for Anna something separate from the characters ence to see that the March women were just released The Irishman (Netflix). The Karenina. Her other Academy Award and the storytelling.” indeed different. latter is supported by breakthrough vi- nods were for Pride & Prejudice in 2006, For Little Women, Gerwig recalled, Gerwig herself was different on Little sual effects which figure to strongly con- Atonement in 2008, Mr. Turner in 2015, “The way he talked about the world was Women as compared to her first solo fea- tend in both the Oscar and VES Award and Darkest Hour and Beauty and the what I wanted, straddling something ture directing effort, Lady Bird. She said competitions. Beast, both in 2018. magical in the memory of it balanced of her experience on Little Women, “I The breakthrough is in the discovery felt that I got more confident with how of the fountain of youth--the de-aging of I wanted to shoot things, less tentative actors so that they appear decades young- about making the wrong decision. The er--in the case of The Irishman, Robert De first film I was so scared I would mess Niro, Joe Pesci and Al Pacino. something up. I felt very careful that In the past, de-aging involved facial first film, very deliberate. This one I took markers, helmet rigs, garb with sensors some risks, finding that part of me able to and other encumbrances that got in the push film as a language.” way of the acting. Scorsese wanted youth- As for the daunting task of writing a ful versions of his actors sans any physical screenplay adapting an iconic, cherished impediment to their live performances. piece of literature, Gerwig acknowledged This would free the auteur filmmaker to that it was “a big mountain to scale.” But fully tell the story of The Irishman. her approach allowed her to make the One one hand The Irishman is an epic climb. “I kept myself in line with what saga about organized crime in America, I loved about the book, what I felt was taking us from post World War II through

Photo courtesyPhoto Pictures of Sony empowering.” Doing anything other the Kennedy administration and beyond. A scene from Little Women than that, she said, would be folly. Ger- But ultimately the film is a character Among the magnets drawing Gerwig with the reality of it--doing both things at wig thought that if she could keep to the study--with dramatic and wryly humor- to Le Saux to begin with was his work, in- once.” She saw the March family’s home heart and intellect of the original story ous elements. Through its protagonists, cluding A Bigger Splash and I Am Love, as being “plain looking” on the outside “that I deeply feel, then I’d be okay.” The Irishman shows us not just a life lived both for director Luca Guadagnino. Ger- but quite different on the inside, “like a in and around the mafia but the toll that wig described I Am Love as “a movie you jewelry box, with a feeling of fantasy and Pablo Helman life takes on a lone person now that he want to eat,” one which had “a kinetic being magical inside--lives pushed by the VFX supervisor Pablo Helman of has the time to reflect on it in his old age- feel.” fantasy inside while they also deal with Industrial Light -and in particular Gerwig struck up a creative rapport their reality.” & Magic (ILM) is the melancholy he with Le Saux; they envisioned the camera Gerwig gravitated to costume designer a two-time Best feels over the lack of as functioning differently through differ- Durran for her artistry cast over a wide Achievement in Vi- a relationship with ent timelines. When the main characters range of work. For one, among Gerwig’s sual Effects Oscar his daughter. are adults, the cinematography is “more heroes is director Mike Leigh for whom nominee--for Star It’s a tour de force formal, further away, locked off,” Gerwig Durran has done several feature films, War: Episode II--At- performance by explained. When they are youngsters, including Mr. Turner, a period piece, and tack of the Clones in De Niro as Frank “the camera has to feel like a dancer--but Another Year, which by contrast had a 2003, and War of the Sheeran, the Team- not handheld.” feel of like “the actors came with their Worlds in 2006. He’s ster and mafia fig- “ ” Gerwig shared that she wanted Little clothes,” observed Gerwig. “Jacqueline been nominated ure who claimed be- AN EBULLIENT MONUMENT TO POP SUPERSTAR ELTON JOHN Women to look like a painting while be- has the ability to do both which is very for six Visual Ef- fore his death that PETER DEBRUGE, VARIETY

ing light on its feet. “I never wanted to attractive to me.” fects Society (VES) courtesyPhoto of Netflix he had killed Jimmy feel the lighting package. I wanted to feel Durran also did the aforementioned Awards, winning in Pablo Helman Hoffa (portrayed by always on the move but not like, ‘Oh God, Beauty and the Beast, “something big 2006 for Best Single Visual Effect of the Al Pacino). Also at the core of the film FOR YOUR CONSIDERATION it’s a period piece.” Gerwig said that she that’s more pushed,” continued Gerwig. Year for War of the Worlds. playing a masterful role in Sheeran’s life and Le Saux “spoke the same language “She has the ability to straddle worlds Helman’s most recent VES nod came is crime boss Russell Bufalino (played by right away.” which is kind of what we were doing in 2017 for Silence, his first collaboration Joe Pesci), whose persona alternates be- As for production designer Gonchor, (with Little Women). Jacqueline and I with director Martin Scorsese who next tween sinister and sympathetic. Gerwig has been an unabashed fan of his tried to figure out how to establish the month will receive the VES Lifetime Scorsese has called de-aging that work for quite some time. She cited his March family separate from the rest of Achievement Award. doesn’t compromise the actors the next efforts on Bennett Miller’s Capote as well the world.” Following Silence, Helman's collabora- evolution of makeup. Helman noted that as several Coen brothers’ films (which in- The director and costume designer tive bond with Scorsese further intensi- it’s been something that visual effects ar- BEST CINEMATOGRAPHY GEORGE RICHMOND, BSC cluded Oscar noms for Gonchor on True decided to break from the stereotype fied over the course of two more projects, tisans have been looking to do for years, a Grit and Hail, Caesar!). of 1860s’ garb, almost as if the Marches which recently overlapped with each brand of effects that supports the content “His (Gonchor’s) houses always feel were “a strange hippie family who make other in terms of scheduling--the docu- Continued on page 10 8 SHOOT December 2019

SHOOT MAGAZINE - FINAL MATERIALS DUE: THURSDAY, 12/5 DECEMBER ISSUE THIS AD RUNS: FRIDAY, 12/13 BLEED: 9.25”W X 11.125”H TRIM: 9”W X 10.875”H SAFETY: 8.5”W X 10.375”H 5F 5191-5 12/05/19 150 LINE SCREEN, 300 DPI, PDF/X-1a:2001 RM_Shoot_12-13_4CFP_5F “AN EBULLIENT MONUMENT TO POP SUPERSTAR ELTON JOHN” PETER DEBRUGE, VARIETY

FOR YOUR CONSIDERATION

BEST CINEMATOGRAPHY GEORGE RICHMOND, BSC

SHOOT MAGAZINE - FINAL MATERIALS DUE: THURSDAY, 12/5 DECEMBER ISSUE THIS AD RUNS: FRIDAY, 12/13 BLEED: 9.25”W X 11.125”H TRIM: 9”W X 10.875”H SAFETY: 8.5”W X 10.375”H 5F 5191-5 12/05/19 150 LINE SCREEN, 300 DPI, PDF/X-1a:2001 RM_Shoot_12-13_4CFP_5F ROAD TO OSCAR Lawrence Sher, ASC Lenses Director Todd Phillips' The Joker; Continued from page 8 from his experience of working four years rameters of giving Joaquin and Todd the sign is the lighting. In constructing Go- of a film in a very important way. on The Irishman. Helman acknowledged flexibility to go 360, to even rehearse, set tham, we asked what can we do to build Scorsese first approached Helman that The Irishman was “an incredibly new marks, explore the scene in real time. the lighting into the production design. about the possibilities when they were risky project from the beginning but we This greatest challenge is also one of the It’s not just about him constructing this working on The Silence in Taiwan. It was never lost hope. I never felt we weren’t go- greatest thrills and satisfactions, discover- amazing artistic palette from an era 45 over Thanksgiving dinner during a break ing to be able to do it.” His confidence was ing a scene in real time with Joaquin, mo- years ago. It’s a constant conversation in the shooting. “We started talking about rooted in the team at ILM, one he grew up how to make an actor younger,” recalled together with over the past 24 years. Helman. That’s when the director told While he’s gratified over the finished Helman about The Irishman, getting him film, Helman started to feel that sense a script that very same evening. “In the of satisfaction earlier on, “working three morning, I said, ‘Yes, I want to do it,’” said feet away from De Niro and Pesci. You see Helman. their eyes are connecting,” related Hel- The process started four years ago, man. Seeing that interplay between ac- with two years focused on inventing a tors, the freedom to innovate and ad lib, new piece of software that would help to meant the world to Helman who said that capture performances of actors sans any The Irishman gave him more insights into physical encumbrances. Complementing human behavior, performance and art. that software is a three infrared camera rig that allows triangulation, creating a Lawrence Sher, ASC kind of 3D geometry of and around the While it marks Lawrence Sher’s sixth

actors; the center camera being the “di- film in 11 years for director Todd Phillips, Bros Warner of Tavernise/courtesy Niko by Photo rector’s camera” flanked by two others. Joker (Warner Bros. Pictures) breaks new Joaquin Phoenix in a scene from Joker Actors could act younger and then the ground for both the filmmaker and the ments for the first time as they happen.” about where we can place lights as pro- technology would later make them look DP--a departure from their collabora- This approach in turn makes the film duction elements in the frame to allow for younger. tions on The Hangover series of movies, feel different from others in the so-called this 360 style of shooting. So much of the Helman noted that the burden thus Due Date and War Dogs. superhero/supervillain genre. “The mov- lighting is done in production design.” is taken away from the actors--and in Sher recalled reading the script by ie feels handmade, a little bit dirty, very Sher described Friedberg--whom he some respects transferred to the produc- Phillips and Scott Silver, and in his mind real, constructed by human beings, not a knew of from the production designer’s tion designer. For example, doors on set committed to the project immediately. pre-vis lab. Humanity is the best way to work with such filmmakers as Wes Ander- would have to be 32 inches wide so that “Not only was it a fantastic script but describe it. Joker introduces us to a hu- son (The Life Aquatic with Steve Zissou, the camera rig could pass through them. it enabled us to stretch slightly different man being who happens to transform The Darjeeling Limited), Todd Haynes Also in The Irishman there was a problem muscles than we had in the past,” said into something that exists within a super- (Far From Heaven, Wonderstruck, and the presented in the use of vintage 1950s and Sher, noting that Joker is a character hero context.” HBO miniseries Mildred Pierce for which ‘60’s automobiles which had lead in their study, delving into Arthur Fleck and sub- Sher deployed a large format ARRI Al- Friedberg won an Emmy in 2011), Dar- windshields. Infrared can’t pass through sequently the Joker, affording the oppor- exa 65 on Joker. ren Aronofsky (Noah) and Ava DuVernay the lead. So the windshields had to be re- tunity to be “slightly more artful in our “The sensor is two-and-a-half times (Selma)--as “an amazingly hard worker, moved from the car and put back via CG. approach.” larger than the normal 35mm sensor really meticulous with great attention to But all the logistical issues are worth Joaquin Phoenix portrays the socially we’re used to seeing on screen,” he re- detail. I couldn’t have enjoyed working the end result, assessed Helman. “The awkward outcast/loner Fleck whom lated. “It looks a lot like portrait photogra- with him more.” performances are so incredible. The ac- we see evolve into the Joker. And his phy, with a shallow depth of field. You al- As for the biggest takeaways or les- tors were allowed to as truthful to the environment--a dysfunctional, decaying most feel the faces are three dimensional sons learned from his Joker experience, script, dialogue and scenes as possible Gotham City, patterned in some respects because the backgrounds are shallow and Sher said, “To be present every day. Great without having to worry about what we after a 1970s-’80s’ NYC--becomes a char- out of focus. It’s 3D in a 2D space. Plus preparation allows you to be flexible and were doing.” acter in the film as well, impacting Fleck’s you’re getting the field of view of a wider present on the day. If you are really pres- Helman has come to deeply value his psyche. It’s a world of despair, alienation lens, able to see the character in his en- ent when you make the movie, you can working relationship with Scorsese. The and bullying, shedding light on how the vironment. You isolate the character with find these amazing opportunities and two first met on a location scout in Taiwan Joker came to be, even evoking empathy depth of field and also see the environ- moments you couldn’t have planned for. in 2014 for The Silence. “We hit it off,” said for him at times. ment where he lives.” Joker had so many of these moments.” Helman. “He is an incredible filmmaker For Sher, addressing a prime challenge Sher also valued the collaboration on Another major takeaway, related Sher, with an incredible eye for framing, tim- posed by Joker was “a bit of an extension Joker with production designer Mark “sounds almost silly” but it’s simply that ing, sequencing, rhythm. He’s very intui- of what Todd and I had done over previ- Friedberg. This was the first time Phillips Joker is an affirmation that “you can com- tive yet very knowledgeable about film. ous films, creating the flexibility to allow and Sher had worked with Friedberg. bine art and commerce. We were able to It’s also been an incredible opportunity to the actors to do whatever they want. For Sher observed that cinematography be artful and put that side of filmmaking learn from him. He’s very collaborative, a cinematographer, that’s always a chal- and production design are “two sides of to the forefront and it didn’t hurt the com- always ready to listen and very funny.” lenge--how can I create artful lighting the same coin. They don’t exist without merce. Art at times can feel self-conscious Helman has learned from Scorsese and and cinematography but within the pa- each other. So much of production de- and isolating to the audience. But in this 10 SHOOT December 2019 ROAD TO OSCAR Nat Sanders, ACE Cuts Destin Daniel Cretton's Just Mercy film, we were able to combine these two But directors tend to have their own eyes to such issues as judicial reform, the great responsibility Cretton and Sanders forces--great mass appeal serving the preferred editors in the feature world so death penalty and racial profiling. Brie felt to tell Stevenson’s story properly. “I commerce side while also feeling uncom- Sanders decided to take a different route Larson (who starred in Short Term 12) spent so many sleepless nights or waking promised from the artistic side. As chal- to meaningfully connect with another portrays Eva Ansley, who teamed with up in the middle of the night with story lenging and difficult as it was at times, this helmer. He began sifting through short Stevenson to launch the Equal Justice ideas,” shared Sanders. “My brain never movie has resonated for audiences. The films, looking to identify directorial talent Initiative. shut off as I felt that sense of responsibil- big picture takeaway is that audiences are that hadn’t yet broken into long-form fare Sanders’ contributions to the film in- ity to Bryan (Stevenson).” cool with being challenged--they don’t yet demonstrated the potential to do so. clude cross cutting in a moving sequence The flip side to feeling profound re- just want things to be cotton candy easy. Sanders found himself impressed by where one of the prisoners makes his way sponsibility, though, ultimately is grati- They want something different.” Short Term 12, a short film directed, writ- to the electric chair after his final appeal fication, observed Sanders. “It was such ten and edited by Destin Daniel Cretton. is denied. McMillian and his fellow death a privilege and honor to be part of tell- Nat Sanders, ACE “The film blew me away and I also saw row inmates, as well as other prisoners ing Bryan’s story. People might think it Editor Nat Sanders, ACE has formed that he edited it himself. I saw an op- who are within earshot of the proceed- was heavy or depressing to be working special bonds with a couple of notable portunity there,” recalled Sanders who ings, start to bang their cups against the on such intense subject matter but it directors in particular, cutting Barry reached out to Cretton, which led to their cell bars, picking up the pace and the was actually kind of the opposite. It felt Jenkins’ first feature, Medicine for Mel- coming together on the feature-length decibel level to drown out the sounds of inspiring. We had a sense of purpose, re- ancholy, only to wait some eight years for version of Short Term 12. electrocution in a sonic show of solidarity. sponsibility and pride, feeling the call to the chance to work on the filmmaker’s Sanders’ work on that movie earned The edit takes us back and forth from get Bryan’s message out there to a larger second feature, Best Picture Oscar win- him a Film Independent Spirit Award for the execution to the witnesses and the audience.” ner Moonlight, followed by If Beale Street Best Editing in 2014. prison cells as the march to the execution As for what’s next, Sanders is taking Could Talk. Sanders teamed with Joi Sanders then cut two more Cretton-di- progresses, ultimately reaching a horrible a 180-degree cinematic turn, about to McMillon to edit Moonlight and If Beale rected features, The Glass Castle and Just end, the electrocution of a war veteran in- embark on Cretton’s next film, a Marvel Street Could Talk. Mercy (Warner Bros.), which is slated for mate whose PTSD drove him to commit action/adventure/fantasy centered on the Sanders and McMillon picked up a wide release on Christmas Day. Just Mercy a crime for which he felt great remorse. Asian kung fu superhero Shang-Chi. Best Editing Academy Award nomination now has Sanders once again in the awards Banging the cup against his cell, McMil- lian delivers a heartbreaking speech in Mark Tildesley tribute to his friend, with music adding a Production designer Mark Tildesley poignant emotional accent. reunited with director Fernando Meirelles All the while Cretton and Sanders, who and cinematographer Cesar Charlone on both have documentary/reality content The Two Popes (Netflix). The threesome backgrounds, brought an authenticity to had previously worked together on The the overall film, doing justice to the story Constant Gardener, for which Tildesley of Stevenson and his clients, particularly earned an Art Directors Guild Excellence McMillian and his family. in Production Design Award nomination. “Destin and I feel very simpatico,” re- The Two Popes takes us behind Vatican lated Sanders. “We both really value go- walls where conservative Pope Benedict ing for authenticity, finding the realness (the former Cardinal Joseph Ratzinger of a moment. I learned quickly when we portrayed by Anthony Hopkins) and lib- worked on Short Term 12 that he rejects eral Argentine Cardinal Jorge Bergoglio, any ‘movie-ness’ in the reading of a line. the future Pope Francis (portrayed by

Photo by Jake Giles Netter/courtesy of Warner Bros Warner Jake by Giles Netter/courtesyPhoto of He’s always looking for that truth.” Jonathan Pryce), come together to forge Jamie Foxx (l) and Michael B. Jordan in Just Mercy Sanders recalled Cretton never being a new path for the Catholic Church. for Moonlight in 2017 as well as an ACE season conversation. satisfied, even when receiving positive Among the daunting tasks Tildesley Eddie Award nod, and a Film Indepen- The film stars Michael B. Jordan as feedback from test screenings. “We got encountered on The Two Popes was hav- dent Spirit Award win. (McMillon made Bryan Stevenson, a Harvard Law School great responses in those screenings from ing to recreate the Sistine Chapel where history as the first African-American grad who co-founded Alabama’s Equal the very beginning,” said Sanders, “but many dialogue laden scenes took place. woman to be nominated for a Best Film Justice Initiative in the 1980s to defend neither of us would focus on the posi- Tildesley had to weigh varied options Editing Oscar.) death row prisoners, mostly people of col- tives. We would focus on some negative since there was virtually no filming inside Jenkins has played a big part in Sand- or. Among them is the wrongly accused things we saw and figure out how to fix the Vatican itself. ers’ career--not only as a collaborator but Walter McMillian (played by Jamie Foxx) them. One thing was the heaviness of the An ambitious set had to be built. One ironically when they weren’t collaborat- who in 1988 was sentenced to death for subject matter. You ask something of your desired option--painting that set in an old ing. That eight-year stretch separating the murder of a local young white woman. audience to experience that. At times we world authentic manner--fell by the way- Medicine for Melancholy and Moonlight Based on Stevenson’s 2014 book “Just saw the need to keep that authenticity side, though, when the days calculated made Sanders realize halfway through Mercy: A Story of Justice and Redemp- but make it not so overwhelming that you to do it exceeded the time they had to that he needed to dovetail with other dition,” the film does justice to this activist lose the audience.” have the venue ready for lensing. Some rectors in order to make a successful go attorney, and his unfaltering commitment This constant striving to improve the photographic processes were considered of it. to his clients, along the way opening our film was given further impetus by the Continued on page 28 December 2019 SHOOT 11 TV AWARDS PREVIEW

Will Emmys Foreshadow

Guild Awards Season? –USA TODAY

With Guild awards season in the offing--replete with TV cate- for Outstanding Limited Series and best writing distinction for gories--the 2019 Emmys could be a harbinger in some cases of Craig Mazin. FOR YOUR CONSIDERATION Shows that had what shows will resonate in the industry competitions ahead. Meanwhile Billy Porter made history as the first openly gay Front and center are shows that made their last and first hur- man to win a best series drama acting Emmy--on the basis for first and last rahs at this year’s Emmy Awards. On the former score in its last his work on Pose (FX networks), a drama set in the LGBTQ ball ASC AWARD NOMINEE Emmy stand, Game of Thrones punctuated its statement of su- scene of the late 1990s. hurrahs could preme rule, again reigning as best drama. The final season of the Making an impassioned plea for trans rights was Patricia Ar- COLIN WATKINSON, ASC BSC, DIRECTOR OF PHOTOGRAPHY iconic show scored a dozen Emmys, tying its own mark for the quette upon accepting the Emmy as best supporting actress in “NIGHT” again figure most garnered by a series a limited series or movie on in a single season. Game of the basis of her work in The EPISODE OF A SERIES FOR NON-COMMERCIAL TELEVISION AThrones first tallied 12 wins Act (Hulu). “I’m grateful at prominently in 2015 and then again in the age of 50 to be getting By Robert Goldrich ‘16. It is the most awarded the best parts of my life,” show in primetime Emmy said Arquette, trying to history. stave off tears. “And that’s While the Game of great but in my heart I’m Thrones’ swan song con- so sad I lost my sister Alexis tinued to lead the way, and that trans people are another show building still being persecuted.” momentum--particularly in Liam Daniel/courtesy by Photo of HBO of HBO couresy Photo Alexis Arquette, a transgen- season two--found itself in der person who had been rarefied Emmy air for the living with HIV, died at age first time: Fleabag (Ama- 47 back in 2016. Patricia zon) which won for best Arquette said the she’s “in comedy, best lead actress mourning every day of her and best comedy writing, life” for Alexis--”and I will all for series creator Phoebe be the rest of my life until Waller-Bridge. Addition- we change the world” in ally Fleabag’s first episode terms of trans people being Photo courtesyPhoto of Amazon earned Harry Bradbeer the Craig Blankenship/courtesy by Photo of FX treated properly and being Outstanding Directing for a afforded employment and Comedy Series Emmy. other opportunities.” Emmys’ sense of direction extended from Bradbeer to in- Also bringing a social issue to the fore during her acceptance clude: Jason Bateman for the Ozark (Netflix) episode “Repara- speech was Michelle Williams who won the best leading actress tions,” topping the directing for a drama series category; and Emmy for her portrayal of Gwen Verdon in the FX limited series From top left, clockwise: A scene Johan Renck who topped the Outstanding Directing for a Lim- Fosse/Verdon. Williams thanked FX and Fox 21 Television Stu- from Chernobyl; Game of Thrones; ited Series, Movie or Dramatic Special category on the basis of dios for showing her respect through not only creative support Fleabag creator Phoebe Waller- Chernobyl (HBO). but also for compensating her financially with pay equal to that Bridge; a scene from Fosse/Verdon Chernobyl won a total of 10 Emmys this season including Continued on page 30 12 SHOOT December 2019

HULU 5347_2 BRIAN S. 4C SHOOT MAGAZINE 300 DMAX FULL PAGE 9.25" X 11.125" 9” X 10.875" 8.5" X 10.375”

Glen Neiman 323-963-5199 8240 Sunset Blvd Los Angeles, CA 90046

client and prod special info: # A-004 job# 1537F artist BRIAN S. 1/4"=1' issue/ time 4c pub LAX FLIGHT PATH post date (est)N/A insert/ line Lisa Bourcier-Sams size 250' w X 65' h air date screen150 323-963-5183 8240 Sunset Blvd bleed 68.75" X 17.875" trim 62.5" X 16.25" live ALL Los Angeles, CA 90046

A-004 1537F CHRISTINA SCHIERMANN 1/4"=1' LAX FLIGHT PATH 9.01.08 N/A 4c 250' w X 65' h 9.18.08 SUNDAY 150 68.75" X 17.875" 62.5" X 16.25" ALL –USA TODAY

FOR YOUR CONSIDERATION ASC AWARD NOMINEE COLIN WATKINSON, ASC BSC, DIRECTOR OF PHOTOGRAPHY “NIGHT” EPISODE OF A SERIES FOR NON-COMMERCIAL TELEVISION

HULU 5347_2 BRIAN S. 4C SHOOT MAGAZINE 300 DMAX FULL PAGE 9.25" X 11.125" 9” X 10.875" 8.5" X 10.375”

Glen Neiman 323-963-5199 8240 Sunset Blvd Los Angeles, CA 90046

A-004 1537F CHRISTINA SCHIERMANN 1/4"=1' LAX FLIGHT PATH 9.01.08 N/A 4c 250' w X 65' h 9.18.08 SUNDAY 150 68.75" X 17.875" 62.5" X 16.25" ALL YEAR IN PERSPECTIVE

The Yin and Yang of 2019

Ad community Asked to gaze into his crystal ball, Eric Weisberg, global chief creative officer, Doner, replied, “This is more of wish than a reflects on the past prediction. My hope is that, in 2020, we will see an end to the false premise that ‘data is the new creativity.’ This false narra- year, balancing tive has led to years of ‘blandvertising.’ This premise incorrectly assumes that context is more important than content. In 2020, technology & I hope to see more work that blends data with creativity with content with an approach to context.” humanity, data Context might be up for grabs as in 2020, “one of the biggest elections in our country’s history will take place,” noted and creativity Karen Costello, chief creative officer of The Martin Agency. “I think that will dominate media time and mental availability. I A SHOOT Staff Report also think it will continue the important conversations about a variety of really big and weighty topics like social media’s role While this retrospective doesn't mark the Chinese New Year, a in disinformation – how accountable are they or should they page from that culture may help to put our calendar year 2019 be? Or the seeming inability of much of the American populace into perspective. “Yin and yang” reflects a universe governed to discern truth from untruth, or even more importantly, their by a cosmic duality, sets of two opposing and complementing complete lack of interest in facts and provable science. Or the principles or energies that can be observed in nature. complete disintegration of things like civility, honor and com- In seeking feedback from the advertising agency community passion. regarding the year almost gone by, SHOOT got varied forms of "This kind of stuff isn’t just politics, it’s a major shift in the “yin and yang” to contemplate--macro and micro, technology psyche of Americans. As marketers, much like the 2016 election and humanity, data and creativity. proved to be, 2020 will be a modern marketing playbook that Identifying the industry trends or developments that were we should all be paying attention to.” Wmost significant in 2019, David Rolfe, EVP/director of inte- Issues that may figure into that election outcome were also grated production, BBDO New York, related, “It’s fascinating addressed by the ad community in 2019. EP John McAdorey to watch the blending of iconic and mass-movement advertis- of McCann reflected, “‘Generation Lockdown’ was the most ing, as connected to some mobilizing force or cause—think the important work I did in 2019. My brother is a lacrosse coach marketing-side adoption of Colin Kaepernick—creating envi- at Marjorie Stoneman Douglass in Parkland so I jumped at the ably scaled experience, along with the everyday-any-moment opportunity to partner with MFOL (March For Our Lives). The personalized micro-experience—think the designer-but-dis- producers at Hungry Man and I spent six months researching counted (and hopefully enviable!) duvet cover I just purchased companies that would allow us to shoot our drill in their work- on IG—and how the micro and macro co-exist. With possibly space...and while the awards and accolades are great the most less in the middle?” important reward from that project is that it started so many Meanwhile, Hilary Coate, head of integrated production at conversations about what our children are learning every day Venables Bell & Partners in San Francisco, observed, “This year, at school.” we’ve seen the continued rise of AI, which is affecting the way in which brands communicate and advertise. Given it analyzes Survey data and targets consumers in real-time, this streamlined ap- SHOOT surveyed a cross-section of high-level advertising proach not only optimizes brands’ ad spend, but also creates ads agency professionals to gain their assessments of the notable- specifically targeting and speaking to individual consumer’s trends, developments, themes, dynamics and work that high- needs. lighted 2019. "The opportunities with AI are huge, and have many people What follows are excerpts from feedback provided by agency wondering whether it will replace real human creativity and respondents. Their full responses will appear on SHOOTonline. connections," she continued. "We believe the brands that do Links to that full article will appear in the 12/13 SHOOT Dai- both well--harness technology while also infusing real human- lies and SHOOT>e.dition. For our Year-End Survey on the ad ity in their communications--will ultimately win ahead.” agency side, the following six questions were posed: 14 SHOOT December 2019 YEAR IN PERSPECTIVE

1) What industry trends/developments were most significant in 2019? blur, are clients asking you to produce more “entertainment”? Please cite an example from this year and/or tell us about a project you’re 2) How did your agency or department adjust/adapt to the market- working on for 2020. place in 2019? (diversification, new resources/talent/technology, new strategies, etc.) You are welcome to cite a specific piece of work which 5) Gazing into your crystal ball, what do you envision for the industry- shows how lessons learned in 2019 were applied. -creatively speaking and/or from a business standpoint--in 2020?

3) What work in 2019 are you most proud of? (Please cite any unique 6) What’s your New Year’s resolution, creatively speaking and/or challenges encountered,) from a business standpoint, for your agency or department? Do you 4) As the lines between advertising and entertainment continue to have a personal New Year’s resolution that you can share?

Mindy Adams Group Creative Director 22squared

1) There’s a new consciousness in culture. We’re more aware than ever of the beauty in our differences and we can’t un-know what we know. This awakening, thank goodness, is seeping into our walls. Slowly, but surely, it’s kindling more conversations. We know we need diverse perspectives on our teams and we know we need to build nurturing environments where everyone can thrive. Of course it’s the right thing to do, but it’s also making us so much better. Smarter. Stronger. It’s leading to deeper understanding of our audiences and more rich, more dynamic, more meaningful ways to connect with them. It’s sparking more collaboration and creative solutions. It’s making us think differently. And that’s when amazing change happens.

6) Get back to the art of advertising. Hone our craft. Make it gorgeous. Make it sing. Make it unforgettable. Meet people where they are with something they need to hear. Give rise to change with each project or challenge we tackle.

Hilary Coate Head of Integrated Production Venables Bell & Partners

4) This year, Generation Z will become the largest single population in the world. Research shows that this group watches an average of almost 70 videos each day. With the surge of apps like TikTok, Gen Z’ers have the opportunity to create their own content. Clients realize that their brands need to be entertaining, but have also come to understand the importance of creatively engaging these consumers in the process too. I’m seeing our clients placing greater emphasis on experiential marketing and activations in their plans because they understand that memorable experiences help forge emotional connections with their brands. Though they also recognize that this must be balanced with thoughtful integrated communications which make the most of these connections and relationships over time.

5) In this oversaturated market of endless communications channels, consumers are craving authenticity from brands, and meaningful connections that evoke emotional responses. AR will continue to be a big opportunity for brands given it enables people to interact with content rather than simply viewing it. This type of engagement with the work and brand has great potential to turn passive viewers into active participants – and ultimately, when used effectively, the potential to forge tighter bonds between audiences and the brands vying for their attention. Continued on page 16

the REPRESENTING FREELANCE DIRECTORS AND CINEMATOGRAPHERS DIRECTORS theDIRECTORSNETWORK.com NETWORK PHONE 818.906.0006

December 2019 SHOOT 15 YEAR IN PERSPECTIVE Short Takes ELEMENT, FULL CONTACT TEAM ON ALZHEIMER’S PSA Agency Feedback On 2019 In this heartfelt PSA titled “A Good Man,” The Alzheimer’s As- Continued from page 15 sociation shares one family’s perseverance. Directed by Matt Dan Corken Luem via Boston-based ELE- Head of Production MENT Productions for agency Crispin Porter Bogusky Full Contact, the piece introduces us to Elissa Carreras who notices 1) The impact of social continues to be one of the most significant a change in her husband Jeff trends. Everything is about creating more content, but that should not Craddock that--due to his relatively young age--she misperceived as a lack mean simply chopping up a TV spot to post on different platforms. This year of engagement as a husband and father. It turns out he had early on-set De- we launched the ‘Hate-Like” campaign for Hotels.com, which pokes fun at mentia. the universal social media behavior of liking your friends’ vacation posts even when you’re secretly jealous. In Per the advice of The Alzheimer's Association, the family isolated early addition to multiple TV spots, we made more than 125 pieces of unique social content -- all captured on the bucket-list dreams, pulled their children from school and began planning the same shoot. The trend is to create more content, but more importantly, to create more content for a specific national road trip of a lifetime. purpose and with a specific platform in mind. MEDIAMONKS MERGES WITH WHITEBALANCE Karen Costello S4Capital, a new age digital advertising and marketing services company, Chief Creative Officer announced that its global content practice MediaMonks conditionally The Martin Agency agreed on a merger with Delhi-based content creation and production company, WhiteBalance. After opening an office in Bangalore in February this 3) I’m proud of a lot of work that we’re doing, but one of the standouts year and appointing Poran Malani as its director for India, S4 Capital now fur- is what we’re doing for Donate Life, an organization that encourages people ther strengthens its position in the region as White Balance maintains a state to become lifesaving organ donors. We created a streetwear brand called of the art content studio and in-house film, 3D and postproduction talent, 83Futures and the only way you can get the exclusively designed stuff is WhiteBalance is fully equipped to produce content from feature films, com- by signing up to be an organ donor. 83 Futures refers to the amount of lives you can save with your donated mercials and documentaries to high-end digital content. With the merger, organs. It’s crazy ambitious because it hasn’t really been done before. It’s not a one and done effort, it’s a brand MediaMonks adds 50 experts to the team, with the intent of doubling the that lives and grows in the world. The amount of work that had to go into securing not only the at-launch India business in the coming six months. design collabs but the seamless connection to donation sign ups was daunting and we’ve only scratched the Sir Martin Sorrell, exec chairman, S4Capital, said, “I’m delighted to con- surface. I love big ambitious ideas that break new ground and I especially love them when they are doing tinue to expand into this fast growing market, offering a wealth of talent good in the world. 83 Futures saves lives. It doesn’t get more important than that. and significant growth opportunities, and the merger with WhiteBalance is the next step for us to build a leading creative Leila Gage content business here." Director of Broadcast Production Goodby Silverstein & Partners PEOPLE ON THE MOVE... Rock Paper Scissors has promoted Alyssa Oh 4) With all the compelling content out there that have a strong hold on to editor for commercial representation in the people’s attention (Amazon Original shows and Netflix films, for example), U.S. She began her career as an intern at Rock how do we steal their attention, especially when people are paying for Paper Scissors New York, and continued her services to avoid advertising altogether? We need to create content that ascent to editor in the L.A. office. In her path is equally as entertaining—content that they seek out and want to engage with. “A Holiday Reunion” for Alyssa Oh from assistant editor to editor, Oh quickly as- Xfinity is a great example of work that is more entertainment than advertising. It was really important to all sembled an impressive portfolio of high-profile projects. These include be- involved that the integrity of the original story—and all the emotions that come with that story—remain ing a go-to collaborator on music videos with director Dave Meyers for pop- intact. And with maintaining that integrity they were able to evolve the story into a piece that resonates with icons such as Ed Sheeran, Travis Scott, Camila Cabello, and Shawn Mendes. and has been enjoyed by, well, everyone. Her body of work also includes the documentary Long Live Benjamin and campaigns for Nike, Facebook and Gucci....Veteran colorist Anthony Raf- faele, whose work includes Café Society, Mapplethorpe and Fahrenheit 11/9, Michael Kasprow has joined the finishing staff at Sim, New York. With credits spread across VP, Revinventionist Creative Director features, episodic television and high-end documentaries, Raffaele brings Jackman Reinvents versatility and experience to Sim, along with established relationships with top filmmakers and cinematographers. Raffaele spent the past five years at 1) Empathetic and values based advertising. This has been growing for Technicolor PostWorks, New York. He was a sr. colorist at Deluxe, New York, the last number of years but the idea of defining your customer through from 2009 to 2013. He began his career at Nice Shoes. Raffaele has collabo- product seems, i dunno, so counter to the reality of today. Like any relationship, we choose our partners based rated with legendary cinematographer Vittorio Storaro on three Woody Al- on shared beliefs, why would companies we choose to do business with be any different? len films, A Rainy Day in New York, Wonder Wheel and Café Society. Raffaele also worked with DP Javier Aguirresarobe on Allen’s earlier film Blue Jasmine. 3) I think we’re most proud of our Staples work for back to school. We made a conscious effort to stay a bit Raffaele’s TV credits include Blue Bloods for CBS, Younger for JAX Media, Los quiet. Rather than big musical numbers, dig into the notion of what it’s like for parents, children and teachers Espookys for HBO, The Get Down for Netflix andThe Helpsters for Apple TV.... to unlock the potential of product to achieve, excel, dream. 16 SHOOT December 2019 YEAR IN PERSPECTIVE Assessments From Vayner Media And Zambezi CCOs

Rob Lenois Chief Creative Officer VaynerMedia

1) A welcome shift for me has been more brands willing to invest in, and take the leap into, long-form digital storytelling. It seems like yesterday there were cries of the fractured attention economy and the need to go “short, short, short.” Telling an emotional story in six seconds was the challenge. The industry answered with a resounding “yes,” producing bite-sized content in droves and forcing inventive, creative thinking to tell an emotional story in such an abridged fashion. And this is likely to continue. But now the conversation has done a 180 as brands flex their storytelling muscle without the constraints of time. And now, free of these constraints and in this attention-deficient world, it’s about getting and holding the consumer’s attention. This is the true ambition of any good storyteller and a very welcome shift. Get it right, and length is almost irrelevant. Get it wrong, and you might have been better off sticking to six seconds.

Gavin Lester Partner, Chief Creative Officer Zambezi

4) Over the years, advertising and entertainment have always been intertwined to a degree - just look at original soap operas, for example. Today, with the proliferation of content and massive challenge of capturing consumers attention, entertainment plays an even more vital role in branded communications. Without an entertainment factor, a brand is lost. Each approaches entertainment differently of course; some use borrowed interest by featuring high profile celebrity talent or the latest technology, while others tell stories in other compelling new ways. Whatever the approach, the importance of entertainment in advertising today reminds us that we must also be pushing for new ways to communicate and captivate audiences ahead. For our team, we’re looking forward to big projects in 2020 that will be executed in unique formats, and outside of traditional media. We love these kinds of creative assignments that push boundaries and present entirely new opportunities for our clients’ brands.

Continued on page 18

December 2019 SHOOT 17 YEAR IN PERSPECTIVE Hot Locations ON-LOCATION LENSING IN L.A. DECLINES IN Q3 Overall on-location filming in Greater Los Angeles declined 5.2% from July Looking Back And Ahead through September, according to new data published by FilmLA. In all, 9,226 Shoot Days (SD) were logged during the period. Continued from page 17 And while the third quarter of 2018 saw local filming attain near-record highs, the same period this year delivered declines in on-location feature film, John McAdorey television and commercial production. Only the TV comedy and “Other” cat- Director Of Verizon Production egories posted significant gains. FilmLA researchers char- McCann acterized the report as atypical, and unusually at odds with other production indicators and local employment 5) Across all of our Verizon production platforms we are consistently trends. learning to be more ergonomic and nimble. This will continue into 2020 as In FilmLA’s Television category, TV comedy production we producers will continue to be charged with leading the ways to efficient increased 45.6% to 754 SD during the third quarter. TV production solutions to accommodate tighter timelines and budgets. My drama production declined for the first time this year, slip- production team is continuously keeping up with trends and learning how to problem solve in real time so Paul Audley ping 28.6% to 1,069 SD. TV pilots (down 19.2% to 63 SD), we can keep ambitious programs on track creatively and financially. web-based TV (down 8.7% to 346 SD) and TV reality (down 6.% to 1,051) also saw cuts. Steve Red “Given what we know about the LA production scene, the Q3 report omits President, Chief Creative Officer much of the story,” observed Paul Audley, FilmLA president. “Earlier this Red Tettemer O’Connell + Partners (RTO+P) month, our research group published a report revealing L.A.’s significant capture of the scripted television production market. Meanwhile, union officials 1) In 2019 advertising’s version of Where The Wild Things Are contin- assure us there are ample work opportunities for local crews. We can only sur- ued. Horrible teeth gnashed and horrible roars roared in the fight between mise that there is significant filming confined to area soundstages, or taking what’s more important, Data or Storytelling. Also, advertising continued its place in adjoining cities where the activity is not tracked.” transformation into something more like entertainment. Or profiling. Or hypnosis. Or a carnival ride. Feature film production, which has generally struggled in 2019, dropped 24.7% to 980 SD. Film projects brought to Los Angeles by California’s film in- 5) For 2020, we’re predicting a slow pendulum swing back toward making hearts pound over testing centive contributed 7.3 percent, or 72 SD, to the feature category in the third and analyzing the soul out of ideas. To help that happen, good agencies will hone their ability to turn data quarter. Commercial production, which has also struggled this year, trimmed into plotlines and character development that people care to invite into their lives. Bring on the new decade. its year-over-year losses to just 5% in the third quarter, declining to 1,330 SD. CATHERINE THE GREAT FILMS IN LITHUANIA David Rolfe Catherine the Great, the new Sky and HBO’s TV series depicting the latter years EVP/Director of Integrated Production of the Empress of Russia debuted this October. The four-part 18th-century BBDO New York epic with the Academy Award winner Helen Mirren as its star depicts the latter stage of the 34-year-long reign of the famous Russian ruler. 2) We know that we’re capable of, and deserve to be called upon to, Even though the events in the series are set in the Russian Empire, most of solve business problems with experience over comms. For us, collaborating the series was shot in Vilnius, the capital of Lithuania. with St.Jude’s and Facebook in the creation of the “Hall of Heroes” experi- As the city was part of the Russian Empire prior to WWI, the filmmakers man- ence, with VR at its core but broadening to a plethora of experiences-- for aged to use the multi-layered architectural and historical nature of Vilnius to the young patients and their families, for the bold journey of embattling cancer and for those that want to portray Saint Petersburg, a burning city in the Russian Empire, and a tradition- learn of the values at St. Jude’s. With “Heroes” we extend directly from product experience. al Russian village, among other backdrops. Apart from the cityscape of Vilnius providing the perfect backdrop for vari- 5) I’d say that as marketers become more independently capable (they will), they will still best flourish ous scenes, several buildings in the city were used to portray the luxurious in the smart use of dependency. We’re heading in to a very new collaborational phase, with our clients and lifestyle of the 18th-century Empress. The Trakų Vokė manor doubled as Cath- our partners. erine’s quarters, while Vilnius University was made into the Council Chamber of Russian Empire, and the inside of the Writers’ Union took up the role of Em- Eric Weisberg press’ private staircase. Global Chief Creative Officer “One of the bigger challenges with Catherine the Great Doner was building a real size private ship of the ruler,” comment- ed Jūratė Pazikaitė, director of Vilnius Film Office. “Built in 1) I think there were two valuable trends in 2019. the Lithuanian Film studio, the ship was as authentic as it One is that brands, marketers, and agencies are finally waking up to needed to be.” the fact that we don’t have to choose between “product” advertising and Catherine the Great marked the second time Helen Mir- “purpose” advertising. More brands than ever before are finding the right ren, the star of the show, visited Vilnius. Fifteen years ago, Photo courtesy of Baltic Film Services courtesyPhoto of Baltic Film balance between work that builds equity for the long-term and work that borrows equity for short-term Catherine the Great the actress came to the city to work on the set of Elizabeth I. sales wins. We no longer live in a binary media world and being able to use all the crayons in our box is what Catherine the Great was not the first big-budget production filmed in Vilnius makes this the most exciting time to build brands. in recent years. HBO’s Chernobyl (2019), the 10 Emmy-winning hit series, was Two is that the best brands and marketers are finally creating bespoke work that fully unlocks the potential mostly shot in Vilnius, as were Netflix’s Last Czars (2019), Tokyo Trial (2016), and of social media. We’re seeing less and less work that just re-purposes traditional television and print advertis- BBC’s War & Peace (2016). Currently, Netflix’s Young Wallander is being shot in ing in digital spaces. the city, too.

18 SHOOT December 2019 AD AGENCY OF THE YEAR

A Painterly Touch Deft creative brush strokes help Droga5 earn Agency of the Year distinction By Robert Goldrich

While SHOOT is recognizing Droga5 as and powerful the painting was by simply fronts--not only being recruited to “bleed its Agency of the Year for 2019, a piece not showing it at all. for the Throne” in a blood donors’ drive of work unveiled two years ago perhaps “I am obsessed with the emotion of for the American Red Cross, but also on best reflects the shop’s creative heart what makes people tick. I’m obsessed a lighter note being taken to a joust gone today, shedding light on a dynamic that with how people feel,” said Droga at bad for the Bud Light Knight in a Super continues to contribute substantively to a Cannes, adding that the best advertis- Bowl spot with an unexpected twist as a long run of stellar work. We go back to the ing “touches people,” is “visceral” and beer spot turns into a promo for the final 2018 Cannes International Festival of Cre- “makes you feel something.” The four- season of the iconic HBO series. (Bud ativity where that work from the year pri- minute Christie’s short captured the Light agency Wieden+Kennedy teamed or not only won a Cannes Film Craft Gold power of the painting through people’s with HBO shop Droga5 on the Big Game WLion but was the sole piece screened by responses to it, conveying awe, admira- commercial.) David Droga, founder and creative chair- tion, joy, reverence, sadness and beauty. Perhaps most impressive are the broad, man of Droga5, during a discussion titled Droga said the short “reminds me of the far-ranging creative brush strokes painted “I’m Not Sure I’m Right But Who Is.” power of creativity” and breaking away by Droga5 creatives--from the dead seri- Droga showed a capacity gathering at from conventions. ousness of depicting the “Fearlessness” the Cannes Lions session an agency short In some respects, this painterly quality of The New York Times to the tongue-in- promoting a Christie’s auction of da Vin- marked Droga5’s performance in 2019 as cheek humor of livening up a bland ba- ci’s legendary, rediscovered masterpiece again the audience and what it experi- gel emoji on behalf of Kraft Philadelphia painting of Christ--”Salvator Mundi,” ences are first and foremost. For example, Cream Cheese. From top left, clockwise: David a.k.a., “The Last da Vinci.” we are shown, and more importantly feel, For the former, the truth doesn’t report Droga; Sally-Ann Dale; Droga5 Rather than focus on the painting, the impact that journalism has on us indi- itself. Rather, it requires journalists with logo; HBO/Bud Light's "Joust" pro- Droga5 deployed a hidden camera to vidually and collectively in Droga5’s on- bravery, perseverance and rigor--whose moting the final season of Game of turn the perspective around and capture going “The Truth Is Worth It” campaign work is vital to our democracy. In “Fear- Thrones; Tim Gordon; Jesse Brihn; the emotion of those who came to see it. for The New York Times. lessness” we follow Times’ reporter Ruk- and Dos Equis' "Hit Single" We see their real, most human reactions. Similarly we are thrust onto the Game mini Callimachi, exploring the constant Droga5 showed exactly how breathtaking of Thrones’ canvas on distinctly different Continued on page 20 December 2019 SHOOT 19 AD AGENCY OF THE YEAR Tim Gordon Delves Into Creative Underpinnings While Continued from page 19 wants this to be ‘a safe place for danger- portance of journalism and what it rep- very first U.S. Open win. What’s remark- risk, fearlessness and instinct she requires ous ideas.’ We try to continue to maintain resents. able is how well her words relate to not to follow the truth from home soil to war that. We take a very bullish outlook on Another part of Droga5’s philosophi- only to her life as a tennis player, but also zones, on the ground and in life-threaten- creativity.” cal foundation, continued Gordon, is sim- as a mother. The social campaign touching situations, developing sources and in- Helping in that regard are diverse per- ply that the agency “cares a lot. We care es on the fact that, even though it’s been formation across the globe--all in order to spectives. Gordon noted that while he and about the process, the client and what 20 years since her Grand Slam, Williams- give us a better understanding of global Richter have a lot in common “when it they’re trying to convey. We care about -as both a nurturing mother and a fiercely terrorism and the caliphate of the Islamic comes to what we think this place should the people trying to make the work. A competitive player--never stops pushing, State. The films in the overall campaign be,” they both at the striving and playing. feature dynamic text set on top of video same time “come The campaign show- clips and stills that depict the story being from extremely dif- cases the strength of created and the first person process of the ferent backgrounds. moms everywhere, journalist. The evolving type technique That epitomizes an- using Williams as reflects the psychology and thought other part of what the embodiment of process of the Times journalist--deliber- makes Droga5 great- that strength as she ately written in headline case, it changes, -many different voic- shares her experi- moves, deletes and rewrites as we mimic es...diverse ways of ences, being both the reporter’s journey to chase the truth. thinking that lead to vulnerable and can- The twists and turns of the footage and better and brighter did, about mother- type ultimately fall into place to make up work.” hood. the final headline that was originally run The essence of From that relat- by The New York Times. that is even reflected able relevance, Dro- “The Truth Is Worth It” has become in the agency’s work ga5 ranges to charm- the single most-awarded non-charity for Nordstrom this ingly absurd fun campaign of the last decade. The first year, yielding a cam- The New York Times' "Fearlessness" with Dos Equis’ “Hit campaign won two Black D&AD Pencils paign mantra, “An Open Mind Is The huge amount of care goes into what goes Single,” which earned the number one (film, copywriting), two Cannes Grand Best Look,” a celebration of that brand’s out. We care about the audience. At the ranking in SHOOT’s Top Five Tracks mu- Prix honors (film, craft) plus five Gold place in the world, where everyone is end of the day we’re asking for people’s sic chart for 2019 (see separate Best Work Lions, as well as Best in Film at The One welcome, where varied people, styles attention. Our responsibility is to create of the Year feature story). In the spot, Bon- Show, two Grand Clios and Best in Show and ideas crisscross, where high fashion something for them that is beautiful and nie Tyler’s 1982 hit single “Total Eclipse from the AICP. meets low fashion, classic meets contem- engaging. We’re beholden to make some- of the Heart” is transformed into a ballad A far cry from the tone and tenor of porary. Minds are opened, and people get thing worthwhile and compelling.” musing about the trials, tribulations and The New York Times’ work is the afore- to look and feel their best.” That extended well beyond The New self-absorbed trauma of ordering Dos Eq- mentioned cream cheese initiative. Also in a case of where a campaign for York Times, HBO, Kraft Philadelphia uis and appetizers at a crowded bar. This Upon Apple’s release of a series of new a client imitates the place where that cam- and Nordstrom in 2019. Also resonating loving tribute to all that makes summer emojis, Droga5 was immediately struck paign was created, Gordon said of Droga5, this year has been work for such clients great, including 1980s-style music jams, by one for the bagel--plain and desolate. “A lot of places have styles. Our house as Thorne, IHOP, Dos Equis and Chase, helps to encourage today’s party-goers From that immediately sprung a social style is that there is no house style.” Inspi- among assorted others. For example, the and Dos Equis drinkers to make every campaign to bring life to a wholly un- ration instead is found in different tones, Chase work shows how Droga5 builds on moment “interesante.” appetizing, uninspiring bagel. Within ideas and forms of execution. Not having a campaign, creating a new yet continuing Being a fountain of creatively inspired days of embarking on the cream cheese a style leaves Droga5 wide open to far momentum. In 2018, Chase’s sponsorship work, though, isn’t enough at Droga5. campaign, Droga5 got Apple to spread a reaching possibilities--meaning that the of the U.S. Open tennis championship That creativity has to have a purpose and schmear of goodness over its emoji--a silly work can be incredibly heartfelt, impor- tournament ignited a conversation about positive consequences in the marketplace yet creatively relevant marketing mission tant, impactful or even silly and just plain motherhood as Serena Williams returned at large. Beyond being “interesante,” accomplished. entertaining. to the competition after becoming a mom work has to prove effective for brands. Yet while the range is seemingly lim- for the first time. With a film and social So amidst this year’s many accolades at Living dangerously itless, the work no matter how different campaign, the #ThisMama hashtag ini- Cannes, the AICP Show, a Super Clio win Tim Gordon--recently promoted to co- shares a bond of being smart, respecting tiative encouraged others to tell their for “Joust,” Agency of the Year mantles chief creative officer of Droga5 New York the intelligence of consumers. And then own stories of motherhood. Fast forward from the D&AD and the Ciclope Fest, along with Felix Richter--said that much going beyond appealing to their intelli- to 2019 and “This Mama Keeps Going” looming large is Droga5’s ongoing track starts up top at the agency with David gence. The New York Times fare, for ex- brought a new working mom dimension, record at the Effie Awards. Back in May, Droga himself. “We have a belief in the ample, does more than smartly educating showcasing the journey of motherhood Droga5 earned distinction as Indepen- people who are here,” said Gordon, add- viewers about what goes into good jour- from Williams’ perspective. The concept dent Effectiveness Agency of the Year for ing, “There’s a belief in giving the people nalism. At the same time, related Gordon, pairs videos of her daughter Olympia the third straight and the fourth time in here anything and everything so that “each bit of the film is dialed into elicit- growing up, from ultrasound all the way five years. Additionally, Droga5 earned they have an environment where they ing an emotional feeling” so that people through to the present day, with voiceover the 2019 crown for Overall Agency of the can do their best work. David has said he connect on a deeper level with the im- from Serena Williams’ interview after her Year. 20 SHOOT December 2019 AD AGENCY OF THE YEAR Sally-Ann Dale, Jesse Brihn Reflect On Production Ethos Constant contributors yielded ambitious work in its own right. collaborates with Droga5’s interactive realize work in ways we couldn’t have Sally-Ann Dale, chief creation officer A prime example would be “The production operation headed by Tasha previously,” said Brihn, noting that 2020 for Droga5, noted that there are constants Frontier Within” for Thorne, a health- Cronin and Justin Durazzo, as well as figures to be a year when those possibil- that have contributed to the agency’s suc- solutions provider offering a portfolio Second Child, and print services and art ities--fueled in part by having access to cess. “Throughout the years, we’ve been of premium supplements and at-home production groups--all overseen by Dale- Accenture Interactive’s technology tools- lucky to have brave clients, and this year diagnostic test kits. Established among -to help realize creative visions. “We all -will be more fully explored and realized. has been no different,” she assessed, add- healthcare practitioners, Thorne wanted share an office together. We’re able to le- That potential has already been re- ing, “We wouldn’t be able to do the work to become a household name in the luxu- verage each other’s skills and passions,” flected with last month’s news that Kim- that we do without said Brihn, adding berly-Clark Corp. had named Accenture the collaboration of that they seek out Interactive as the lead creative agency our clients, every the partnerships for its baby and child-care products. This department in the within and outside marked Accenture Interactive’s first big agency, our own the agency that offer win pitching in tandem with Droga5. multitude of pro- the best opportunity Gordon said that Accenture Interactive duction disciplines to succeed.” “has opened up new, exciting avenues” working together Brihn continued, for Droga5, “ensuring we have everything and, of course, our “Everything we do at our disposal to do what we do--and to production partners. tells some sort of hu- do it even better.” We are in it together.” man truth regardless Meanwhile the future is also being fa- Dale further of what the brand is cilitated at a less conspicuous but still vi- observed, “Our ap- and what the mes- tal level by the D5in10 Academy, Droga5’s proach to produc- sage is.” Thus there’s free 10-week program, now in its second tion has been the a deep sense of pur- year, which aims to broaden the industry same since the very pose to the work, pipeline for “nontraditional” talent. Dro- beginning of Droga5, Thorne's "The Frontier Within" which intensifies the ga5 itself has tapped into the program to and we’ll continue to work with the same ry space, moving into direct-to-consumer spirit of collaboration within production bring talent into the agency fold. D5in10 rigor and philosophy.” She noted that in sales. Toward that end, Droga5 introduced operations and with agency creatives, as is designed to teach creators of all disci- 2019, “We expanded our global capabili- audiences to the next frontier of human well as outside vendors including produc- plines the essence of advertising concept- ties at scale as well as the landscape of our progress--the human body. “The Frontier tion and post houses, VFX, animation ing, building campaigns, art direction, storytelling, all of which is truly exciting Within” came to life as film and social and music studios. copywriting and more. The initiative and motivating.” assets that take viewers on a journey to On the production side, affirmed Bri- looks to find people with a creative spark Dale is also optimistic about where a mysterious, vast frontier before reveal- hn, “Craft is foremost in everything we who hadn’t necessarily yet figured out Droga5 is headed. “We’re coming to the ing that the frontier is the viewer’s own do. It’s always been about story and the where to apply their talents, lacked the end of 2019, and I’m really excited and body. All touchpoints started a conversa- level of storytelling. I came here as an ex- opportunity to build a portfolio in adver- energized about the work we have in tion with the consumer about his or her ecutive producer (in early 2015) and seen tising school or were unable to get a foot production right now. The department is body and its unique needs, leading to a our group grow from the ground up.” in the door at an agency in some capacity. the busiest it’s been all year, so if I think tailored, integrated solution from Thorne. During that time he’s seen innovation Now they can get a start in advertising by about it, the best of 2019, and beyond, is An immersive installation and website expand and curiosity grow at the shop, gaining direct hands-on instruction from yet to come.” were created that brought people face with boundaries being pushed regarding Droga5 employees. That also holds true in terms of Second to face with their own bodies. Biometric what’s possible. D5in10 Academy students have a great- Child, Droga5’s in-house production stu- sensors captured respiratory, circula- er sense of confidence and structure in dio, which according to Dale “has had its tory and neurological biodata, which was Future vision how they approach their creative work, busiest year to date and is already gearing turned into a living, breathing inner por- Droga5’s eye on the future was evident whether or not they choose to pursue a up for 2020.” trait on a 21-foot screen and revealed the in 2019--on high and low-profile fronts. job in advertising. They garner an under- Jesse Brihn, director of film produc- awe-inspiring frontier within every one of On the former score, it was announced standing of strategy, ideation and execution at Droga5, noted that Second Child, us. That portrait was then turned into an in April that Accenture had acquired tion. under the aegis of Scott Chinn, produces Inner Selfie to be shared on social media. Droga5. The 13-year-old ad agency thus Since its launch in 2017, nearly 50 indi- notable work while also enabling the An interactive web experience let every- became part of Accenture Interactive. viduals have completed the program, and agency to explore proof of concepts, help- one who couldn’t attend the installation Financial terms of the deal were not dis- 25 percent of the first contingent landed ing to bring other campaigns to fruition create their own Inner Selfie as well. closed but the dollar amount was report- roles within the ad biz. at the agency. Brihn noted that being able Droga5 and Second Child partnered with ed to be the largest in Accenture Interac- Gordon affirmed that this “bootcamp” to tap into Second Child “allows us to ex- U.K. digital artists Marshmallow Laser tive’s 10-year history. for young creatives who might not oth- press and explore opportunities beyond Feast and web studio Active Theory on The landmark acquisition was de- erwise consider an advertising career just the theoretical--to express to a client “The Frontier Within,” delivering a truly signed to bring together Droga5’s brand marks a cultivation of diversity at a grass- or test for yourself the validity of an idea, collaborative, nontraditional, integrated building prowess with Accenture Interac- roots level--not just for Droga5 but for the to try it out.” Brihn added that Second campaign. tive’s penchant for delivering great brand industry at large, which is of paramount Child has a major innovation arm that has Brihn’s film department dovetails and experiences. “Accenture will allow us to importance for the future. December 2019 SHOOT 21 BEST WORK OF THE YEAR Top Spots of the Year 1

CLICK HERE TO VIEW SPOT > CLICK HERE TO VIEW SPOT > CLICK HERE TO VIEW SPOT > CLICK HERE TO VIEW SPOT > CLICK HERE TO VIEW SPOT > The Year’s “Best Work You May Never See” 2 3

CLICK HERE TO VIEW SPOT > CLICK HERE TO VIEW SPOT > CLICK HERE TO VIEW SPOT > CLICK HERE TO VIEW SPOT > CLICK HERE TO VIEW SPOT > Top row (l-r): Johnson & Johnson’s 5B; Microsoft Xbox’s “Changing the Game”; Game of Thrones/Bud Light’s “Joust”; The New York Times’ “Fearlessness”; and IKEA’s “ThisAbles.” Bottom row (l-r): March For Our Lives’ “Generation Lockdown”; Renault Clio’s “The French Exchange”; Gillette’s “First Shave”; “Politics Tamed” for U.K.’s Times; Zulu Alpha Kilo’s “Billy’s Lemonade.” 4 SHOOT’s Selections For The Best Work Of 2019 Mix includes a branded film that made its mark at two Cannes Fests, a pair of Super Bowl spots 5 A SHOOT Staff Report premiered at the Cannes Film Festival as plays, we all win.” say and TJ Martin of Furlined--we fol- With 2019 about to fully enter the prover- part of its Special Screenings lineup. The Third place went to “Joust.” During low Times’ reporter Rukmini Callimachi, bial rear-view mirror, it’s time for reflec- next month the film won the Entertain- this year’s Super Bowl, agencies Droga5 exploring the constant risk, fearlessness tion on varied fronts, including assessing ment Grand Prix at the Cannes Lions In- and Wieden+Kennedy, along with produc- and instinct she requires to follow the what work was among the year’s most ternational Festival of Creativity. The film tion house O Positive, delivered a Game of truth from home soil to war zones, on the worthwhile creatively.’ is 5B, named after San Francisco General Thrones-twist ending to Bud Light’s series ground and in life-threatening situations- Determining any year’s “best” is a Hospital’s ward which opened in 1983 as of “Dilly Dilly” commercials. What starts as -in order to give us a better understanding highly subjective proposition so SHOOT the first full-fledged hospital unit dedicat- a Bud Light Super Bowl ad featuring the of global terrorism and the caliphate of the staffers looked to at least narrow the field ed to treating people with AIDS. Directed King and Bud Knight descends into chaos Islamic State. Wby first culling through our weekly Top by Dan Krauss of Saville Productions, the when the menacing Game of Thrones Rounding out the top five is an IKEA Is- Spots as well as our “The Best Work You moving documentary tells the stories of character the Mountain makes a surprise rael campaign, “ThisAbles” from McCann 1 May Never See” gallery entries through- caretakers, patients and others--showing appearance, defeating the defender of the Tel Aviv, which won a D&AD Black Pencil out 2019. We then added to the field the positive power of nursing, continuing “Dilly Dilly” kingdom in a jousting con- as well as the Cannes Lions Health & Well- select pieces of work that might have a theme which Johnson & Johnson has test. The ad--which promoted Game of ness Grand Prix, among other honors in fallen through the cracks and not earned championed over the years. Thrones’ final season-reunited people from 2019. Per the “ThisAbles” initiative, IKEA weekly Top Spot (perhaps beaten out by A pair of Super Bowl spots took second the HBO series’ crew, including showrun- created add-ons for existing products to 2 another piece in a given week) or “Best and third place--for dramatically differ- ners David Benioff and D.B. Weiss, under make them more accessible for people Work” distinction yet which we had cov- ent reasons--in SHOOT’s rundown of the the aegis of director David Nutter. The first with disabilities. Custom special-needs ered extensively in other stories during year’s best work. Earning the number two half of the spot, with Bud Light material, furniture is generally twice as expensive the course of the calendar year. slot is “Changing the Game” promoting was directed by Spencer Riviera. The re- as regular furniture. IKEA Israel launched We also reviewed our quarterly Top Microsoft Xbox’s Adaptive Controller, in- veal of the Super Bowl commercial was in- a line of add-ons free of charge that are 3 Ten Tracks and VFX/Animation charts, troducing us to kids who are avid gamers tentionally left to in-game to maximize the available in-store and downloadable via ultimately choosing a Top Five from each. but have had to compete at a disadvantage surprise for fans and viewers alike. 3D printer--like larger sized couch legs that So here are SHOOT’s selections for the because controllers didn’t account for play- Droga5, this time as the lone agency, help people to more easily lift themselves Best Work of 2019 divided into Top Spots, ers who had but one hand or fewer fingers. also garnered fourth place with its ongoing off the couch, and a special handle that The Best Work You May Never See, and We meet these young gamers and in some “The Truth Is Worth It” campaign for The allows a wardrobe closet to be more easily our Top Music/Sound Tracks and Top cases their parents as we see Xbox afford New York Times. Given today’s tumultu- opened and closed. 4 VFX/Animation entries. them the ultimate gaming inclusiveness ous times, with journalism under attack with the development of accessible tech- from the highest (and/or lowest) places, “Best Work” gallery Top Spots of the Year nology that levels the playing field. Direct- this campaign affirming the importance Hungry Man director Buckley and SHOOT's pick for the number one con- ed by Bryan Buckley of Hungry Man for of journalists to a democracy and society McCann NY come up in this year’s best tent slot of 2019 goes to a piece of branded agency m:united//McCann New York, the at large looms all the more significant. In countdown as well, topping The Best 5 content for Johnson & Johnson which spot ends with the line, “When everybody “Fearlessness”--directed by Daniel Lind- Continued on page 24 22 SHOOT December 2019 2019 Top Five Music Tracks

TITLE MUSIC/SOUND AUDIO POST AGENCY PRODUCTION

Dos Equis’ “Hit Single” Beacon Street Studios, Venice, Calif. Heard City, New York Droga5, New York Hungry Man, bicoastal Andrew Felteinstein, John Nau, composers; Adrea Lavezzoli, exec producer; Lindsey Phillip Loeb, Elizabeth McClanahan, Wayne McClammy, director Lerman, producer mixers; Andi Lewis, producer; Sasha Awn, 1 Song: “Total Eclipse of the Heart” by Bonnie Tyler exec producer CLICK HERE TO VIEW SPOT > Apple’s “Bounce” “I Learnt Some Jazz Today,” soundtrack by composer/producer Tessellated Formosa Group, Los Angeles TBWA\Media Arts Lab, Pulse Films, John Bolen, mixer Los Angeles bicoastal/international 2 Oscar Hudson, director CLICK HERE TO VIEW SPOT > Bosch’s “Llama Drama” Yessian Music, Hamburg, Germany INFECTED GmbH, Hamburg Jung von Matt/Next Alster, Markenfilm, Hamburg Christopher Carmichael, composer; Ingmar Rehberg, EP/managing dir.; Helena Hannes Hönemann,, mixer Hamburg Matthew Swanson, director Schmitz, Lukas Lehmann, producers; Brian Yessian, CCO; Michael Yessian, head of production 3 INFECTED GmbH, Hamburg CLICK HERE TO VIEW SPOT > Hannes Hönemann, sound designer Jif’s “Bunker” Beacon Street Studios, Venice, Calif. Harbor Picture Company, Publicis New York Hungry Man, bicoastal Andrew Feltenstein, John Nau, Danny Dunlap, composers; Leslie DiLullo, exec Santa Monica, Calif. Wayne McClammy, director 4 producer; Rommel Molina, sound designer Steve Perski, mixer CLICK HERE TO VIEW SPOT >

Reebok’s “Storm Barking Owl, West Los Angeles Barking Owl, West Los Angeles Venables Bell & Partners, PRETTYBIRD, the Court”” Kelly Bayett, creative director/partner; Jessica Dierauer, music supervisor; Morgan AJ Murillo, enginner; Eolyne Arnold, San Francisco Culver City, Calif. Johnson, sound designer; KC Dossett, producer assistant Tom Noakes, director 5 Track: “Prayer Hands” by A-Trak and YehMe2 CLICK HERE TO VIEW SPOT > 2019 Top Five: VFX/Animation

TITLE VISUAL EFFECTS/ANIMATION AGENCY PRODUCTION

Bud Light/ The Mill NY Tony Robins, shoot supervisor; John McIntosh, 2D lead; Yoon-Sun Bae, Heather Kennedy Eck, Vi Nguyen, Matthew DeFranco, Ant Droga5, New York O Positive, HBO/Game Walsham, Neeraj Rajput, Samarendra Lenka, Inturi Chandra Sekharm, Bharath Ediga, Prasanna Bhat, Madhana Gopala, Venkatesh Srinvivasan, Wieden+Kennedy, bicoastal of Thrones’ Badarinath Chinimilli, Ramanjaneyulu Thota, Nehal Desai, 2D artists. Tom Bardwell, 3D lead; Lauren Shields, Tim Kim,Hassan Taimur, James Portland, Ore. David Nutter, Spencer Riviera, “Joust” Mulholland, Todd Akita, Paul Liaw, Sandor Toledo, Ayush Bajoria, Leela Shanker, Spandana Battula, Raj Kumar, Tighe Rzankowski, 3D artists. Sue directors Jang, matte painting; Andrew Sommerville, EP. (Toolbox: Nuke, Flame, Maya, Houdini) Pixomondo, LA Derek Spears, VFX supervisor; Daniel 1 Knight, Fei Chen, Shawn Sahara, VFX artists; Tefft Smith II, Logan Shye, Michael Maker, animation. (Toolbox: Nuke, Maya Arnold) CLICK HERE TO VIEW SPOT > Freddie Friends Electric, London, L.A. Woodblock, Berlin, Studio Seufz, Stuttgart Belinda Blacklock, EP/producer; Ilija Brunck, Jona Brunck, Stefan none Friends Electric, London, L.A. Mercury’s Michel, EPs; Sandra Brandstätter, character designer; Benedikt Hummel, FX animator & editorial; Janina Putzker, animation supervision, layouts, Woodblock, Berlin “Love Me Like FX animator; animation & clean-up artist; Sonia Melnyk, animation & clean-up artist, color artist; Heidi Yilun Chen, Laura Staab, Elena Walf, Studio Seufz, Stuttgart There’s No Sabine Koops, Nora Marie Back, Isabelle Piolat, Kim Liersch, animation & clean-up artists; Simone Pivetta, 3D artist; Samuel Rassy, Carlotta Beth David, Esteban Bravo, dirs. Tomorrow” Biesenbach, Nora Marie Back, Elena Walf, color artists; Sarah Eim, compositing lead; Tobias Stärk, Thorsten Löffler, Paul Schicketanz, Csaba Letay, 2 compositing. (Toolbox: ToonBoom Storyboard Pro, TV Paint, After Effects, Nuke, Premiere) CLICK HERE TO VIEW SPOT > Born Free Zombie Studio, Sao Paulo, Brazil Bart Yates, Natalia Gouvea, EPs; Lucas Barreto, DP; Antonela Castro, Marcio Lovato, producers & set prodn; Engine UK, London Blinkink, London Foundation’s Leticia Harumi, producer; Yohann da Geb, CGI lead & lead compositor; Wallan Oliveira, technical supervisor, CG; Mauricio Sampaio, lead modeler; Zombie Studio, “The Bitter Danilo Gerard, Tiago Oliveira, modelers; Bruno Monteiro, animation dir; Bruna Berford, Bruno Santos, Christian Weckl, Conrado Testa, Francisco Sao Paulo, Brazil Bond” Catão, Hannry Pschera, Jonathan Edward, Leonardo Felix, Leonidas Maciel, Marcos Elias, Michel Denis Da Silva, Rodrigo Dutra, animators; Heber Daniel Sallees, Paulo Garcia, 3 Conde, Wallan Oliveira, VFX artists; Adriana Cardozo, Guilherme Sarinho, Wallan Oliveira, compositors. (Toolbox: Photoshop, SoftImage XSI, directors ZBrush, Substance Painter, Maya, Houdini, Arnold Render, ThinkBox Deadline, Nuke, After Effects, Premiere) CLICK HERE TO VIEW SPOT > Lacoste’s Time Based Arts, London BETC, Paris Iconoclast, Paris “Crocodile Francois Roisin, creative dir; Josh Robinson, producer; Federico Vanone, VFX supervisor; Thiago Dantas, lead Flame; Shel Gardner, Leo Weston, Megaforce, director Inside”” Adam Paterson, Jamie Crofts, Stephen Grasso, David Birkill, Matt Jackson, Flame artists; Bernardo Varela, Grant White, Leandro Vazquez, Manolo Perez, Matt Shires, Will Robinson, Paul Sullivan, Nuke artists; Mike Battcock, Federico Vanone, lead 3D; Sam Osbourne, Ben Cantor, David Loh, 4 Fabrice Le Nezet, Federico Vanone, Gareth Bell, James Mann, James Spillman, Matt Evans, Stephen Murphy, Tom Di Stasio, Walter How, Zoe Sottiaux, Jiyoung Lee, 3D. (Toolbox: Flame, Nuke Maya, Houdini, Resolve) CLICK HERE TO VIEW SPOT >

Chanel Norma V. Toraya, aka Crankbunny, animation; Chanel Miller, writer, director, illustrator; Emily Moore, director, producer none Chanel Miller, Emily Moore, Miller’s “I Am (Toolbox: Photoshop, After Effects) directors With You”” Arcade Edit, New York Emerald Pictures, Los Ange- Tristian Wake, Flame artist les (live action production) 5 (Toolbox: Flame) CLICK HERE TO VIEW SPOT >

December 2019 SHOOT 23 BEST WORK OF THE YEAR March For Our Lives Makes Poignant Mark On 2019 Continued from page 22 Shave” from Grey Canada. The film cap- holding companies and what happens to to Freddie Mercury’s 1985 track, “Love Work You May Never See entries with tures the moment when trans advocate an ad agency after being sold. The piece Me Like There’s No Tomorrow.” March For Our Lives’ “Generation Lock- Samson Brown first used a razor to shave tells the story of a young boy who sells Directors Esteban Bravo and Beth down,” in which a major company seeks himself, all under the watchful and caring his thriving lemonade stand to a holding David teamed with Germany-based pro- training for employees in the event of gun guidance of his father. Samson’s story rec- company from New York. Billy is forced to duction companies Friends Electric and violence at the workplace. The expert ognizes that having the confidence to ex- make a slew of compromises. The film is Woodblock along with animation studio they find to instruct adults on how to sur- press one’s true self can be a journey--one Toronto-based Zulu Alpha Kilo’s salute to Studio Seufz on the video which tells the vive an active shooter event is none other that Gillette fully supports. Angie Bird all independent agencies. story of two white blood cells that fall in 1 than Kayleigh, a young girl who’s experi- directed the film through Toronto-based love. However, one of the cells has be- enced this trauma already at school. Skin and Bones (she is handled stateside VFX/Animation come infected with HIV. The microscopic Nestled in second place in our year by Chelsea Pictures). The aforementioned Bud Light/Game lens perspective of this tale provides a rundown is a U.K. spot, “The French Finishing fourth was “Politics Tamed” of Thrones’ Super Bowl spot “Joust”--with direct visual representation of the AIDS Exchange,” for the brand new Renault for U.K.s The Times newspaper in which The Mill New York and Pixomondo, L.A., crisis in the 1980s. 2 Clio. Directed by Frederic Planchon the British House of Commons is popu- as the VFX houses--tops our 2019 lineup Taking third place is Born Free Foun- of Academy Films for London agency lated not by politicians but by a host of VFX/Animation Chart entries. dation’s The Bitter Bond from Blinkink, Publicis•Poke, the commercial shows of wild animals. Framestore London’s It is followed by an animated music London, and Zombie Studio, Sao Paulo, us how the car model has evolved over William Bartlett directed the tongue-in- video, “Love Me Like There’s No To- Brazil. Set to the Oscar-winning song the years. But that’s just the backdrop cheek social commentary on chaotic poli- morrow,” which pays tribute to not only “Born Free” performed by Matt Monro, 3 as more front and center is how a loving tics--chaos which The Times makes sense Queen’s Freddie Mercury--who died of this film out of U.K. ad agency Engine relationship develops over that same time of--for agency Pulse Creative, London. AIDS-related causes in 1991--on what titled tells the story of a lion keeper and span. Two girls meet in a foreign exchange Rounding out the Best Work top five is would have been his 73rd birthday, but her cub that ends in the ultimate betrayal. program, become friends and much more “Billy’s Lemonade,” a video which takes also the charitable Mercury Phoenix Zombie Studio combined the richness over the years. a humorous, self-deprecating look at the Trust. Universal Music Group released and beauty of hand-crafted sets with 3D 4 Taking third place was Gillette’s “First ad industry, in this case the subject of this music clip as a visual accompaniment Continued on page 29 5 Place your ad now for the 18th Annual VES Awards

Join us in congratulating this year’s honorees at the 18th Annual VES Awards on January 29 at the Beverly Hilton hotel in Beverly Hills, CA 6 7 8

Martin Scorsese Roland Emmerich Sheena Duggal VES Lifetime VES Visionary Award VES Award for 9 Achievement Award Creative Excellence

Reserve space for your congratulatory ad in the 18th Annual VES Awards show program book by Tuesday, January 14. 10 To reserve your ad space or purchase tickets, please contact: [email protected] 24 SHOOT December 2019 QUARTERLY 2019 TOP TEN VISUAL EFFECTS & ANIMATION TITLE VISUAL EFFECTS/ANIMATION AGENCY PRODUCTION Born Free Zombie Studio, Sao Paulo, Brazil Engine UK, London Blinkink, London Foundation’s Bart Yates, Natalia Gouvea, EPs; Lucas Barreto, DP; Antonela Castro, Marcio Lovato, producers & set prodn; Leticia Harumi, producer; Yohann da Zombie Studio, Sao Paulo “The Bitter Geb, CGI lead & lead compositor; Wallan Oliveira, tech supervisor, CG; Anna Caiado, Estevão Teuber, Feppa Rodrigues, Mauricio Sampaio, lead Daniel Sallees, Paulo Garcia, Bond” modeler; Danilo Gerard, Tiago Oliveira, modelers; Bruno Monteiro, animation dir; Bruna Berford, Bruno Santos, Christian Weckl, Conrado Testa, directors 1 Francisco Catão, Hannry Pschera, Jonathan Edward, Leonardo Felix, Leonidas Maciel, Marcos Elias, Michel Denis Da Silva, Rodrigo Dutra, animators; Heber Conde, Wallan Oliveira, VFX artists; Adriana Cardozo, Guilherme Sarinho, Wallan Oliveira, compositors. (Toolbox: Photoshop, SoftIm- CLICK HERE to see SHOOTonline.com CLICK HERE TO VIEW SPOT > age XSI, ZBrush, Substance Painter, Maya, Houdini, Arnold Render, ThinkBox Deadline, Nuke, After Efects, DaVinci Resolve, Adobe Premiere) for backstory on Chart’s #1 entry Chick-ﬁ l-A’s Psyop, bicoastal McCann New York Psyop, bicoastal “Time Shop”” Justin Booth-Clibborn, EP; Suzie Cimato, sr. prod.; Victorior Wanchana Intrasombat, Pedro Lavin, designers, matte painters; Samantha Ballardini, Momentum, New York Marie Hyon, director Felipe Hansen, Robin Joseph, Andrew Serkin, Dionisius Bangun, designers; Briana Francheschini, lead TD, modeler, look dev/lighter and groom FX; Pat Porter, Nick Dubois, Doug Litos, previz artists, 3D animators; Eric Cunha, Ieva Callender, modelers and groom FX, look dev/lighters; David 2 Soto, Anne Yang, Chris Santoianni, Pedro Conti, Kevin Ferrara, Ryan Kirkwood, Casey Reuter, Krista Albert, modelers; Brian Kim, modeler and look dev/lighter; Matthias Bauerle, 2D lead, compositor and look dev/lighter; Aaron Baker, Herculano Fernandes, Manu Gaulot, Lane Jolly, Tingting Li, CLICK HERE TO VIEW SPOT > Carl Mok, compositors; Felipe Hansen, matte painter. (Toolbox: Maya, Houdini, Nuke, After E ects, Photoshop, Substance Painter, Yeti) John Lewis/ Untold Studios, London Diarmid Harrison-Murray, creative director VFX; Alex Gabucci, Amir Bazazi, VFX supervisors; Tim van Hussen, anima- adam&eveDDB, London Blink, London Waitrose’s tion supervisor; Ian Berry, exec producer VFX; Neil Davies, ECD; Nell Lloyd-Malcolm, producer VFX; Michael Diprose, asset lead; Aaron Hopwood, Dougal Wilson, director “Excitable Daniel Kmet, Jo rey Zeitouni, Nicolas Seck, Sauce Villas, Jakub Krompoic, animation & rigging artists; Denis Krez, Doruk Saglam, Gustavo Ribeiro, Edgar” Luke Massingberd, Matthew (Wispy) Clarke, Thiago Vilas Boas, Julie Cruette, comp artists; Amandine Comes, Andreu Lucio, Annie Rowland, 3 Ardahan Sernaz, Baptist Jaquemet, Cindy Libbrecht, Daniel Longe, Emre Sumer, Kenny Ip, Manon Cauzid, Marc Picco, Marcel Ruegenberg, Platon Filimonov, Ran Manolov, Simon Legrand, Yaz Raji, CG artists; Andrew Brooks, Aurelian Ronceray, Fabio Santoro, Lino Khay, Therese Larsson, CLICK HERE TO VIEW SPOT > DMP/concept artists (Toolbox: Flame, Nuke, Photoshop, Houdini, Maya, Zbrush, Mari, Substance, Arnold) Microsoft Industrial Light & Magic, San Francisco Sherry Hitch, post VFX supervisor; Jonathan Rothbart, onset VFX supervisor; Leandro Estebecorena, 215 McCann, San Francisco RESET Content, Xbox’s CG supervisor; Jill Brooks, EP; Delio Tramontozzi, animation supervisor; Philip Barnard, Dave Logan, Nathan Thomas, animators; John Niforos, Santa Monica, Calif. “Become a creature TD; Marla Newell, layout supervisor. Shane Roberts, lead generalist-environments; Kevin Page, Adam Watkins, generalists-environ- Garth Davis, director Jedi” ments; Kevin Reuter, Yegor Swarovski, ltg TDs. Tigran Badalyan, Michael Conte, Larkin Flynn, Ravi Kasumarthy, YunJung Ko, Alison Lake, Michael 4 Ranalletta, Ronnie Williams Jr., compositors; Michael Van Eps, digital paint and roto supervisor; Beth D’Amato, Robert Dorris, Katie Morris, digital CLICK HERE TO VIEW SPOT > paint & roto artists; Mark Keetch, Mark Marcin, model/texture artists. (Toolbox: Maya, 3dsMax, Nuke)

HP’s “Print The Mill LA Glynn Tebbutt, creative director/VFX supervisor; Jason Mortimer, CG lead & CG FX artist; Lenz Kol, Daniel Thuresson, Nicholas Tayler, Goodby Silverstein & Partizan, Los Angeles the Holidays: Roman Yavorsky, Dylan Strie , Scott Johnson, compositors; Matthew Choy, CG artist; Jacob Bergman, animation supervisor; Andy Wheater, Partners, San Francisco Michel Gondry, director Get Real” matte painter; Sasha Vinogradova, Maxim Goudin, graphic design/art directors; Adam Scott, sr. colorist; Blake Rice, Jessica Amburgey, color 5 production; Erin Hicke, sr. VFX producer; Dan Roberts, exec producer; Jena Bodel, production coordinator. (Toolbox: Flame, Nuke, Houdini, Maya, Arnold, C4D, After E ects) Place your ad now for the 18th Annual VES Awards CLICK HERE TO VIEW SPOT >

Leukemia Hornet New York Natalie Labarre, director, storyboard artist, character designer, environment designer; Hana Shimizu, exec producer; Kristin Oberland, New York Hornet, New York Join us in congratulating this year’s honorees at the 18th Annual VES Awards and Labriola, development producer; Matt Creeden, producer; anita Chao, editor; Riley Spencer, production coordinator; Sarah Litzenberger, Natalie Labarre, director on January 29 at the Beverly Hilton hotel in Beverly Hills, CA Lymphoma storyboard artist, lead animator; Sami Healy, lead animator; Josh Brennan, Tyler DiBiasio, Ty Enos, Natalie Labarre, Seongjin Yoon, Hazel Zheng, Society’s animators; XiaoXiao Tang, lead compositor. (Toolbox: Photoshop, Toon Boom Harmony, After E ects, Premiere) 6 “Grace” CLICK HERE TO VIEW SPOT >

Dick’s Sport- Moving Picture Company (MPC), New York Anomaly, New York Paciﬁ c Rim Films, ing Goods’ Natalie Labarre, director, storyboard artist, character designer, environment designer; Hana Shimizu, exec producer; Kristin Labriola, development Santa Monica, Calif. “The New producer; Matt Creeden, producer; anita Chao, editor; Riley Spencer, production coordinator; Sarah Litzenberger, storyboard artist, lead animator; Shawn Levy, Will Gluck, 7 Kid” Sami Healy, lead animator; Josh Brennan, Tyler DiBiasio, Ty Enos, Natalie Labarre, Seongjin Yoon, Hazel Zheng, animators; XiaoXiao Tang, lead directors compositor. (Toolbox: Photoshop, Toon Boom Harmony, After E ects, Premiere) CLICK HERE TO VIEW SPOT >

California J.J. Sedelmaier Productions, Inc., White Plains, NY Gallegos United, J.J. Sedelmaier Milk J.J. Sedelmaier, director/designer/producer; Andy Friz, animator/additional design; Todd Cronin, Ryan Cunningham, David Mason, Danielle Huntington Beach, Calif. Productions, Inc., Processor Mutispaugh, Kaycee Nwakudu, Chris Parker, animation artists; Patrice Sedelmaier, exec producer. White Plains, NY 8 Board’s (Toolbox: ToonBoom Storyboard Pro, ToonBoom Harmony 17, Adobe Photoshop, Procreate (iPad), Apple Final Cut Pro, pencil & paper) J.J. Sedelmaier, director “Know the CLICK HERE TO VIEW SPOT > Facts”

The Wall Framestore, New York & London The&Partnership, New York MJZ, bicoastal/international Street Murray Butler, executive creative director; Jordi Bares Dominguez, VFX supervisor; Sarah Hiddlestone, director of production; Raul Ortega, 2D lead; Juan Cabral, director Martin Scorsese Roland Emmerich Sheena Duggal Journal’s Greg Gaskins, Kieran Walsh, Flame team; Steve Drew, Zavier Mojica, Matt Pascuzzi, Nick Tanner, Terner Thompson, Brad Moon, compositing VES Lifetime VES Visionary Award VES Award for 9 “Read Your- team; Sue McNamara, sr. VFX producer; Beau Leon, colorist; Andy McLintock, sr. color producer; Evan Reinhard, Nabil Moo, color assists. Creative Excellence self Better” (Toolbox: Photoshop, After E ects, Maya, Flame, Nuke, Baselight) Achievement Award CLICK HERE TO VIEW SPOT >

Walmart’s a52, Santa Monica, Calif. Cossette, Toronto Frank, Toronto Reserve space for your congratulatory ad in the 18th Annual VES Awards “Piggy Bank Urs Furrer, VFX supervisor; Andrew Romatz, CG supervisor; Adam Flynn, 2D lead; Joe Paniagua, Michael Relth, Evan May eld, Jaemin Lee, Rodrigo Garcia Saiz, director show program book by Tuesday, January 14. Holiday” Michael Bettinardi, Joe Chiechi, Eevee Saucedo, 3D artists; Margherita Premuroso , character design; Sam Kober, John Valle, online editors; Stacy 10 Kessler-Aungst, producer; Patrick Nugent, Kim Christensen, exec producers; Jennifer So o Hall, managing director. (Toolbox: Flame, Maya, Vray, Photoshop, Zbrush, Substance Designer) To reserve your ad space or purchase tickets, please contact: CLICK HERE TO VIEW SPOT > [email protected] December 2019 SHOOT 25 QUARTERLY 2019 TOP TEN TRACKS MUSIC & SOUND TITLE MUSIC/SOUND AUDIO POST AGENCY PRODUCTION Bosch’s Yessian Music, Hamburg, Germany INFECTED GmbH, Hamburgk Jung von Matt/Next Alster, Markenfilm, Hamburg “Llama Drama”” Christopher Carmichael, composer, Ingmar Rehberg, EP/managing director; Helena Hannes Honemann, mixer Hamburg Matthew Swanson, director Schmitz, Lukas Lehmann, producers; Brian Yessian, CCO; Michael Yessian, head of production 1 INFECTED GmbH, Hamburg Hannes Honemann, sound designer CLICK HERE to see SHOOTonline.com for backstory on Chart’s #1 entry CLICK HERE TO VIEW SPOT >

Miller Lite’s “Followers” Woodwork Music, Salford, U.K. Sonic Union, New York DDB Chicago Rattling Stick, Phillip Kay, composer Steve Rosen, mixer Santa Monica, Calif., & London Sonic Union, New York Ringan Ledwidge, director 2 Steve Rosen, sound designer CLICK HERE TO VIEW SPOT > HP’s “Print the Holidays: Squeak E. Clean Studios, Los Angeles & Sydney Squeak E. Clean Studios, Los Angeles Goodby Silverstein & Partizan, Los Angeles Get Real” Sam Spiegel, ECD; Lydia Davies, Lucas Cantor, arrangers/composers; Karla Henwood, & Sydney Partners, San Francisco Michel Gondry, director executive creative producer (Sydney); Christina Carlo, EP (L.A.); Drew Fischer, sound Drew Fischer, mixer designer; Lena Gabriel, choir director; Chelsea Ramsden, licensing manager; Blade 3 Thornton, producer; Colby Smalzel, production coordinator CLICK HERE TO VIEW SPOT >

Squarespace’s Q Department, New York Digital Arts, New York Squarespace in-house O Positive, New York 4 “A Cautionary Tale” music & sound design Josh Heilbronner, mixer creative, Jim Jenkins, director CLICK HERE TO VIEW SPOT > FedEx’s “Gift Box” Beacon Street Studios, Venice, Calif. Sound Lounge, New York BBDO New York Biscuit Filmworks, Andrew Felteinstein, John Nau, composers; Leslie DiLullo, producer New York and London Melissa Chester, executive Los Angeles Tom Jucarone, Peter Holcomb, engineers; music producer Noam Murro, director 5 Becca Falborn, producer CLICK HERE TO VIEW SPOT >

Argos’ “Book of Dreams” Song: “Don’t You (Forget About Me),” Simple Minds, artist Grand Central Recording Studios The&Partnership, London Stink Films, London Leland Music, London (GCRS), London Traktor, directors Codie Childs, music supervisor; Chris Hill, music arranger; Brad Webb, drum supervisor Munzie Thind, mixer Grand Central Recording Studios (GCRS), London 6 Munzie Thind, sound designer CLICK HERE TO VIEW SPOT > Nike’s “Ready to Racket Club, New York Raintree Music & Sound Design, R/GA,, New York The Custom Family , Run NYC” Nick Crane, composer bicoastal Brooklyn, NY Rainhouse Music & Sound Design, bicoastal Alex Britten, mixer Adam Donald, directors 7 Alex Britten, sound designer CLICK HERE TO VIEW SPOT >

Renault U.K.’s Soundtree , London Wave Studios, London. Publicis•Poke, Academy Films, London “The French Exchange” Luis Almau, composer; Jay James, producer Parv Thind, mixer London Frederic Planchon, director Wave Studios, London 8 Parv Thind, sound designer CLICK HERE TO VIEW SPOT >

1850 Coffee’s “Quality Christoffer Berg, composer SuperExploder, New York PSOne, New York Biscuit Filmworks, That’s Criminal” SuperExploder, New York Jody Nazzaro, mixer Los Angeles 9 Jody Nazzaro, sr. sound designer Andreas Nilsson, director CLICK HERE TO VIEW SPOT >

The Wall Street Journal’s Song: “Plantasia” by Mort Garson Wave Studios, New York The&Partnership, New York MJZ, bicoastal/international “Read Yourself Better” Wave Studios, New York Chris Afzal, Aaron Reynoldst, mixers Juan Cabral, directors Chris Afzal, Aaron Reynolds, sound designers; Vicky Ferraro, EP; Eleni Giannopoulos, 10 associate producer CLICK HERE TO VIEW SPOT >

26 SHOOT December 2019 On The Wire

Sigma Announces Pricing & Availability for its Line of Full-Frame Classic Art Working Stiff Dir.Matt Pittroff Goes Back In Time With Enterprise Rent-A-Car Prime Cine Lenses and /i Tech-compatible Cine Art Prime PL-Mount Lenses Whether it’s a rental replacement for a Conestoga wagon, a horse with more horsepower, or a Sigma announced pricing and availability for its all new line of full-frame Classic Art Prime Cine friendly voice to answer history’s first phone call, Enterprise is always there in the new “Always lenses and /i Technology- compatible Cine Art Prime PL-mount lenses... Ahead Of The Times” campaign. Directed by Working Stiff’s Matt Pittroff and produced by St. eTribez Adds Functionalities To Its Production Management Platform Louis-based agency The Big Tree with creative services by the Cannonball Agency. eTribez, the company behind an, end-to-end, Cloud-based Production Management Platform Funworks Helps Raley’s Markets Give Back In Heartfelt Video Campaign called eTribez Production Management, has added four new functions to that revolutionary Demonstrating its commitment to giving back through its non-profit, Food For Families, product: Timecards, Purchase Orders (P.O.’s), Invoice Management, and OnBoarding. Raley’s tapped creative agency Funworks for a new video campaign brimming with heart and Recreate the Magic From “Frozen II” With a New Red Giant Cheap Tricks Tuto- compassion, highlighting what it means to donate to Food For Families. rial Red Giant has released another Cheap Tricks episode: Frozen II VFX, in which Daniel “Hashi” Production & Post Boutique Destro Launches in Los Angeles Hashimoto of Action Movie Kid demonstrates how to recreate the magical visual effects from Industry veterans Drew Neujahr, Sean McAllen, and Shane McAllen have partnered to form the newest Frozen film. Destro, a live-action and post-production boutique based in Los Angeles. Destro has already Rising Sun Pictures Wins Australian 2019 Export Awards “Creative Industries” developed and produced an original documentary series .“ Honor Rising Sun Pictures (RSP) won the Creative Industries award at the 57th Australian DGA Reports New Inclusion Records In The 2018-19 TV Season 2019 Export Awards. The Awards recognise Australian companies that are excelling in the For the first time, half of all TV episodes were helmed by women or directors of color, the Direc- international marketplace by selling and promoting their products and services. tors Guild of America revealed in its latest Episodic Television Director Inclusion Report covering ThoughtMatter Expands Leadership Team with Women Design Directors the 2018-19 season. That number was up from last year’s prior high of 42.5%... Expanding its team of cross-disciplinary creatives and strategists, New York-based brand Carbon NY Bolsters Roster Welcoming New Executive Creative Director, Ex- design studio ThoughtMatter announced Wednesday Krus and newcomer Samantha Barba- ecutive Producer, and Head of CGI Carbon continues to expand their offering in New giovanni as its new Design Directors. York with two key senior hires, and the relocation of existing ECD, Liam Chapple, transferring AICP Introduces Updated & Revised Bid Form Matt Miller, President and CEO of from Chicago to the Big Apple. Accomplished Executive Producer Nick Haynes joins Carbon AICP, and Danny Rosenbloom, VP, Digital and Post, announced the release of an updated and from his former role as EP of MPC Creative as well as industry favorite Frank Grecco to the team revised AICP Bid Form that fully integrates production and post tasks and categories. as their Head of CGI. Grecco joins Carbon from Method Studios. Ila Abedian Joins Altered.LA As Client Engagement Manager Joinery Joins Forces With Argentinacine ALTERED.LA welcomed Ila Abedian as the company’s Client Engagement Manager. Abedian LA-based production company Joinery and established executive producer Cesar Ahumada will be responsible for working closely with new and existing clients, handling client accounts, are bridging cultures with their newfound partnership. Already a formidable presence in the and addressing any and all client needs. Hispanic market, the alliance with Ahumada enables Joinery to represent a diverse offering of Maxon Cinema 4D Fires-up Workflow in Beeple Short Film, “Manifest Destiny” award-winning directors from the Argentinacine roster to work in the U.S. Maxon announced internationally acclaimed 3D artist, motion de- Archion’s EditStor Omni Helps Patagonia Accelerate signer and filmmaker Mike Winkelmann, known professionally as Toot Your Own Horn! Creative Editorial Process and Archival Access for Prod- Beeple, has deployed the company’s Cinema 4D software toolset uct Videos and Documentary Films in his most ambitious short film to date, “Manifest Destiny.” Archion Technologies announced that Patagonia, Inc., has Redshift Update Integrates Cinema 4D Noises and invested in an Archion 384TB EditStor Omni storage system. t Maxon and and Redshift Rendering Technologies, Inc., videos for the web, trade shows, and for in-store presentations. Nodes publicity wire developers of rendering software, announced the latest release of Director Karen Lavender Brings Unique Style of Redshift 3.0.12 includes native support for Cinema 4D noises and pr.SHOOTonline.c ‘Crafted Realism’ To RAM Trucks deeper integration with Cinema 4D, including the option to define Ram and The Richards Group called upon Director Karen Laven- materials using Cinema 4D’s native node-based material system. der who chronicled the partnership between farmers, small businesses and their RAM trucks charlieuniformtango Teams Up With Publicis Sapient For Dodge charlieuni- for the truck maker and agency. Working under the banner of LIVETRIBE, Karen teamed up formtango’s Austin crew was grateful to team up with Publicis Sapient client Dodge on the with co-Director and DP Gary Ravenscroft. new spot breaking over the Thanksgiving announcing the Dodge Horsepower Challenge. Nobox Scores Reebok Latam Social Media Account Rising Sun Pictures Reconstructs an Auto Racing Icon For “Ford v Ferrari” Nobox, a leading-edge independent digital and social content agency based in Miami, has Rising Sun Pictures helped to recreate one of the most thrilling events in the history of auto rac- won Reebok’s social media account in Latin American markets. The agency bested a handful ing for Ford v Ferrari, from 20th Century Fox and director James Mangold. The studio produced of prominent rivals in a competitive review for the regional account. 223 visual effects shots for the film, the majority for an 8-minute sequence depicting the first Director Scott McCullough Making His Big Screen Debut With “Captain for “24 Hours of Daytona” race in 1966. Dark Mornings” Director Scott McCullough tapped to helm his first major feature, Captain Sound Lounge Introduces Podcast Service Sound Lounge has introduced a new for Dark Mornings – the book adaptation about Shad Meshad, the young psych officer (in package of sound production and post-production services for podcasts. The company is 1970 Vietnam) who made it his life’s mission to address and codify the symptoms of what offering studio recording, remote recording, sound editing, sound design and mixing. would come to be known as Post-... “Café Society” Colorist Anthony Raffaele Joins Sim, New York Universal Production Music Collaborates with Adobe To Create App Veteran colorist, Anthony Raffaele, whose work includes Café Society, Mapplethorpe and Universal Production Music and Adobe have collaborated to build a specialized music applica- Fahrenheit 11/9, has joined the finishing staff at Sim, New York. tion panel designed specifically for Adobe Premiere Pro and Adobe Audition. The new tool ALIBI Music Library Produces Nine New SFX Albums for Promos, Trailers, enables users of the Adobe programs to access Universal Production Music’s entire catalog. Commercials & Content Expanding its already-extensive sound effects (SFX) catalog Rehm and McCullars Strengthen Partnership and Production Capabilities for TV promos, film trailers, commercials and other content, ALIBI Music Library (“ALIBI”) has For Leviathan Creative agency Leviathan announced the addition of Associate Director of released nine new albums spanning more than 800 easy-to-search audio files. Strategic Partnerships Adrienne Rehm and Senior Producer Brittany McCullars. Waterman Sound Launches In Toluca Lake James Longeretta, owner of post-pro- For the full stories [and many more], contacts info and videos with credits, duction provider Vortechs, has teamed with vet Supervising Sound Editor/Re-Recording Mixer visit SHOOT® Publicity Wire (spw.SHOOTonline.com). SPW is the best place to Joe Schultz (Once Upon a Time, Lost, Amazing Stories for Apple TV) to launch Waterman Sound. announce your news or video release to amp up the “buzz” among the entertain- Periscope Post & Audio Adds Senior Colorist Kevin Michael Kirwan ment & advertising industries motion picture segments’ movers and shakers from Veteran Colorist Kevin Michael Kirwan (American Crime Story, American Horror Story) has joined Hollywood to Bollywood and from Madison Avenue to Cannes and beyond. To get Periscope Post & Audio. Kirwan brings more than 20 years of experience as a senior colorist . more info on how to “Toot Your Own Horn” via SPW visit pr.SHOOTonline.com

December 2019 SHOOT 27 ROAD TO OSCAR Tildesley Reflects On Production Design For The Two Popes Continued from page 11 Poor Argentinian communities also had particularly as you see the reaction of oth- include Paul Thomas Anderson’s criti- but they appeared and felt too flat, sans breathtaking paintings and murals that ers. “To read a story that is essentially rec- cally acclaimed Phantom Thread, Oliver the needed luster and texture. Through like the Vatican celebrate their heroes onciliation and forgiveness,” being able to Stone’s biopic Snowden, and Ron How- the grapevine, however, Tildesley learned and saints. see “each other’s differences and trying to ard’s In the Heart of the Sea. of tattooWALL, a company in Milan, that In Argentina Tildesley observed that deal with them makes for a strong film. Tildesley’s work also spans notable could take a printed tattoo and apply it to Meirelles and Charlone taught him much I love the lightheartedness of it. It’s very collaborations with such directors as a stone wall. about the “simplicity of filmmaking.” gentle yet a super serious message as we Danny Boyle, for whom he designed A test proved successful so Tildesley Rather than a conventional approach are in a very divided world right now.” T2: Trainspotting, Trance, Millions, 28 and crew proceeded to build their Sistine with lots of equipment and lighting, the Tildesley also felt a personal impact Days Later, and Sunshine (which earned Chapel structurally with a special plaster director and DP, said Tildesley, prefer to from working on the film and seeing its Tildesley a British Independent Film that had a marble texture and shine, and go the “simple and beautiful” route, “to story unfold. Award). then applied the time-saving tattoo pro- Tildesley is also a frequent collabora- cess which made meeting the deadline tor with director Michael Winterbottom, possible. encompassing such films as The Killer The Sistine Chapel was built without Inside Me, Code 46, 24 Hour Party People, the ceiling at Cinecittà Studios in Rome, The Claim, Wonderland, With or Without giving Meirelles and Charlone the flex- Yo u , and I Want You. Additionally, Tildes- ibility to shoot 360 degrees when neces- ley co-designed the opening ceremony sary. The ceiling was then added in post- for the 2012 Olympic Games in London, production. for which he won a primetime Emmy Tildesley had to rebuild the chapel Award. based largely on photos that a company hired to clean the Sistine had taken about This is the ninth of a 16-part series with 10 years ago. Vatican experts, historians future installments of The Road To Oscar and artists were consulted and they later slated to run in the weekly SHOOT>e.di-

got a look-see at the set to give it “a full Mountain/courtesy of Netflix Peter by Photo tion, The SHOOT Dailies and on SHOOT- bill of health,” related Tildesley whose Jonathan Pryce (l) and Anthony Hopkins in The Two Popes online.com, with select installments also in other prime challenge was making sure engage real communities without the He noted that in the past he had issues print issues. The series will appear weekly the various locations used for the Vatican feeling like the circus has arrived. They with Cardinal Ratzinger but “through the through the Academy Awards gala cere- worked seamlessly with the studio set. are very in tune with the real people in film I got to feel the other side of things. It mony. Nominations for the 92nd Academy Tildesley’s full artistic plate extended communities, using real refugees in the was sort of a mild reconciliation for me. I Awards will be announced on Monday, well beyond Italy as he had to address film....Simplicity and authenticity makes had my own pilgrimage and journey from January 13, 2020. The 92nd Oscars will be the Argentinian portion of the film as we the process very strong.” this film...We are living in times when we held on Sunday, February 9, 2020, at the hearken back to Bergoglio’s roots. Tildes- Tildesley also loved the spirit of The have to reach out and try to understand Dolby Theatre at Hollywood & Highland ley got local artists to paint work reflective Two Popes, centered on two human be- each other.” Center in Hollywood, Calif.,and will be of that community’s history--in a sense ings whose meeting started out “very Currently Tildesley is designing the televised live on the ABC Television Net- creating a parallel between the stories of frosty” but “by the time it’s finished, Fran- next James Bond film, Bond 25, for work. The Oscars also will be televised live those community paintings with those cis shows him (Benedict) the tango. It’s a director Cary Joji Fukunaga. Other re- in more than 225 countries and territories told by the artwork in the Sistine Chapel. very awkward and wonderful moment,” cent credits for the production designer worldwide.

www.SHOOTonline.com August/September 2017 Mid-Year Industry Connecting Buyers & Sellers of Creative, Production Report Card 12

& Post Services since 1960 Antoinette Zel, The Story Room Production Industry pros turn to SHOOT Magazine, SHOOTonline.com, The SHOOT>e.dition, The SHOOT Dailies & The Road To EmmySeries Part 14

Tom Murphy, McCann New York

The SHOOT Publicity Wire to keep abreast of the latest commercial and entertainment production and post industry Photo credits page 4. Emmy Nominees Reflect On Collaborators, Creative Challenges 4 From top left, clockwise: Scenes from The Handmaid’s Tale, Stranger Things, Mozart in the Jungle, Westworld, and The Night Of

GRAND PRIZE WINNER news, new work, talent, techniques, tools, applications, locations, award shows, festivals & events. James Bray, Arnold Worldwide

Also in the Issue... Chat Room 11 Market your company via SHOOT’s digital and print platforms to let decision-makers at Production, Editorial, Commercial Emmy 21 Top 10 Music Tracks Chart 22 BEHIND THE SCENES Top 10 VFX/Animation Chart 24 PHOTO CONTEST Cinematographers Winter 2016-17 Edition & Cameras 26 Post, VFX, Animation, Music & Sound companies; Ad Agencies & Brands; TV, Cable & Online Networks; Movie Studios Set photographer Adrienn Szabó captures Grand Prize for Hungarian stunt performers in action. All BTS contest winners 17

INTRODUCING The Professional Commercial, Movie My & TV Production and Post Talent db MySHOOT is for professional motion picture artisans, and MYSHOOTONLINE.COM the companies who represent them, to promote their work and proﬁ les to brand, agency, network, movie studio, and other and Independent Filmmakers know why they should connect with your company’s talent, services and products. producers. MySHOOT is a symbiotic addition to SHOOTonline®, the “Industry Database of Record” for motion picture production industry decision-makers. All MySHOOT Profiles Company or Individual Proﬁ le included with low-cost SHOOT Membership Continually Promoted Across For more info on Digital & Print Marketing, please visit https://shootonline.com/go/advertise All SHOOT Digital Platforms Learn more at Members.SHOOTonline.com or call 203-227-1699 ext. 13 For info on the next Print Issue, please visit https://shootonline.com/go/upcomingissues For more info, rates & space reservations, please contact [email protected]

Receive SHOOT e-Pubs (free) Info on The SHOOT Publicity Wire Become a SHOOT Member Post MySHOOT Co. & Talent Pro les Emmy FYC Marketing Academy FYC Marketing https://shootonline.com/subscribe http://pr.shootonline.com https://members.shootonline.com https://my.shootonline.com https://shootonline.com/emmyfyc https://shootonline.com/fyc

28 SHOOT December 2019 BEST WORK OF THE YEAR Music/Sound Countdown Finds "Hit Single" Atop The Chart Continued from page 24 petizers at a crowded bar. girl with an other worldly vibe, who inter- onlookers, even extending all the way to animation for the film. The piece raises This tongue-in-cheek predicament is rupts a pick-up basketball game--stopping a guy in his apartment looking out of his awareness of a predatory industry where charmingly absurd, with Venice, Calif.- street smart male players in their tracks. second story window. cubs are raised to become trusting, the based Beacon Street Studios bringing its This lass clearly travels to the beat of The film showcases the Reebok Aztrek real intent being to set them up for staged musical chops to the proceedings. her own drummer--but in this case, it’s an Double. Tom Noakes of PRETTYBIRD hunting which results in their death. Finishing second in our Top Five run- offbeat beat we can literally hear as she directed and Larkin Seiple lensed “Storm Earning the fourth slot is “Crocodile down of 2019 is “Bounce,” a spot in which unfurls a bit of inspired, strange choreog- the Court” with music supervision, sound Inside,” a brand film for Lacoste out of the routine, sometimes mind-numbing raphy. A basketball player has stopped his design and audio post from Barking Owl agency BETC Paris which introduces us morning commute becomes anything shot in mid-release and eventually starts in West L.A. The music track was “Prayer to a couple whose relationship has hit a but routine--and a lot of fun--thanks to to move to the beat of the girl--as do game Hands” by A-Trak and YehMe2. rough patch. They are arguing and on the wireless charging Apple AirPods. verge of breaking up. Words that can’t be Our protagonist dons his AirPods ear- taken back are said and a metaphoric gap buds--plugging into a catchy tune--and Flash Back is created between the man and the wom- hits the sidewalk. But instead of his feet December 16, 2014 On the strength of Selma, Ava DuVernay became the an. As their apartment and the entire hitting the pavement, they instead get first black woman to be nominated for a Best Director Golden Globe Award.... multi-story building housing it collapses some spring from a trampoline-like effect. Little Minx has added director Luca Guadagnino to its roster for commercial around them, they suddenly realize that Seemingly every surface he touches puts representation. Guadagnino has worked with high end fashion brands they have gone too far, and they take a a bounce--literally--in his step, propelling including Giorgio Armani, Cartier, Sergio Rossi and Salvatore Ferragamo. For brave leap back towards each other. him along. He bounces about in the ur- the latter, Guadagnino helmed a short film for the digital campaign “Walking Directed by French collective Mega- ban setting, making for a memorable joy- Stories, “ an eight-part web series which took viewers to L.A., Shanghai and force via production house Iconoclast, ride, accompanied by a soundtrack titled Florence, centering on a couple’s journey as they fall in love. This project “Crocodile Inside” was driven in sig- “I Learnt Some Jazz Today” from up-and- resulted in Ferragamo being named Marketer of the Year by Women’s Wear nificant part by visual effects from Time coming producer/composer Tessellated. Daily. Guadagnino has also been active on the feature front. His movie Based Arts, London. Oscar Hudson of Pulse Films directed I Am Love, starring frequent collaborator and Academy Award-winning And finishing fifth in the VFX/Ani- “Bounce” for TBWA\Media Arts Lab. Tilda Swinton, went on to earn a staggering 14 awards and 26 nominations mation countdown is I Am With You, Nabbing third place is this current including Best Foreign Language Film at the Golden Globes and BAFTA an animated short promoting Chanel quarter’s Top Ten Tracks Chart leader, Awards. He is currently in postproduction for his latest film, A Bigger Splash Miller’s moving book, “Know My Name,” “Llama Drama” for Bosch car windshield starring Swinton, Ralph Fiennes and Dakota Johnson....Director Jonathan Herman, known for his comedic storytelling and strong visual narrative, has in which she reclaims ownership of her wipers. In this spot a man is being trailed come aboard the roster of The Corner Shop for U.S. representation. Herman, identity and her story. by a llama who has a penchant for spitting. who was formerly handled in the American ad market by Rattling Stick, Miller is a sexual assault victim who The llama is finally thwarted when it spits continues to be repped in the U.K. by Blink.... initially went by the name Emily Doe at the man while he’s behind the wheel of as a means to deal with her trauma. She his car. Bosch wipers clean the slate, mak- December 14, 2009 Director/cameraman Ericson Core has joined Venice- was raped by Brock Turner at Stanford ing all right with the world again. Yessian based production house Wild Plum for commercials and branded content. University. Turner served only 90 days Music’s Hamburg office and INFECTED Core comes over from Backyard, another Venice shop, where he spent the in prison for the brutal attack on an inca- GmbH, also in Hamburg, handled music past three years. His move to Wild Plum marks a reunion for him with several pacitated Miller. Now she is speaking out and sound design, respectively, for the ad artisans there, most notably company EP/partner Shelby Sexton. Core and in her memoir and with this book trailer. which was directed by Matthew Swan- Sexton first worked together at the venerable Plum Productions....Director This short film was written and voiced son via Markenfilm for agency Jung von Hélène Friren has joined Aardman Animations’ commercials department, by Miller with animation created from Matt/Next Alster, Hamburg. which produces around 80 spots a year for the European and U.S. markets, as her originally drawn illustrations. Miller Director McClammy and Beacon Street well as branded content, websites and games. She comes over to the Bristol- teamed with producer Emily Moore to di- Studios pop up again as the number four based studio from Tandem Films, London. Friren’s directorial credits in the rect the short, with animation by Norma entry--Jif’s “Bunker from Publicis NY ad arena include commercials for such clients as Yoplait, Orange, and Great V. Toraya, a.k.a. Crankbunny. in which a woman runs for her life as a Ormond Street Hospital.....Up in the Air led Golden Globe film contenders town feels the onslaught of a cataclysmic with six nominations, among them best drama and acting honors for George Music/Sound extraterrestrial invasion. She spots refuge, Clooney, Vera Farmiga and Anna Kendrick.... The number one entry in our Music a bunker in which townsfolk are nestled. Tracks Chart for 2019 is Dos Equis’ “Hit What a relief--until some of the food Single” directed by Wayne McClammy of provisions are revealed, including jar For Event Dates & Deadlines Hungry Man for Droga5, New York. In upon jar of generic peanut butter. The this spot, a loving tribute to timeless sum- woman then scurries away, back into the See Industry Events Calendar mer jams and ‘80s’ MTV Spring Break danger above to reunite with Jif. live performances, Bonnie Tyler’s 1982 And rounding out the Top Five is at IndustryEvents.SHOOTonline.com and hit single “Total Eclipse of the Heart” is “Storm the Court,” a Reebok commercial Awards Shows Timelines Organizer transformed into another kind of emo- from San Francisco agency Venables Bell tional ballad, this one about the trials and & Partners. The piece features an unex- at Timelines.shootonline.com tribulations of ordering Dos Equis and ap- pected, and seemingly uninvited guest, a December 2019 SHOOT 29 TV AWARDS PREVIEW

An Emmy Crystal Ball? Barbarian, a digital creative agency backed by Cheil Worldwide, has opened an office in Warsaw, its first global outpost outside the U.S. Continued from page 12 and Moms Mabley for their pioneering The Warsaw shop will serve as a launchpad for European clients as received by Sam Rockwell who played efforts, back when female comics needed well as a major extension of Barbarian’s technology and creative Bob Fosse. Williams said that the gender a gimmick to get attention, whether it be capabilities, including a staff of back-end developers, UX specialists and production designers. Barbarian Warsaw is currently working on pay gap must be corrected in the indus- about their less than stunning looks, in- multiple projects for Samsung and is collaborating with Barbarian try and society at large. Williams said she ability to keep a man and so on. These New York on select clients. The Warsaw operation will be led by felt paralyzed upon finding out that while luminaries, said Lynch, rose above the managing director Slawek Wala, who most recently served as head she was paid $1,000 to reshoot scenes for gimmicks even when they used them, of digital for Cheil Poland. Barbarian Warsaw will have a broad range 2017’s All the Money in the World, co-star showing their talent and staying power, of capabilities, including 24/7 content creation and management, Mark Wahlberg earned some $1.5 million inspiring future generations of funny data-driven retail marketing and a full-service ensemble of seasoned for his additional work. women. They also inspired Lynch’s ap- creatives with a strong background and understanding of the creative industry Meanwhile When They See Us chron- proach to portraying Lennon. within the European market. The Warsaw debut is subsequent to the overall icled injustice relative to the wrongful Meanwhile Whitford credited “The agency’s recent executive appointments of Steven Moy to CEO and Lamar Hines to conviction of the Central Park Five. Ava Handmaid’s Tale” author Margaret At- CTO, as well as its introduction of Barbarian Labs. The new offering curates senior DuVernay created, wrote and directed wood and lead actress Elizabeth Moss. Of teams bespoke to brand clients’ business challenges as the DTC model continues its the Netflix series based on a true story. A the latter, Whitford said simply that her trajectory. Barbarian has also announced new business wins, including Emergent huge cheer erupted from the Emmy audi- performance is defining acting for this Holdings and EKA Software Solutions.....Usama Al-Qassab has joined Moving ence when it was announced that Jharrel generation, heralding what she’s done on Picture Company in the newly established position of chief growth officer. He comes Jerome won for best lead actor in a lim- Handmaid’s Tale as being like “Sophie’s aboard MPC’s sr. management team and will report to CEO Mark Benson. MPC has ited series for his portrayal of Korey Wise, Choice, the series.” created this position to accelerate growth and innovate MPC’s services for brands one of the five black and Latino teenagers Whitford added that Atwood has im- and agencies. Since 2012 Al-Qassab was VP of marketing for Sony Interactive who were coerced in 1989 into confessing parted three vital messages when dealing Entertainment where he transformed the PlayStation Marketing group across EMEA to a rape they didn’t commit. They were with extreme right wing ideology, op- and Australasia, repositioned PlayStation as “For The Players,” delivered growth, eventually exonerated some 25 years later. pression and misogyny--Despair is not an breakthrough results and market leadership in 100+ countries. Prior to PlayStation It’s believed that Jerome made history option; action is the antidote for despair; he worked at P&G leading several brands and the Marketing Innovation team..... on a couple of fronts--becoming the first and our future is defined by how we act Afro Latino to win a best actor Emmy, as and react. well as the youngest. Whitford and Lynch weren’t the only On the other end of the chronological guest thespians to win Emmys for their continuum, Norman Lear during the ear- work on The Handmaid’s Tale and Mrs. lier Creative Arts ceremony became the Maisel. Best guest male performer in a oldest person--at age 97--to win an Emmy. comedy series was Luke Kirby for his por- Receiving a standing ovation, he accepted trayal of Lenny Bruce in Mrs. Maisel. And The Directors Network (TDN), a talent agency for commercial the award for best live variety special on Cherry Jones won for outstanding guest freelance directors, directors of photography, and director/DPs, the strength of ABC’s Live in Front of a actress in a drama series for her role as has signed director/DP Aaron Platt and director/photographer Studio Audience: Norman Lear’s All in the Holly in The Handmaid’s Tale. Dean Freeman. Independent Spirit Award nominee Platt (for his Family and The Jeffersons, a restaging of cinematography on Wild Tigers I Have Known) has made his mark as two of Lear’s classic 1970s’ CBS comedies Total leaders a director and cinematographer in commercials, music videos, and with contemporary casts that included Second to HBO’s 34 Emmys this year films for a plethora of artists and brands including Beyonce, Pepsi, Woody Harrelson and Marisa Tomei por- was Netflix with 23. Amazon Prime Video Target, Range Rover, H&M, Bloomingdale’s, Mercedes-Benz, and fashion designers traying Archie and Edith Bunker, and finished third with 15, followed by Na- Alexander Wang, Diane Von Furstenberg, and Tory Burch. Platt is an alum of SHOOT’s Anthony Anderson and Wanda Sykes tional Geographic with eight, NBC with New Directors Showcase, having earned inclusion into its 2009 lineup unveiled as George and Louise Jefferson. This seven, and CNN and FX Networks tied at the DGA Theatre in New York. Platt currently moves between Los Angeles, New marked Lear's fifth career Emmy win. with five apiece. York City and Seattle. Meanwhile Freeman brings to the TDN roster his expertise After Game of Thrones with a dozen in performance-driven filmmaking, and an intimate but energetic style. Freeman’s Guest stars overall Emmys and Chernobyl with 10, black-and-white work for Axis Bank with Deepika Padukone and the worldwide Heartfelt thanks graced a couple of The Marvelous Mrs. Maisel tallied eight, campaign for Haagen-Dazs starring Bradley Cooper are both as poetic as they are the acceptance speeches for guest actor followed by Free Solo with seven (which playful, advancing the celebrity-driven advertising genre. Freeman recently traveled winners in comedy and drama series, earlier in the year won the Best Feature to Cuba to direct an experimental “The Movement for Movement” campaign. In respectively--Jane Lynch for her portrayal Documentary Oscar for the wife-and-hus- these vibrant shorts, Freeman chronicles Cuban artists and athletes while creating of comedienne Sophie Lennon in The band team of directors/producers Eliza- a stirring anthem for action. Freeman splits his time between Barcelona, London, Marvelous Mrs. Maisel (Amazon); and beth Chai Vasarhelyi and Jimmy Chin), and Los Angeles.....Production designer Shane Richardson has joined talent agency Bradley Whitford as Commander Joseph and Fleabag with six. Tied at five were Innovative Artists for commercial representation. Richardson is a member of the Lawrence in The Handmaid’s Tale (Hulu). Saturday Night Live and Love, Death local 800 Union and based in Los Angeles. He has worked with major artists such as Calvin Harris, Sam Smith, and professional athletes including NBA’s Kevin Love and Lynch paid tribute to the comediennes & Robots. And four series deadlocked NFL’s Julian Edelman. Richardson has designed cutting edge commercials for brands she grew up with in the 1960s, who paved at four Emmys each: Fosse/Verdon, Last such as Bose, Samsung, and Adidas.... the way for her and others today. She cit- Week Tonight With John Oliver, Queer ed Phyllis Diller, Joan Rivers, Totie Fields Eye, and RuPaul’s Drag Race. 30 SHOOT December 2019 Chat Room Dick Pope, BSC DP reflects on lensing Motherless Brooklyn

By Robert Goldrich the process or nature of the creative col- Cinematographer Dick Pope, BSC is a two- laboration you had with director Edward time Oscar nominee, for Neil Burger’s The Il- Norton on Motherless Brooklyn? lusionist in 2007 and Mike Leigh’s Mr. Turner in 2015. Edward Norton starred in The Illusionist Pope: Soon after arriving in New York and now Pope finds his latest collaboration in December ‘17 and during the Christ- with the actor, Motherless Brooklyn (Warner mas holiday hiatus, I went to Edward’s Bros.), in the awards season conversation. Nor- apartment everyday for a week, and we ton not only stars in the film, but also wrote, spent the time together going through Photos from the pages of SHOOT Magazine and SHOOTonline.com directed and produced it. the entire script in detail. By the end of Norton portrays Lionel Essrog, a lone wolf that week I had a pretty thorough idea private detective living with Tourette Syn- of what he wanted. I was struck by the Invest In Your Future Success drome. He looks to solve the murder of his intensity of his personal vision--and his mentor and only friend, Frank Minna (Bruce desire to imbue each frame with a paint- With A SHOOT Membership! Willis). Essrog brings his obsessive mind to erly lushness. He wanted the patina of old Utilize Member-Only Digital Tools “We looked at '50s New York Promote Your Talent & Work + Get films such as Sweet Smell of SHOOT Archives Access & More! Success. 'Noir' was to be a big Starting at only $14.95 a month, SHOOT Membership provides unlimited access to SHOOTonline Databases & SHOOT Print PDF issue archives, a link to element in the film.” your website in all past & future SHOOTonline articles in which you or your Photo courtsey of Warner Bros Warner courtseyPhoto of company is mentioned and , most importantly, you can set up a MySHOOT bear on the mystery which carries him from cinema but without feeling like it had a Company and / or Talent Profile(s) and MyNewsroom & more. jazz clubs in Harlem to slums in Brooklyn treatment. The visual aesthetic for the and finally into the gilded halls of New York's film was inspired by a plethora of wonder- Member Benefits.... with more features added regularly power brokers in the 1950s. Motherless Brook- ful images--movies, paintings but above • Individual “Plus” & “Premier” Members get: MySHOOT Talent profile & Reel. lyn is based on the book of the same title by all photos--of New York in the 1940s • “Business” Members get: MySHOOT Company profile & Reel + up to 10 Jonathan Lethem, but Norton took that con- and ’50s, by street photographers such Talent Profiles each with Reel. “Enterprise” Members get: MySHOOT Company profile & Reel + up to temporary tale to the ‘50s with a revised plot. as Saul Leiter, Vivian Maier and Robert • Frank. We brought to life about eight of 30 Talent profiles each with Reel. SHOOT promotes MySHOOT profiles with SHOOT: Provide some backstory. How these classic photos from this era by re- online & email newsletter marketing. MyNewsRoom: Curate a personal or company news page on your did you get the opportunity to shoot imagining them and incorporating them • website & in your MySHOOT profile with ANY web content from SHOOT, Motherless Brooklyn. into the film. Edward also had many ar- SPW & external news and features. chive press photos and un-credited stills • Copies of SHOOT Magazine print issues & access to all SHOOT archives Pope: I first met Edward when he played of Manhattan, Harlem and Brooklyn, • Can post multiple Classified Ads the lead role in The Illusionist. He had some featuring landmarks such as Brook- Smart hyperlink added to name in ALL past & future SHOOT & SPW Content liked my work with Mike Leigh, espe- lyn Bridge and the original Penn Railroad • • PDF of Annual NDS Event Registration/Attendee Directory + cially Naked, Vera Drake and Topsy-Turvy. Station before it was torn down in 1963. Guaranteed seating at event. We got on really well during production The stills of Penn were in particular a and he was very supportive of my cinema- great source of inspiration in the way I ap- Why do I want a MySHOOT profile? To get more work tography on the film. After that we stayed proached its lighting when we recreated by positioning your profile & work where commercial & entertainment in touch and about three years ago, he it. Paintings, such as Edward Hopper’s production/post decision-makers will see it. MySHOOT is a dynamic sent me the script for Motherless Brook- 1942 Nighthawks, were also evocative commercial, movie, TV & Video production and post talent database for lyn, Towards the end of 2017, whilst I was of what we wanted to achieve in terms production/post/VFX/music/sound artisans & the companies, rep firms & shooting in Malawi on The Boy Who Har- of palette and composition; desaturated agents that represent them, to share their profiles and work with potential nessed The Wind (2019, dir. Chiwetel Eji- colors but with strong yellows and reds, clients who visit SHOOTonline every day for the latest industry information, ofor), I received a call from Edward saying shadows and darkness, reflections, nega- news, trends, ideas and work. the project had suddenly become fully tive space, the sensation of Lionel’s loneli- Whatever segment of the industry you’re in and whether your financed and was ready to go. So when ness and isolation. We looked at ‘50s New work is :15, :60, or 2:00 hours a SHOOT Membership will make I wrapped in sun-baked Africa, I headed York films such as Sweet Smell of Success. you smarter, more visible, and more connected. straight to the winter-depths of Manhat- “Noir” was to be a big element in the film. tan to commence prep. SIGN UP: MEMBERS.SHOOTONLINE.COM For the full interview, see the 12/13 SHOOT: Would you give us a sense of SHOOT>e.dition or SHOOTonline. December 2019 SHOOT 31 FOR YOUR CONSIDERATION BEST PICTURE BEST DIRECTOR - MARTIN SCORSESE

GOLDEN GLOBEINCLUDING NOMINATIONS INCLUDING

BEST PICTURE (DRAMA) BEST DIRECTOR - MARTIN SCORSESE BEST DIRECTOR - MARTIN SCORSESE

“★★★★★ HISTORY-MAKING. With ‘The Irishman’, Martin Scorsese – America’s greatest living director – creates his late-career masterpiece.” WINNER WINNER BEST PICTURE BEST PICTURE 3NATIONAL BOARD OF REVIEW AWARDS 2 NEW YORK FILM CRITICS CIRCLE AWARDS

NETFLIXGUILDS.COM

SHOOT MAGAZINE, COVER 4 DECEMBER ISSUE: ROAD TO OSCAR FEATURE NETFLIX: THE IRISHMAN PUB DATE: 12/16/19 TRIM: 9” X 10.875” BLEED: 9.25” X 11.125”