SHOOT Magazine March/April 2019 Issue

Cinematographers Chat 4 Room Hot Locations 10 Up-and-Coming Chat 18 Room & Cameras 22 Directors 19 Directors

www.SHOOTonline.com March/April 2019 Top Ten VFX &Animation 26 Chart The Road To Emmy Preview Matthew Heineman Matthew Adam McKay Floyd Russ ORS DIR ECT Spring 2019 Ridley Scott Ridley Top Ten Music Tracks 28 Chart Series 4 8 Lauren Greenfield CONNECTED TO Ramaa Mosley Ramaa Spike Jonze GET THE FURTHEST REACHES OF YOUR IMAGINATION ARE CLOSER THAN YOU THINK.

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USVI19037_9x10.875_SHOOT.indd 1 3/22/19 4:09 PM AGENCY: JWT/Atlanta SPECS: 4C Page Bleed PUB: SHOOT Magazine CLIENT: USVI TRIM: 9” x 10.875” DATE: March/April, 2019 AD#: USVI19037 BLEED: 9.25” x 11.125” HEAD: “The Furthest Reaches of LIVE: 8.5” x 10.375” your Imagination...” Perspectives The Leading Publication For Film, TV & Commercial Production and Post March/April 2019 spot.com.mentary By Robert Goldrich Volume 60 • Number 2 www.SHOOTonline.com EDITORIAL Publisher & Editorial Director Serious Comedy Roberta Griefer 203.227.1699 ext. 701 [email protected] Editor Robert Goldrich Our Up-and-Coming known for its humorous chops, and hope- her feature film, Late Night. 203.227.1699 ext 702 [email protected] Directors feature has fully serving as a catalyst for other women Penned by Mindy Kaling and co-star- ADVERTISING always been about to join the fray. ring Kaling and Emma Thompson, Late Digital & Print Rates & Information [email protected] helping new talent gain Coulter brings to her quest comedy Night premiered to rave reviews and a 203.227.1699 ext. 701 much deserved exposure, but occasional- work she directed at BBDO, agency cre- standing ovation in Park City this Janu- THE FURTHEST REACHES OF YOUR IMAGINATION www.shootonline.com/go/advertise Advertising Production ly that takes on a greater sense of purpose. ative sensibilities, and a honing of her ary. The film was immediately acquired Gerald Giannone Such is the case in this issue of SHOOT humorous chops in improv and sketch by Amazon for a record-breaking $13 ARE CLOSER THAN YOU THINK. [email protected] 203.227.1699 ext. 700 with director Jess Coulter who recently writing/acting/directing with NYC’s Up- million--the festival’s highest ever for a OFFICES joined O Positive after coming over from right Citizens Brigade, and then The Pit film by a female director--and is set to hit Main Office 606 Post Road East #650 the agency side Westport, CT 06880 USA 203.227.1699 Fax: 203.571.3355 where she had most A woman director in comedy has been a relative rarity, some- West recently served as a 203.227.1699 ext 702 thing she hopes to change by gaining a foothold at O Positive. creative director at Print Production BBDO New York. ensemble. She's already made her de- theaters this summer. Jim Theodorou [email protected] Focused on developing her directing but as a staff director at O Positive with Last month it was announced that Ga- Circulation career, Coulter also has an eye on the big- the “Morningmorphosis” campaign for natra joined production house Chelsea 203.227.1699 ext 4 [email protected] ger implications of establishing herself IKEA out of Ogilvy NY. for her first commercial and branded SHOOT Publicity Wire 203.227.1699 ext 700 [email protected] in the comedy marketplace. She recalled Coulter’s emergence is not the only content representation. © 2019 DCA Business Media LLC. All rights reserved. on the agency side having the privilege cause for optimism when it comes to Lisa Mehling, president of Chelsea, SHOOT and SHOOTonline are registered U.S. trademarks. of working with adept comedy directors- women directors gaining a foothold in said, “Nisha is an extraordinary talent and No part of this publication may be reproduced, stored in any retrieval system, or transmitted, in any form or by any means, -none of whom was a woman. A woman comedy. In our Sundance Film Festival I believe she’s going to become a major electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. director in comedy has been a relative coverage earlier this year, Golden Globe- influence in the advertising and brand Print Issues Subscription Service [email protected] rarity, something she hopes to change by winning and Emmy-nominated director space, with a new perspective to bring to Find PDF Versions gaining a foothold at O Positive, a shop Nisha Ganatra made a major splash with the comedy performance arena.” 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 Michael Scantlebury 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) How To Win Over Generation Z SHOOT ePubs The SHOOT >e.dition weekly ePub is published on Friday. The SHOOT Dailies are published daily Mon.-Fri. When it comes to Gen- lationship with them? Well, first off, Gen- to succeed with Gen Z are: (1) Be visual. Brand New[s] weekly ePub is published Wednesdays. SHOOT Screenwork published Mondays. eration Z, and how im- eration Z are the world’s first 100% digital Be brave. Get weird. Don’t rely too heavily www.shootonline.com/subscribe portant they are for the natives. They’ve never known a world on brand guidelines; and don’t be afraid SHOOTmobile future of your brand, I without the internet; they’ve never not to embrace “internet culture.” It can be a Get the SHOOTonline Mobile app App Store: iPhone.SHOOTonline.com like to think in terms of the leaky bucket had a smartphone fused to their hand. remarkably liberating place; (2) Be ambi- Google Play: Android.SHOOTonline.com concept. Every brand is a leaky bucket: Second off, Gen Z think fast. Research tious. Be fast, and be new. Consider mov- Mobile Web Version: m.SHOOTonline.com over time, consumers will fall out. They shows it takes them just eight seconds to ing to a “news, not content” strategy. In SHOOT is printed in the U.S.A. find someone else they love more, their decide whether or not they want to en- the mobile-first world of Gen Z, brands focus shifts, they get bored, whatever. If gage with your brand and, if you don’t that make headlines succeed faster and brands want to be smart with their mar- capture their attention in that timespan, last longer than brands that make beau- keting dollars, it’s actually far more you’ve lost them. tiful film; and (3) Be relatable--and be SHOOT is a member of: expensive to convince someone who’s Thirdly, in contrast with millennials, authentically so.77% of young consumers about to leave your brand to come back, one of the most exciting things about Gen want brands to be authentically relatable, With versatile landscapes, experienced film crews and incentivized tax breaks, the only limit to filming in the because they’ve already decided. Z is that they care about brands. Even cra- according to research from Impero--so U.S. Virgin Islands is your imagination. Enjoy up to a 29% tax rebate and up to a 17% transferable tax credit when As Byron Sharp of the Ehrenberg- zier – they like brands. know who you are as a brand, and stick to Follow SHOOT via hashtag #SHOOTONLINE at: Bass Institute famously said, marketers Generation Z adopt brands as social it. So, for brands looking to up their game you film in the USVI. For more opportunities in St.Croix, St. John and St. Thomas, call 340.774.8784 ext. 2243. ought to be focused on filling the bucket currency--expressing themselves through and future-proof, set your eyes on the with new customers at a faster rate than brands that speak to their interests and next generation of consumers--and make filmusvi.com Cover photo credits: Emmy Preview (l-r) The Marvelous it leaks. This means finding a constant lifestyle; that say something about who your competitors look like the tired ones. Mrs. Maisel, photo by Nicole Rivelli/courtesy of Amazon; stream of new consumers – which is they are. But they want brands to be Start getting weird. Generation Z--and DOWNLOAD THE FILM USVI APP: Maniac, photo by Michele K. Short/courtesy of Netflix; Free Solo, photo by Samuel Crossley/courtesy of National where Generation Z comes in. brave--to do new things that inspire them, your leaky bucket--will thank you for it. Geographic. Directors Series pic of Spike Jonze, photo by Shane Karns/courtesy of DGA. Chat Room pic from The But what really defines this audience, not reflect them. They want brands to set --Michael Scantlebury is creative director/ Highwaymen, photo by Hilary B. Gayle/courtesy of Netflix. and how can we go about building a re- the agenda. So, top tips for brands looking founder of London agency Impero. © 2019 U.S. Virgin Islands Department of Tourism March/April 2019 SHOOT 3

will catch the Shane Karns/courtesy by Photo of DGA

fancy of TV Chin/courtesy Jimmy by of National Geographic Photo

Academy voters Craig Blankenhorn/courtesy by Photo of HBO A SHOOT Staff Report Photo by Michele by K.Photo Short/courtesy of Netflix Photo by Jan Thijs/courtesy of Amazon Jan by Photo Photo by Lacy Terrell/courtesy of HBO Terrell/courtesy Lacy by Photo Hilary by Photo Gayle/courtesy B. of Amazon

The 71st Emmy Awards are fast ap- ative process and evaluation criteria for programs and reality programs), with proaching with an entry deadline of documentary scoring, versus scoring for the number of nominees proportional May 6, nominations-round voting slated scripted series or specials. to the number of submissions in each to get underway on June 10 and end on Furthermore, choreography catego- genre, with at least one nomination for June 24, with nominations announced ries have been restructured with two each. on July 16, final round voting to com- separate juried awards: Outstanding The alluded to Academy peer groups mence on August 15 and end on August Choreography for Variety and Real- and their respective governors are: 29, and then the Creative Arts Emmy ity Programming (variety series, variety Awards ceremony to be spread over the special, structured reality, unstructured --ANIMATION Jill Daniels (return- weekend of September 14-15, followed reality and competition program); and ing governor serving an ongoing term Tby the primetime Emmys on September Outstanding Choreography for Scripted through 12/31/19), and Janet Dimon 22, televised live on the FOX network. Programming (comedy series, drama (newly elected to a term extending While the schedule may sound like a series, limited series and TV movies). through 12/31/20) familiar drill, there are a number of new Changes in rules for the 71st Emmys --ART DIRECTORS/SET DECORA- wrinkles in this year’s competition as span such disciplines as sound mixing. TORS Halina Siwolop (returning), and the Television Academy’s 24,000-plus For instance, in the Outstanding Sound James Yarnell (newly elected) members--representing 30 professional Mixing for a Variety Series or Special --CASTING DIRECTORS Peter Gold- peer groups, including performers, category, entries will be recognized in en, CSA (returning), and Howard Melt- From top left, clockwise: Alex directors, producers, art directors and the two genres (variety series, specials) zer, CSA (newly elected) Honnold in Free Solo; a scene from various other artisans--will have more with the number of nominees propor- --CHILDREN’S PROGRAMMING Succession; Adam McKay with to consider this year when casting their tional to the number of submissions in Jill Sanford (returning), and Troy Un- the DGA Award for Succession; Emmy ballots. For one, there’s a new each genre, with at least one nomination derwood (newly elected) Kerry Bishe in a scene from The category honoring Outstanding Music for each. Similarly in the Outstanding --CHOREOGRAPHY Eboni Nichols Romanoffs; Emma Stone in Maniac; Composition for a Documentary Series Sound Mixing for Nonfiction Program (returning), and Mandy Moore (newly Julia Roberts in Homecoming; Julia or Special (Original Dramatic Under- category, entries will be recognized in elected) Louis-Dreyfus in Veep score). This recognizes the unique cre- two genres (documentary/nonfiction --CINEMATOGRAPHERS John Sim- 4 SHOOT March/April 2019 EMMY AWARDS PREVIEW

mons, ASC (returning), and Gary Baum, (newly elected) tica (newly elected) history of volunteer service for the ASC (newly elected) --MAKEUP ARTISTS/HAIRSTYL- --REALITY PROGRAMMING Philip Television Academy; prior to becoming --COMMERCIALS Rich Carter (re- ISTS Terri D. Carter (returning), and D. Segal (returning), and Bob Boden CEO, he was as an officer of the Board turning), and Ann Leslie Uzdavinis Mary Guerrero (newly elected) (newly elected) of Governors as the vice chair for the (newly elected) --MOTION & TITLE DESIGN Greg --SOUND Frank Morrone, CAS (re- 2017–2018 term. He previously served --COSTUME DESIGN & SUPERVI- Kupiec (returning), and Lauraine Gib- turning), and Bob Bronow, CAS (newly as the second vice chair for the Board SION Terry Ann Gordon (returning), bons (newly elected) elected) of Governors as well as several terms and Laura Guzik (newly elected) --MUSIC John Debney (returning), --SOUND EDITORS Christopher as Commercials Peer Group governor. --DAYTIME PROGRAMMING Ste- and Rickey Minor (newly elected) Reeves (returning), and Eileen Horta Scherma has also served on the Creative ven Kent (returning), and Eva Basler --PERFORMERS Bob Bergen (re- (newly elected) Arts Emmy Awards Show Committee, (newly elected) turning), and Patrika Darbo (newly --SPECIAL VISUAL EFFECTS Mark Membership Committee, Governors --DIRECTORS Michael Spiller (re- elected) Scott (returning), and Spatny Erik Hen- Award Selection Committee, Digital turning), and Mark Cendrowski (newly --PICTURE EDITORS Scott Boyd, ry (newly elected) Strategy Committee and on the Televi- elected) ACE (returning), and Michael Ruscio, --STUNTS Lesley Aletter (returning), sion Academy Foundation’s Board of --DOCUMENTARY PROGRAM- ACE (newly elected) and Dorenda Moore (newly elected) Directors, among other positions. MING Daniel H. Birman (returning), --PRODUCERS John Ziffren (return- --TELEVISION EXECUTIVES Sam and Lois Vossen (newly elected) ing), and Keith Raskin (newly elected) Linsky (returning), and Debra Curtis In contention --INTERACTIVE MEDIA Lori H. --PRODUCTION EXECUTIVES Kei- (newly elected) While it’s difficult to gauge how Schwartz (returning), and Chris Thomes ren Fisher (returning), and Lucia Ger- --WRITERS Judalina Neira (return- Academy members will ultimately (newly elected) vino (newly elected) ing), and Regina Hicks (newly elected) vote, clues abound in terms of how the --LIGHTING, CAMERA & TECHNI- --PROFESSIONAL REPRESENTA- awards season thus far has shaped up as CAL ARTS Jeffrey A. Calderon (return- TIVES Glenn Rigberg (returning), and Atop the hierarchy is Television Acad- Emmy-eligible fare has already scored ing), and David Plakos (newly elected) Bryan Leder (newly elected) emy CEO Frank Scherma who began a impressively in competitions ranging --LOS ANGELES AREA Brenda --PUBLIC RELATIONS Steven two-year term on January 1. Scherma, from the Golden Globes to the Screen Brkusic (returning), and Paul Button Spignese (returning), and Nicole Maros- president of RadicalMedia, has a long Continued on page 6

March/April 2019 SHOOT 5 EMMY AWARDS PREVIEW Free Solo Could Make History; Adam McKay's DGA Win Carries Emmy Promise; Contenders Emerge Photo by Samuel Crossley/courtesy by ofNational Geographic Photo Courtesy of Facebook Watch Watch Courtesy of Facebook Jimmy Chin (l) and Alex Honnold in Free Solo Sorry For You Loss Continued from page 5 nized over the decision to proceed with Series category. said that Armstrong’s original script for Actors Guild (SAG) Awards, Producers the film but ultimately they were swayed Similarly Adam McKay garnered the Succession was “fabulous,” prompting Guild Awards, Directors Guild of Amer- by the inspirational value of Honnold’s DGA Award for Outstanding Directorial his desire to direct the pilot. ica (DGA) Awards, even the Academy story and the extraordinary nature of Achievement in Dramatic Series for the “You try to only direct things you feel Awards. the potential communal experience for pilot “Celebration” episode of Succes- you should direct,” related McKay. “And On the latter front, Free Solo (Nation- the audience. sion (HBO), which too could very well there are times you feel someone else al Geographic) won the Best Feature Chin said the ethical quandary cit- be in the running in the Dramatic Series could direct. I was drawn to this. It just Documentary Oscar. It could become ed by Vasarhelyi required much soul a contender for the Exceptional Merit searching but ultimately was decided in Documentary Emmy. Only once has by his and her trust in Honnold. “I’ve a documentary won both an Academy seen Alex climb for 10 years,” related Award and an Emmy: Citizenfour, di- Chin, a skilled rock climber himself. rected by Laura Poitras. “I’ve worked with the best climbers for Free Solo marks a cinematic and sto- almost 20 years. Alex is truly phenom- rytelling achievement that literally and enal at what he does. I’ve seen how he figuratively entailed a delicate balanc- approaches every solo climb. It was re- ing act, chronicling Alex Honnold as he ally helpful to have that confidence in tried to become the first person to ever him and to believe in him not just as an free solo climb Yosemite’s 3,000-foot- athlete but also as a human being.” high El Capitan Wall. With no ropes or Free Solo also gave viewers access to safety gear, he completed a monumen- Honnold’s humanity, which made him tal feat in rock climbing history. all the more relatable to them. “His is Hilary by Photo Gayle/courtesy B. of Amazon While the literal aspect of keeping a really inspirational story,” said Chin. Julia Roberts (l) and Sissy Spacek in a scene from Homecoming one’s balance is obvious from a physi- “Everyone can relate to the fear that cal/athletic standpoint as well as in Alex felt, seeing that for him it was Emmy derby. felt like it was from the world we live in terms of navigating a slew of daunt- less scary to go climb alone than to ask Succession introduces viewers to the right now. As a director, I felt I could ac- ing production logistics, the figurative someone to be a partner. He continu- Roy family--Logan Roy and his four chil- tually help the first episode, setting the challenge was centered on an inherent ally pushes himself in the face of fear to dren--who control an enormous media tone and feel. From my background in moral dilemma. overcome those fears and improve who and entertainment conglomerate. Suc- theatre and improv, I thought I could The wife and husband team of direc- he is. He’s always in that headspace. Peo- cession tracks their lives as they con- add to the idea of family which is at the tors/producers Elizabeth Chai Vasarhe- ple understand that and his vulnerabil- template and grapple with what the fu- core of the story. I could add something lyi and Jimmy Chin had to capture their ity helps people to connect with him.” ture may hold for them once the aging to this show which touches upon all friend Honnold’s ambitious journey- Among its other honors, Free Solo patriarch steps down from the company. kinds of ideas--dynastic wealth, income -which could go terribly wrong. received DGA and Producers Guild Oscar-winning writer Jesse Arm- equality, media empires, power, the hall- Honnold’s quest put him in great Award nominations. The DGA competi- strong (In The Loop) created the show marks of the times we live in.” peril and making a documentary tion could also be a precursor to what and penned the pilot episode, “Celebra- Streaming shows have also per- about him, Vasarhelyi told SHOOT, was might be in the offing for Emmy nomi- tion,” helmed by McKay. formed well this awards season, perhaps “scary,” “terrifying” and full of “ethical nations. For instance, Ben Stiller won a The fictional Roy family conjures up boding well for their Emmy prospects. implications,” with the real possibility DGA Award for his direction on the lim- thoughts of other power-wielding mass The Marvelous Mrs. Maisel (Amazon that the filmmakers could bear witness ited series Escape at Dannemora (Show- media families from the Murdochs to Prime), already an Emmy darling from to his demise. Vasarhelyi and Chin ago- time), a Emmy contender in the Limited the Maxwells and the Redstones. McKay last year, proved it was able to stay at or 6 SHOOT March/April 2019 EMMY AWARDS PREVIEW Free Solo Could Make History; Adam McKay's DGA Win Carries Emmy Promise; Contenders Emerge Drama, Best Actress (Julia Roberts) and Good Fight (CBS All Access), The Good Actor (Stephan James). Place (NBC), High Maintenance (HBO), However, the awards season barome- The Hot Zone (National Geographic), ter isn’t always an indication of things to Killing Eve (BBC America, AMC), Ma- come for the Emmys. Consider that the niac (Netflix), Now Apocalypse (Starz), prohibitive favorite for multiple nomi- Pose (FX), The Romanoffs (Amazon nations won’t debut its final season un- Prime), Russian Doll (Netflix), Saturday til April: Game of Thrones, HBO’s three- Night Live (NBC), Sharp Objects (HBO), time Best Drama Series champion. The Sinner (USA Network), Sorry For Also returning to eligibility after a Your Loss (Facebook Watch), True Detec- hiatus is Veep (HBO), which was the tive (HBO), When They See Us (Netflix), Emmy king of comedy prior to The and telefilms such as Brexit (HBO), the Marvelous Mrs. Maisel’s win last year. Deadwood movie (HBO), King Lear Veep’s seventh and final season debuts (Amazon Prime) and Native Son (HBO).

Photo by Ron by Batzdorf/courtesyPhoto of NBC on March 31. Opportunities have opened up in the Justin Hartley (l) and Melanie Liburd in This Is Us Among assorted other shows in the Emmy field with stalwart shows ineli- above the high bar it set, recently earn- a Drama Series, and the cast for Out- mix for Emmy consideration are: A Very gible in that they are slated to premiere ing the Producers Guild Award for Best standing Performance by an Ensemble British Scandal (Amazon Prime), Barry too late for this season, including The Episodic Comedy and the SAG Award in a Drama Series. (HBO), Better Things (FX), Billions Handmaid’s Tale (Hulu), Big Little Lies for Best Performance by an Ensemble Winning the Drama Ensemble Se- (Showtime), Black-ish (ABC), Catch-22 (HBO), Stranger Things (Netflix), The in a Comedy TV Series. ries SAG Award was This Is Us (NBC), (Hulu), Castle Rock (Hulu), Central Crown (Netflix) and Homeland (Show- Meanwhile, a newcomer, The Komin- which also earned a Lead Actor nod for sky Method (Netflix), created by produc- Sterling K. Brown who won the Emmy er Chuck Lorre, won the Golden Globe Award a couple of years ago for his work for Best Comedy Series. Lorre also has on the show. in the Emmy running such series as In the This Is Us mix this year is a Mom (CBS) and the finale season of The special episode--which aired in Janu- Big Bang Theory (CBS). ary-- modeled after a one-act play, tak- Ozark (Netflix), which garnered five ing place almost entirely in a hospital Emmy nominations last year, might waiting room and during a single day, return to the Emmy fray in 2019 based a departure from the show's normal on a recent SAG Award win and Golden flashback storytelling. Globe nomination for Jason Bateman as Penning the episode was playwright Lead Actor in a Drama Series. Bateman Bekah Brunstetter. this year also scored a DGA Award for Homecoming (Amazon) could make a

his direction of the Ozark episode titled case for the viability of a half-hour show Michele by K.Photo Short/courtesy of Netflix “Reparations.” making the Best Drama Emmy cut. Emma Stone (center) and Jonah Hill (r) in Maniac Better Call Saul (AMC) could also After all, Homecoming recently earned be in the Emmy running based in part a Writers Guild (WGA) Award nomina- Park Five (Netflix), The Chi (Showtime), time). Also no longer in the mix is crit- on recent SAG Award nominations for tion in the New Series category as well Counterpart (Starz), The Deuce (HBO), ic’s favorite The Americans, which has Bob Odenkirk for Best Lead Actor in as three Golden Globe noms--for Best Fosse/Verdon (FX), GLOW (Netflix), The ended its broadcast run on FX.

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

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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]

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March/April 2019 SHOOT 7 Short Takes DIRECTORS LOBO DRIVES SAFETY WITH “BAD IDEAS” PSA Latin American highway concession operator CCR teamed up with agency Welcome to the Special Spring 2019 Edition of Heads and global creative studio LOBO to bring fresh color to this new driv- SHOOT’s Directors Series. Our mix of pro les spans world class ing safety PSA with light-hearted animations, casting “bad ideas” behind talent along the lines of Sir Ridley Scott, Adam McKay and Spike Jonze. Scott re ects on his triumphant return to directing ad fare the wheel as mischievous monsters with their own unique personalities, di- after an 18-year hiatus, and his rst foray into helming U.S. series rected by the Alton duo. From driving drunk and multitasking with texts to television. McKay’s just concluded awards season includes Oscar declining using a seatbelt, risky business increases tra c accidents and puts and DGA nominations for Vice, and a DGA Award win for the rst the driver and those around them in danger. episode of HBO’s Succession. And Jonze, who’s with MJZ, discusses his Apple Homepod’s “Welcome Home” for which he recently won the DGA Award for commercials. Alton also designed all nine unique creatures, each represent- Another pro led director continues to make his mark in the DGA Awards. Matthew ing a dangerous driving habit: Heineman has twice won DGA Awards for his documentaries--Cartel Land in 2016 and City of Ghosts two years later. Just a couple of months ago, Heineman earned his third “Doze-O ” lumbers to a standstill career DGA nomination--this time for his narrative feature directorial debut, A Private in a daze, “Drunkaroni” thinks leav- War, Heineman is handled by Superprime for spots. ing the bar buzzed is a great idea, “Light-Killer” couldn’t care less Also in the SHOOT Series lineup of pro les are Lauren Green eld, Floyd Russ and Ramaa Mosley. Green eld directs commercials and branded content via production house Chel- about regular tune-ups, and many sea while recently launching Girl Culture Films, a shop designed to open up opportuni- more. Amidst the chaos, a hero ties in the ad/branded entertainment sector for accomplished women directors. arose: “Responsa,” a fuzzy creature with a responsible attitude who stands Russ this awards season saw his ZION not only make the shortlist for the Best Documen- for safer tra c for all. tary Short Oscar but also win an IDA Documentary Award for Best Short Film. Russ, who’s with Tool of North America, has to his credit the Emmy-nominated Ad Council “Love AMAZING GRACE TO OPEN EBERTFEST Cam,” and Cannes Gold Glass Lion-winning “Marriage Market Takeover” for SK-II. Alan Elliott’s restored version of Amazing Grace will open the 21st annual And Mosley, who’s with Station Film for spots and branded fare, just made her primetime Roger Ebert’s Film Festival, co-founded and hosted by Chaz Ebert and also TV series directorial debut with an episode of NBC’s Blindspot. This came on the heels of known as “Ebertfest.” Amazing Grace is the highly anticipated concert lm the release of her second feature lm, Lost Child. presenting Aretha Franklin’s live performance at the New Bethel Baptist Church in Los Angeles in January 1972. Meanwhile our up-and-coming ensemble consists of: a former agency creative director who’s landed her rst production house roost; a director who’s made an auspicious de- Director Elliott and producer Tirrell D. Whittley will be in attendance to dis- but in the U.S. market with a Grammy-nominated music video and an a Super Bowl spot; cuss the lm. a lmmaker whose recent endeavors span 2nd unit feature work, his rst primetime TV “Most years our Opening Night lm has been a 70 mm celluloid, but this series, and ad fare that includes sponsor tie-ins to major Marvel theatrical releases; an accomplished illustrator with a stellar family lmmaking lineage, translating into a direc- year it will be 70mm of soul,” said Chaz Ebert. torial debut on a short that takes us back and forth between reality and imagination; and Amazing Grace will be released in theaters by NEON in April 2019. a director whose " lm school" consisted of a global real-people documentary campaign, The 21st Anniversary of Ebertfest will be held April 10-13, 2019 at the Vir- eventually leading to a recent string of branded entertainment viral hits. ginia Theatre in Champaign, IL, with related talks and panel discussions to And then in our Cinematographers & Cameras Series, we meet be held at the Hyatt Place in Champaign and at the University of Illinois at four DPs--one who recently garnered his rst career Best Urbana-Champaign. Cinematography BAFTA Film Award nomination; another whose lm made a major splash at Sundance; a cinematographer whose recent work on a Net ix series had him PEOPLE ON THE MOVE.... continuing a collaborative relationship with a director Michael Kutschinski is to take on the position of managing director crea- that has spanned short and long-form fare; and a tion at Plan.Net UX in Hamburg, Germany. He will work closely alongside lenser who re ects on a hybrid documentary/narra- founder and managing director Christoph Mecke in running and further ex- tive series for Amazon Prime, which also contains elements of improv. panding the agency, which specializes in user experience. Here, the main focus will be on the interplay between creativity and technology in optimizing Both our Up-and-Coming Directors and Cinema- user experience across all digital channels. He also plans to provide ongoing tographers & Cameras Series feature stories as assistance to existing Plan.Net clients in their internationalization activities. well as several of the director pro les have been edited for the print issue. All these stories can be Kutschinski will report to Klaus Schwab, managing partner of the Plan.Net seen in their entirety in our 4/1 Special Directors Group. Until the end of last year, Kutschinski was Series SHOOT>e.dition and on SHOOTonline. So —Robert Goldrich chief creative o cer at Ogilvy Germany and glob- read on and enjoy. And as always, we welcome Editor your feedback. al creative leader customer engagement & com- [email protected] merce at Ogilvy, Berlin. He spent the last 15 years at the WPP subsidiary, which he joined in 2004 as Director Profiles Features ECD, before being promoted to global CCO of Ogil- Lauren Greenﬁ eld...... 9 Up-and-Coming Directors vyOne Worldwide until OgilvyOne was integrated Matthew Heineman...... 10 Spring Collection Hits The Runway...... 19 into Ogilvy. During this time, Kutschinski looked Spike Jonze...... 11 after major accounts such as BMW, Deutsche Adam McKay...... 12 Cinematographers & Cameras Bahn, Nescafé, o2 and VW. His CV also includes po- Ramaa Mosley...... 13 Insights into shooting Bohemian Michael Kutschinski sitions at Jung von Matt in Hamburg and at Pixel- Floyd Russ...... 14 Rhapsody, Blinded by the Light, Maniac, This Giant Beast ...... 22 park in Hamburg and New York. Over the course of his career, Kutschinski has Ridley Scott...... 15 won over 350 awards and has been on the panel of judges at Cannes Lions, The One Show, the Art Directors Club and the New York Festivals......

8 SHOOT March/April 2019 DIRECTORS Lauren Greenfield A natural progression

By Robert Goldrich ancy in a couple of key percentages she continues to flourish today. Just a couple of months ago, director ran across. That Chelsea relationship has yielded Lauren Greenfield, along with her part- Greenfield explained that Harvard assorted pieces of lauded work over ner Frank Evers, launched Girl Culture Business School found that some 86 the years, perhaps most notably P&G/ Films. The new venture is designed to percent of global consumers are women. Always’ #LikeAGirl initiative, a social amplify female and diverse directorial Meanwhile only eight percent of com- experiment from Leo Burnett. The cen- voices in the advertising world. Green- mercial directors are female. Women terpiece was a video that captured how was Greenfield’s second career DGA field is creative director of the shop are being sold to by a preponderance of people of all ages interpret the phrase nod--the first coming two years earlier while continuing to direct spots and male directors, which is not only inequi- “Like a girl,” in the process helping to for the feature documentary The Queen branded fare via Chelsea Pictures. table but bad business. “We have female combat the attached stigma (“you throw of Versailles, which tells the story of a Girl Culture’s directorial roster in- consumers who are not being talked like a girl,” or “you run like a girl”). couple losing their home amid the mort- cludes such accomplished filmmakers to by the people who truly are in their Emerging from this viral video--which gage meltdown crisis--except in this sto- as Catherine Hardwicke (Miss Bala, shoes, who understand what they’re generated a staggering 4.5 billion online ry the residence is a 90,000 square foot Twilight, Thirteen), Karyn Kusama experiencing and what is important to impressions worldwide--was a redefini- mansion inspired by the extravagances (Destroyer, Girlfight), Amy Berg (We s t them.” tion whereby behaving and performing of France’s Palace of Versailles, and the of Memphis), Maya Forbes (Infinitely Doing something tangible to narrow “like a girl” came to mean something beleaguered couple consists of Florida Polar Bear), Marina Zenovich (Robin that gap is a natural progression for amazingly positive. time-share condominium entrepreneur Williams: Come Inside My Mind), Ra- Greenfield who’s shed light on detri- A broadcast version of the video ran David Siegel and his wife, Jackie. When chel Grady & Heidi Ewing (One of Us), mental gender stereotyping of women during the 2015 Super Bowl telecast, the real estate bubble burst, the Siegels Yance Ford (Strong Island), Lana Wilson throughout her filmmaking career marking a major departure from male- took a hard fall from their world of ex- (The Departure) and Nonny de la Pena while herself gaining recognition as a dominated Big Game fare. “#LikeAGirl” treme wealth and privilege. (known as the godmother of virtual re- major director spanning short and long- went on to win the primetime commer- The Queen of Versailles also earned ality). form fare, serving as inspiration to aspir- cial Emmy Award, 14 Cannes Lions, sev- Greenfield the Best Documentary Di- “These are established directors, not ing women filmmakers. en Clios and was designated by YouTube rector Award at the Sundance Film Fes- artists starting out whom we’re asking Greenfield, for example, made her as one of the top “Ads of the Decade.” tival and was named by Vogue as one of agencies and brands to take a chance first major mark at the Sundance Film #LikeAGirl was also an AICP Show hon- the top documentaries of all time. on,” affirmed Greenfield who assem- Festival in 2006 with Thin, a feature oree and became part of the Museum of Thin, The Queen of Versailles and bled the predominantly female lineup documentary based on her book of the Modern Art’s permanent collection. #LikeAGirl are part of a filmography in direct response to a profound discrep- same title which chronicled four women #LikeAGirl landed Greenfield a DGA that has led to Greenfield being re- as they struggled to fight eating disor- Award nomination in the commercials garded as a leading chronicler of gender, ders, trying to live up to media represen- competition. This was an historic ac- consumerism, and youth culture. Other tation of what the female form should complishment as it made Greenfield breakthrough projects include docu- ideally be. Thin found a receptive audi- the first solo woman to garner a DGA mentary fare like Generation Wealth, ence at Sundance where it also sparked nomination in the spotmaking category. Kids+Money and her photography interest from the braintrust at the afore- Up until then the only female DGA com- books such as “Fast Forward” and “Girl mentioned Chelsea Pictures, which mercial nominees were half of directorial Culture.” Generation Wealth opened the signed Greenfield for commercials and duos (Amy Hill of Riess|Hill, and Katina Sundance Festival last year, was nomi- P&G/Always' #LikeAGirl branded content, a relationship which Mercadante of The Mercadantes). This Continued on page 30

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March/April 2019 SHOOT 9 Hot Locations DIRECTORS PENNY DREADFUL RELOCATES TO CALIFORNIA Matthew Heineman The next season of the Showtime saga Penny Dreadful will bring high-wage jobs and lots of production spending to California as it becomes the 16th TV Narrative fillmmaking with a documentary feel series to relocate to the state with help from Film & TV Tax Credit Program 2.0. The popular drama-horror series will move production By Robert Goldrich from Dublin to Los Angeles for its fourth season. Penny While A Private War recently earned Dreadful: City of Angels will employ more than 350 cast him a DGA Award nomination for Out- members, 150 crew and 10,000 extras. standing Directorial Achievement of a Approved conditionally for $24.7 million in tax credits, First-Time Feature Film Director, Mat- Penny Dreadful: City of Angels will spend an estimated thew Heineman is no stranger to Guild $99 million on below-the-line wages and other qualified honors. He is actually a two-time DGA Amy Lemisch expenditures during the upcoming season. Note that Award winner as a documentarian--for total spending for such projects is significantly higher than qualified spend- Cartel Land (also nominated for a Best ing, as overall spending also includes above-the-line wages and other pro- Feature Documentary Oscar) in 2016, duction expenditures that do not qualify for tax credits under Program 2.0. and City of Ghosts in 2018. “With its established track record and top of the line production value, a A Private War, Heineman’s narrative relocating series like Penny Dreadful brings long-term jobs and significant in- feature debut, tells the story of the late Rather he wanted to embrace them. “I state spending,” said California Film Commission exec director Amy Lemisch. war correspondent Marie Colvin who’s wanted to create a set that felt as authen- The new season of the Emmy-nominated series is described as the next stirringly portrayed by Rosamund Pike. tic as it possibly could, where improvi- chapter in the Penny Dreadful saga and a spiritual descendant of prior sea- Colvin was a journalist who sacrificed sation could happen, happy accidents sons set in Victorian-era London. While the new installment takes place in her life to show the innocent victims of life could occur. We spent months 1938 Los Angeles, other production locales were considered. of war, her last report coming from and months of research to create these “Choosing where to set up production for the next chapter of the Penny Syria where she chronicled the ongoing environments, make them feel real as Dreadful fable was one of the most important decisions we had to make, and siege’s heart-wrenching physical, psy- if the viewer were taken there, to put there were many options we looked into,” said Jana Winograde, president of chological and emotional toll on every- the audience on the ground in that spe- Entertainment, Showtime Networks Inc. “Shooting in California obviously day people and families. During a time cific place, in the shoes of the characters has many attractions, but without the state’s Film and TV tax credit it could when journalism itself is under attack, we’re following.” become cost prohibitive.” Colvin embodies those reporters who Heineman also made it a point to work With the addition of Penny Dreadful, California’s expanded Film & TV Tax on a daily basis are putting themselves with non-actors as background cast in Credit Program 2.0 has attracted relocating TV series from seven U.S. states in peril to inform the world at large of various war zones, which included his plus Canada and the Republic of Ireland. These projects are on track to gener- injustice, atrocities and human suffering. filming in Jordan to double for stricken ate nearly $1 billion in qualified in-state spending, including $553 million in Heineman too has placed himself areas in Iraq, Afghanistan, Syria, Libya wages to below-the-line workers. These numbers will continue to grow as the in harm’s way as a documentary film- and elsewhere. “We found refugees from relocated projects are picked up for additional seasons. maker. His City of Ghosts, for example, those various countries to play certain introduced us to a band of Syrian citizen roles, creating an emotional place for LMGI AWARDS SET FOR SEPTEMBER journalist rebels who risk their lives to us to tap into. At the scene with the The 6th annual Location Managers Guild International (LMGI) Awards, hon- document the crimes against humanity mass grave in Iraq, those women were oring the outstanding and creative visual contributions of location profes- committed by ISIS in their homeland. re-living real trauma. Those wails and sionals and film commissions in film, television and commercials, will be held Heineman’s high-caliber documenta- screams came from a real place. They’re on September 21 at the Broad Theater in Santa Monica. Online submissions ry pedigree attracted scripts for narrative doing a chant, a prayer for the dead. It are now open at www.locationmanagers.org. With the change in date of this features, among them an early draft of A was a beautiful docu-style moment we year’s LMGI Awards from April to September, the 6th Annual LMGI Awards Private War. Heineman felt an immedi- captured as a crescendo to the scene.” timeline is unique in that there is an 18-month ate kinship to Colvin’s story, citing “her calendar of eligibility. Productions that were first desire to bear witness, to humanize situ- released between January 1, 2018 and May 31, ations. I could also empathize with that Collaborators 2019 are now eligible. Nominations will be an- feeling of these conflicts staying with her Heineman also connected with in- LMGI Awards logo nounced on July 11. when she got home.” valuable collaborators to bring A Private Awards will be presented in the following categories: Contemporary Film, At the same time, for A Private War, Wa r to fruition, including cinematogra- Period Film, Contemporary TV, Period TV, Commercials and Film Commis- Heineman didn’t want to run away from pher Robert Richardson, ASC, and edi- sions. Honorary Awards include the Humanitarian, Lifetime Achievement, his roots as a documentary filmmaker. tor Nick Fenton. Trailblazer and the Eva Monley Award. Eligible productions must feature A nine-time Best Cinematography locations that are artistically integral to the story being told, and location Academy Award nominee--who won professionals nominated must have demonstrated an innate understanding in 1992 for JFK, in 2005 for The Avia- that the proper location is not only a backdrop for action, but also sets tone, tor and in 2012 for Hugo--Richardson reveals character, and enhances the narrative. had his agent reach out to Heineman. LMGI Awards accepts domestic and international entries for work that “At first I thought it was a joke, a friend demonstrates the significance of locations in supporting character devel- calling me. But he had heard about the opment and storyline. Active and retired LMGI members can vote on the

Photo courtesy of Aviron Pictures courtesyPhoto of Aviron film and seen some of my work and was awards. Submissions are open to LMGI members and non-members alike. Rosamund Pike In A Private War Continued on page 30 10 SHOOT March/April 2019 DIRECTORS Spike Jonze “Welcome Home”

By Robert Goldrich track titled “‘Til It’s Over.” FKA twigs adidas, Gap and Miller Beer. Last month Spike Jonze of production breaks out into an expansive dance--while Jonze’s third Guild nomination--and house MJZ won his first career DGA her apartment in turn expands. Her roost second in commercials--proved to be Award. is transformed as the music positively im- the charm this year as he won the DGA He topped the field of commercialmak- pacts where her head is at. We see both Award over fellow nominees Steve Ay-

ers on the strength of Apple Homepod’s her and her abode entertainingly grow son and Fredrik Bond, who are also with Shane Karns/courtesy by Photo of DGA “Welcome Home” out of TBWA\Media and evolve before our eyes. MJZ, Martin de Thurah of Epoch Films, days after he appeared at the Guild’s Meet Arts Lab. The invigorating premise dovetails and David Shane of O Positive. the Commercial Nominees event. There, The piece stars musician and dancer with Jonze’s brand of filmmaking which In brief acceptance remarks, Jonze further underscoring his steadfast belief FKA twigs who is situated in her rather expands what’s inside viewers’ heads said, “This is humbling to be with this in teamwork and collaboration as being modest, borderline drab apartment--but through taking us on imaginative jour- group of (nominated) filmmakers.” He integral to successful storytelling, Jonze that all changes when her Homepod neys--whether it be “Welcome Home” or went on to acknowledge his support team, also extolled Smith’s virtues, noting that speaker blares out an Anderson.Paak Her, a feature he directed and for which including most notably his long-time first he and the 1st A.D. have “a mind meld....I he won a Best Original Screenplay Acad- assistant director Thomas Smith. love Thomas because he’s a filmmaker emy Award, or Being John Malkovich, Jonze noted that Smith has been in his who knows what’s important.” which earned Jonze a Best Director Oscar corner for some 24-plus years, describing Additionally during that DGA discus- nomination. him as a compatriot "who’s in my head, sion, Jonze shared that the original idea Being John Malkovich also garnered who knows what I need before I need from TBWA\Media Arts Lab for “Wel- Jonze his first career DGA Award nomi- it.” Jonze affirmed that Smith has been come Home” entailed an ambitiously nation in 1999. “a mentor to him,” quipping that he can choreographed story about “a guy in his Seven years later, he picked up his sec- even “control weather with his mind.” apartment and the apartment grows.” Apple Homepod's "Welcome Home" ond Guild nod on the basis of spots for Jonze’s DGA Award came a couple of Continued on page 16

March/April 2019 SHOOT 11 DIRECTORS Adam McKay An engaging storyline of Succession

By Robert Goldrich Armstrong, though past attempts to col- dark, a masterpiece. While a DGA Award is a high honor, laborate on projects didn’t come to frui- “I knew these characters (in Succes- Adam McKay was in even more rarefied tion. Finally pieces began to fall into place sion) would be very unlikeable when you air this year when he scored two Guild for the dramedy that is Succession, with meet them,” continued McKay. “By the nominations for different projects--for McKay, Armstrong, Frank Rich and Will end you find their vulnerabilities--not to Outstanding Directorial Achievement in Ferrell among the show’s executive pro- say you like them at the end. That’s why Feature Film for Vice, and in the Dramat- ducers. the tone was a tricky thing. It was what He was open to playing around, finding ic TV Series category for the HBO series The fictional Roy family conjures up was most challenging and at the same the right look with me. He was so good Succession. thoughts of other power-wielding mass time what excited me most about the that when we were done (with the pilot), While Alfonso Cuaron took the feature media families from the Murdochs to the show.” I thought he should direct an episode. He award for Roma, McKay won for “Cel- Maxwells and the Redstones. McKay said To help realize this unique tone and gets the show and its DNA. His demeanor, ebration,” the very first episode of Suc- that Armstrong’s original script for Suc- blend, McKay helped bring together a how he handled a crew impressed me.” cession, which introduces us to the Roy cession was “fabulous,” prompting his mix of artisans--including those with Parekh wound up directing the family--Logan Roy and his four children- desire to direct the pilot. whom he worked with before, and new “Which Side Are You On?” episode of -who control an enormous media and “You try to only direct things you feel collaborators. Succession. McKay said it was “one of my entertainment conglomerate. Succession you should direct,” related McKay. “And Embodying this mix were composer favorite episodes.” tracks their lives as they contemplate and there are times you feel someone else Nicholas Britell and cinematographer Relative to Britell and Parekh, McKay grapple with what the future may hold for could direct. I was drawn to this. It just felt Andrij Parekh, ASC. cited an adage that “‘70 percent of direct- them once the aging patriarch steps down like it was from the world we live in right The former, a two-time Oscar nominee ing is hiring the right people.’ We did a from the company. now. As a director, I felt I could actually for Barry Jenkins’ Moonlight and If Beale very good job of that on Succession.” Oscar-winning writer Jesse Arm- help the first episode, setting the tone Street Could Talk, scored both The Big strong (In The Loop) created the show and feel. From my background in theatre Short and Vice for McKay. and penned the pilot episode helmed and improv, I thought I could add to the “He’s one of the most collaborative tal- Heightened relevance by McKay, himself an Academy Award idea of family which is at the core of the ents I’ve ever met,” said McKay of Britell. As the wheels were well in motion for recipient for writing the adapted screen- story. I could add something to this show “He can do anything. He’s classically the show, it took on greater relevance and play (with Charles Randolph) for The Big which touches upon all kinds of ideas- trained but has done hip-hop. He has the weight when Donald Trump was elected Short, which also earned him his first ca- -dynastic wealth, income equality, media ability to create the sounds necessary for president, said McKay. “During pre-pro, reer DGA nomination as well as an Oscar empires, power, the hallmarks of the the project in front of him. He doesn’t im- Donald Trump wins the presidency, ap- nod for Best Director in 2016. This year times we live in.” pose himself on it but there’s always a fla- points his daughter to a high-ranking po- McKay added three more Oscar noms to Perhaps the biggest challenge was get- vor of Nicholas in what he does. I told Jes- sition, his family comes into power, stories his résumé for Vice--Best Picture, Direc- ting the right tone, observed McKay. “I se he would love Nicholas. They met and of corruption start coming out. We knew tor and Original Screenplay. knew Jesse’s script was so good and the in a couple hours banged out the theme this was a relevant script beforehand but McKay has been a long-time fan of times we live in are so strange. It had to be which helped bring a Shakespearian tone now it was even more so.” funny but dramatic and dark. Sometimes to the show, depicting a power family, In light of this heightened relevance, it’s very funny. For a few times, I’ve seen with a rock music feel hinting at inherited working on Succession had a therapeutic that tone well blended, like in Neil LaB- wealth. It had a swing and a groove to it. effect on McKay and others ute’s early stuff--In The Company of Men He got the show immediately.” “Sometimes we forget how brutal and and Your Friends and Neighbors. Neil was On the flip side, McKay hadn’t worked emotionally distressing things were after kind of a key, a director who’s done that, with DP Parekh before. The director’s that election," observed McKay. "I was gone very dark. Foxcatcher was also a big first choice was a prior prized collabora- down. We were in New York City which

Photo by Craig Blankenhorn/courtesy by Photo of HBO influence as far as the visual look of the tor, Barry Ackroyd, BSC, who shot The felt like the center of it. There was Trump A scene from Succession show; it was remotely funny and very Big Short. Tower; he was there at the time. We were “I wanted a blend of traditional and in his kingdom. It was upsetting to see hand-held cinematography,” explained America bend in this direction and all McKay who noted that Ackroyd’s hand- the stuff that went with him; an increase held work on The Big Short was master- in hate crimes, the hard times we live The Best Place To Put Your Work To Work To Find You New Work. ful. However, Ackroyd wasn’t available, in. Suddenly there was even more of a which caused McKay to search for an- purpose to doing this show. Everyday other DP. showing up and working on it meant McKay was drawn to the lensing of something. I give Jesse Armstrong all the HBO limited series Show Me A Hero, the credit for this. His antennae were so My.SHOOTonline.com which led him to Parekh. “I loved that accurate on this one. After the election, series and then I saw some of his other I would have wanted to do a show like work. We met and I liked him a lot. He this. Thankfully we were. It speaks to the didn’t have that pre-set box of what to do. power of expression.” 12 SHOOT March/April 2019 DIRECTORS Ramaa Mosley From mentor to mentored

By Robert Goldrich by director/producer Lesli Linka Glatter ty in the director’s chair by giving its class A director who’s spent much of her career as part of a DGA initiative which afforded of female helmers the chance to shadow mentoring others--particularly through Mosley the opportunity to observe Glat- multiple episodes of NBC scripted series, the Gen Z company that’s her brainchild, ter and her compatriots, including direc- with an in-season commitment to direct Adolescent Content, which has given a tor Charlotte Sieling, during the making at least one episode of a show. filmmaking/creative career path to young of the acclaimed Showtime series Home- Mosley wound up being chosen for people, including women and members land. that select inaugural Female Forward for over 20 years yet going to an entirely of the LGBTQ community--Ramaa Mos- “Lesli is incredibly talented, so gener- class, observing for three weeks, taking different world in episodic TV was su- ous, reaching out to others on my behalf, a break to tend to some commercial di- per educational,” said Mosley about the connecting me with people I probably recting work, and then resuming with DGA and NBC programs. “I saw how two would have never met,” related Mosley. another three weeks of observation, cul- directors on Blindspot handled varied “She’s brilliant and caring. Wanting to minating in Mosley directing an episode situations--David McWhirter who started give and mentor has been part of my of Blindspot. Titled “Though This Be out as an assistant director and David everyday life as a director. Still, I felt for Madness, Yet There Is Method In’t,” the Tuttman who first established himself as years that hadn’t been reciprocated--not episode premiered in primetime on Feb. a DP. They are directors who bring a lot to that you have to get in order to give but it 15. their work. Being part of these programs Mosley directs Blindspot was nice to have someone like Lesli take Though she’s still young, Mosley is a (as a mentee) now enables me to bring ley finally had the tables turned on her me in and help my career.” veteran director. She started directing at that much more back to my mentoring of over the past couple of years. The long- Glatter also advised Mosley to apply the age of 16, shortly thereafter landing Gen Z directors and others.” time mentor has been getting mentored for NBC’s Female Forward directors pro- at the former Johns+Gorman Films for Mosley’s episodic directorial debut was as of late at the highest level; first in 2017 gram, which aims to achieve gender pari- spot representation. “I’ve been directing Continued on page 16

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March/April 2019 SHOOT 13 DIRECTORS Floyd Russ A sense of purpose

By Robert Goldrich with viewers, showcases our shared hu- Debuting at the 2018 SundanceFest A recently released Havas Group study manity, raises public awareness of issues, and shortlisted for this year’s Best Docu- found that 77 percent of consumers pre- and has a sense of purpose which in some mentary Short Oscar, ZION introduced fer to buy from companies with whom cases inches us closer to social justice. audiences to Zion Clark, a young wrestler they share values and that want to make “We’re in an era of hyper consumerism who was born without legs. Growing up the world a better place. Brand activism, where just like you are what you eat, you in foster care, Clark struggled with fitting thus, has become a crucial part of market- are what you buy,” he observed. “People in his whole life--until he found the sport for the primetime commercial Emmy ing/communications strategy. want brands who are smart, have values of wrestling, a passion which he pursues, Award in 2017, and the aforementioned This increasingly prominent market- and want to make a positive difference in pushing himself to great lengths. Marriage Market Takeover which won a place dynamic dovetails nicely with di- society.” “I remember at one point in my career Cannes Gold Glass Lion in 2016. rector Floyd Russ’ philosophy which is to Whether in connection with or sans an aspiring to do a high-profile Nike spot,” Russ laughs that his career has taken generate work that emotionally connects advertiser/sponsor, Russ has been doing recalled Russ. “But I decided to seek out a circuitous path, starting with his film his part as a filmmaker through notable my own inspirational stories. I read an ar- studies at UCLA when he aspired to di- endeavors that include: ZION, which a ticle about Zion one day and thought this rect features with a message, delving into few months ago won an IDA Documen- is the kind of special person whom Nike the human condition and helping to bet- tary Award for Best Short Film; a Gillette should be seeking out.” ter society. Commercialmaking for him spot from Grey NY featuring NFL player Meanwhile the recent Gillette ad was out of sight, out of mind. Shaquem Griffin; and global skincare produced by Russ’ commercialmaking However, after graduation, reality set in brand SK-II’s follow-up to his Marriage home, Tool of North America, centers on and Russ had to find a foothold--initially Market Takeover work which addressed Griffin who was born with amniotic band that was as a runner, then an assistant A scene from ZION onerous gender expectations in China. syndrome resulting in his left hand be- to editor Robert Ryang at PS260 in NY. ing amputated as a child. Through hard There Russ met a few folks at Saatchi NY, work, with the love and guidance of his where he wound up doing some in-house father, Shaquem became a college foot- projects for new business pitches, landing WEEK ball star and then rose to the NFL ranks. in the production department. He even- 2019 As for the SK-II online documentary tually became a producer there followed from agency Forsman & Bodenfors Sin- by freelancing and then a tenure at Grey gapore, Russ follows the real-life stories NY where Russ got to hone his directorial JUNE 4–6 of three young single Chinese women skills, helming select projects. as they bravely take on the first steps of Among his directorial exploits was reaching out to their parents after years of “Crazy Heart,” a music video for Scottg AICP not returning home during holidays due McFarnon that earned Russ a slot in SHOW to marriage pressure. Many single wom- SHOOT’s 2016 New Directors Showcase. en in China find themselves having to Also while at Grey, he directed a spot AICP Thursday WEEK June 6 choose between their dreams or instead on a shoestring budget for The Coalition living up to their parents and society’s ex- to Stop Gun Violence which advocated BASE The Museum of pectations regarding marriage timelines. standing up to “Stand Your Ground” laws CAMP Modern Art Avoiding Chinese New Year has become in 26 states in the aftermath of the shoot- Tuesday prevalent among young single Chinese ing that killed Trayvon Martin. June 4 AICP Wednesday women so they won’t be subjected to The Coalition to Stop Gun Violence June 5 NEXT incessant questions from parents and piece showed Russ the power of following Thursday AWA R DS relatives about boyfriends, marriage and your heart and mind. With Kickstarter June 6 Tuesday kids, creating a suffocating environment. funds of $4,000, he directed a quick The Helen Mills June 4 Gaining widespread exposure in China, shoot, teaming with friends, families and Event Space & Theater this short film shows daughters meeting agency colleagues. In a matter of days, the The Tishman their parents halfway literally (geographi- spot was generating discussion on CNN Auditorium cally) and figuratively to discuss marriage and feedback from the White House. pressures on neutral ground, creating a The impact of this grass-roots effort af- mutual understanding. firmed for Russ the kind of work he wanted to do--”something with a worthwhile Signature work message, an emotional story; when I see All this fare is in the spirit of work work like that with a character who rings TICKETS AND PASSES NOW AVAILABLE that’s carried Russ’ signature in recent true, that makes sense for the brand, A ICP.COM years, including his “Love Cam” PSA for that’s when I respond. That is what’s the Ad Council, which was nominated guided my career.” 14 SHOOT March/April 2019 DIRECTORS Ridley Scott Breaking new ground, returning to hallowed ground

By Robert Goldrich tions, Turner’s Studio T, and Madhouse Complementing the idea that “Each A high-profile return to commercialmak- Entertainment. Scott is directing the first drop of Hennessy X.O. is an Odyssey,” the ing and a first foray into directing U.S. se- two episodes, marking what will be his film is a creative interpretation of each ries television reflect a perennial creative on-air scripted series debut on American of the seven tasting notes, described by thirst for storytelling on the part of an television. Raised by Wolves focuses on Hennessy’s Comité de Dégustation as il- artist who’s already proven he can tell any two androids tasked with raising human lustrations of Hennessy X.O’s taste and story imaginable. children on a mysterious, virgin planet. feel: Sweet Notes, Rising Heat, Spicy for features and TV for other talented di- Yet Sir Ridley Scott persists, recently As the colony of humans divides over Edge, Flowing Flame, Chocolate Lull, rectors to take on. “Part of my job is read- helming via RSA Films his first ad proj- religious differences, the androids learn Wood Crunches, and then Infinite Echo. ing,” related Scott. “I read a lot of stuff. I ects in 18 years, a short for Hennessy X.O. controlling the beliefs of humans can be “I was attracted to this project because read this (‘Raised By Wolves’) and it was out of DDB Paris, and a Turkish Airlines a treacherous, difficult job. I was inspired by the potential for art and so inordinately different. I hadn’t read film for Anomaly Amsterdam. Shortened In some respects, for Scott--whose fea- entertainment to bring this story to life,” anything like it before. So I decided to di- versions of each--a trailer promoting the ture film exploits are legendary, ranging said Scott who was given the freedom to rect the first two episodes, to set the pace latter, and a :60 version for Hennessy- from the landmark Blade Runner and interpret the magnificent seven and cre- on this series. It’s a very fresh form of sto- -graced this year’s Super Bowl telecast. Alien to his Oscar nominations for The ate accordingly. rytelling. On one hand it’s science fiction. And of course, the Super Bowl became Martian, Black Hawk Down, Gladiator The seven notes, envisioned as indi- At the same time, it’s informative and the marquee platform for ambitious ad- and Thelma & Louise--the quest to craft vidual worlds, are brought to life through smart about religion, the Reformation, vertising due in large part to Scott’s semi- well-told, deserving stories hearken back wondrous and extreme physiography. the beginning and the end. That’s all I’ll nal “1984” commercial some 35 years ago to his early days in U.K. commercialmak- The director leaves it to the viewer’s say. You’ll have to explore it for yourself.” introducing the Apple Macintosh coming when his passion for advertising was imagination if the film occurs in the fu- Scott sees an emerging appetite for puter. The Orwellian tale, among assort- fueled in part by competition. “Advertis- ture or the past, in reality or in a dreams- storytelling. “We’ve seen story gradually ed other tour de force spots, indeed make ing was emerging as an artform in Eng- cape as he takes us through vivid scenes evaporate over the last 10 years or so with Scott’s recent return to commercialmak- land when I started,” Scott recalled. “I offering snapshots of each world. a short attention span generation fucking ing a welcome back to hallowed ground. came on when directors like Alan Parker, Scott’s film depicts the gathering of around on Twitter, Facebook. They don’t At the same time, Scott is breaking new Adrian Lyne, my brother (Tony) and shimmering golden liquid, human fig- read books anymore. I sound like an old ground with Raised By Wolves, TNT’s Hugh Hudson came along and we were ures walking in the shadows of bronzed fart but I’m not. I’m still ahead of the serialized sci-fi series produced by the all very competitive with each other. It giants, androids coming to life through game. Now we’re starting to see things director/producer’s Scott Free Produc- was a healthy competitive artform where spicy synapses, beings gliding through a turn. There’s a huge swing back to the we would see who could do the best short fiery atmosphere and meditating peace- process of storytelling. People are starting film. The films were expansive, ambitious fully among levitating rocks while lush to want more, to connect through story.” and visually engaging. I learned to make woodlands are stirred by invisible spirits. To best tell those stories, Scott finds les- films that way.” As the film culminates, we see the worlds sons in his favorite sport, tennis. “I love to Fast forward to today and it’s still the co-existing in an omnipresent nebula. watch it. I used to play a lot. You win or story that drives Scott. For example, he Similarly the attraction to Raised By you lose. There are no excuses. You need was drawn to Hennessy because it dove- Wolves for Scott was spurred on by the to keep your eye on the ball. Djokovic tailed with his self-described penchant story and what it aspired to be. In his ca- changes the face of the game with a dev- Hennessy's The Seven Worlds for “creating worlds.” pacity atop Scott Free, he’s on the lookout Continued on page 17

March/April 2019 SHOOT 15 DIRECTORS Spike Jonze Dances His Way To A DGA Award Win Continued from page 11 standing Compositing in a Photoreal ring actress Margaret Qualley (the star of ing encompasses far more than dance- Jonze then tweaked that premise, advo- Commercial was bestowed upon Michael HBO’s The Leftovers). Qualley lets loose themed fare. cating that a female protagonist be cast Ralla, Steve Drew, Alejandro Villabon all inhibitions, dancing, kicking, flailing He has to his credit work beyond “Wel- instead which he thought would be more and Peter Timberlake of Framestore for about, even shooting laser beams out of come Home” and “Kenzo World” which interesting and “cooler.” “Welcome Home.” Jonze noted that it her fingertips in the tour de force piece of are also regarded as classics such as Nike’s He credited the contributions of such took about three months to bring the filmmaking and choreography that broke “The Morning After”--which won the prime colleagues as twig--whose acting Apple Homepod ad to fruition. onto the scene in 2016, winning AICP primetime Emmy Award in 2000--IKEA’s and dancing talent made all the differ- The DGA, VES and ADG awards Show honors the next year in Visual “Lamp” and Absolut’s robot love story ence--choreographer Ryan Heffington, are the latest bestowed upon “Welcome Style, Performance and Music. I’m Here, to name just a few. cinematographer Hoyte van Hoytema, Home.” Later in 2017, Jonze and Heffington As for what’s next, Jonze figures to and production designer Christopher Prior accolades include the Enter- again came together for a live dance continue to direct a mix of short and long- Glass. tainment Lions Grand Prix for Music at film on NBC’s The Tonight Show. Titled form fare. Writing has also played a part in Jonze noted that he and Glass bounced Cannes in 2018, and the AICP Show’s Ad- Changers: A Dance Story, the perfor- some of his most notable work, including ideas off of one another, drawing dia- vertising Excellence/Single Commercial mance spotlighted fashion label Opening “Kenzo World” and Her. grams of sets that eventually were built at honor, equivalent to “Best in Show.” Ceremony’s pre-spring 2018 collection, Jonze quipped at the recent DGA Warner Bros. Studios. starring Lakeith Stanfield (from the film Meet The Commercial Nominees panel Glass’ work on the Apple Homepod ad Get Out and the television series Atlanta) discussion that he loves “having written” earned him an Art Directors Guild (ADG) Dance fever and actress Mia Wasikowska (Alice in but is not in love with having to write." Excellence in Production Design Award “Welcome Home” continues a track Wonderland). His conceputal, creative and develop- on the same night that Jonze received record in dance for Jonze and choreogra- The wordless Changers performance mental chops have also been recruited to the DGA Award. pher Heffington. piece follows the peaks and valleys of a give shape and substance to Viceland, a And just a few days after the DGA The duo teamed on the famed nearly young couple’s relationship. multinational brand of television channel Awards ceremony, a VES Award for Out- four-minute perfume ad for Kenzo star- Of course, Jonze’s commercialmak- owned by Vice Media. Ramaa Mosley Enters Multiple New Career Chapters Continued from page 13 Games, HBO’s True Detective), Taylor think tank. “I believe in helping brands marriage at age 12. Girl Rising was nomi- well received, adding to a number of re- John Smith (HBO’s Sharp Objects) and and agencies reach the Gen Z audience nated for Outstanding Documentary at cent new chapters in her career. For one, Jim Parrack (Suicide Squad, HBO’s by using Gen Z creators. We have over the NAACP’s 2014 Image Awards. Since her alluded to spotmaking and branded True Blood), the psychological thriller- 500 creators in 20 different countries at then, Mosley helped raise awareness of content endeavors are now through -released in late 2018--won Best Narrative Adolescent,” related Mosley who serves the Chibok schoolgirl kidnapping in Ni- Station Film, which she joined several Feature at the Kansas City Film Festival. as the company’s executive creative direc- geria with the #BringBackOurGirls so- months back based in part on her affin- Mosley’s first feature, The Brass Teapot, tor, noting that the shop’s creators and cial media campaign. ity for the company’s managing director also registered on the festival circuit, pre- directors are 85 percent female, of color, Mosley has also been on the discussion Stephen Orent and EP/partner Caroline miering at the Toronto International Film and/or from the LGBTQ sector, with di- circuit relative to diversity and inclusion, Gibney. Mosley recently wrapped her Fest in 2012, gaining distribution from verse socio-economic backgrounds. giving a TedX Talk titled “The Power of first project with Station--a P&G/Secret Magnolia Pictures, and nominations for Being conscious of and responsive to Adolescent Directors,” and speaking on deodorant campaign which includes a an International Critics’ Award (FIPRES- the Gen Z perspective is also good busi- a Women in Media panel at Sundance spot featuring U.S. Women’s National CI) and a Saturn Award, the latter coming ness, shared Mosley, in that it accounts for back in January. Furthermore, earlier Soccer Team forward Alex Morgan as from the Academy of Science Fiction, a $485 billion market in the U.S. alone. this month Mosley moderated a session well as youth players. From agency Berlin Fantasy & Horror Films. Mosley’s body of work has over the at SXSW called “The Future of Gender Cameron NY partnered with Landor, the years reflected a heightened sense of gen- Identities in Art and Media,” with Ado- piece--based on the concept that women Continuing theme der, inclusion and diversity. For example, lescent Content director panelists Hobbes are stronger when they work together- As she explores new opportunities she was honored with the Global 500 Ginsberg, Myles Loftin and Sita McVay. -is an extension of Secret’s “All Strength, in series TV and features as well as the United Nations Award as a teenager for Discussion centered on how Gen Z is No Sweat” ad campaign, which features promise of a new relationship with Sta- her first documentary. And many years shifting the traditional norms of mascu- women who pursue their passions with- tion Film for ads and branded fare (add- later Mosley directed the Afghan segment linity and femininity by using the power out sweating obstacles in their path. ing to credits which span such clients as of Girl Rising, a documentary about eight of their art and technology to progressive- Another recent highlight for Mosley adidas, Levi’s, Absolut, Chevrolet and girls around the world struggling against ly advance perceptions and depictions of has been her second feature film, Lost Mini Cooper), Mosley affirmed that she the odds to get an education. Working gender identities, moving away from ste- Child, which she wrote and directed, will continue to be active in mentoring, with famed Afghan writer Aarghuna reotypes of--and giving voice to--people teaming with producer/writer Tim Macy. primarily via Adolescent Content, which Kargar, Mosley directed a segment which who’ve been traditionally marginalized in Starring Leven Rambin (The Hunger serves as a production company and told the story of an Afghani girl sold into the media.

16 SHOOT March/April 2019 Ridley Scott Discusses Collaborators, Creative Group Continued from page 15 Counselor, Exodus: Gods and Kings, Pro- name. Last year all the RSA Films-affiliat- an unprecedented number of movies and astating win of a major. Nadal and Federer metheus, The Martian, Alien: Covenant ed companies were brought together in shows in production. then raise their games. For me in story- and All the Money in the World. a multi-business restructure to form the “We are now in a golden age of en- telling, I can hit the ball in any direction. Ridley Scott Creative Group. tertainment,” said Scott. “The world’s Whomever is playing with me better be Parallel path The organization includes commercial greatest brands, platforms, agencies, new fucking great. The pace is inordinate,” Scott’s ongoing endeavors spanning house RSA Films, music video produc- entertainment players and studios are in- said Scott who gravitated to such arti- vesting hugely in entertainment. We have sans as DP Dariusz Wolski and editor Jim brought together our talent, capabilities Weedon, who both worked on the Hen- and creative resources under the Ridley nessy and Turkish Airlines films. “Dariusz Scott Creative Group, and I look forward loves the pace, the simultaneous cameras. to maximizing the creative opportunities Jim Weedon is a clever editor who’s start- we now see unfolding with our executive ing to direct. I try to help him as much as team.” I can. I picked up the phone and asked That team, in addition to founder Scott, him to drop his directing so he could edit includes global CEO Luke Scott, and part- (Turkish Airlines, Hennessy) for me.” ners Jake and Jordan Scott. Among other Wolski and Weedon have collaborated key executive talent are the likes of David with Scott on short and long-form fare. Mitchell, managing director of RSA, and Weedon edited scenes for Gladiator, the A scene from Hennessy's The Seven Worlds a Scott Free ensemble consisting of Da- title sequence for Hannibal, and episodes varied storytelling disciplines and plat- tion company Black Dog Films, U.K. spot vid W. Zucker, president, U.S. Television, of Taboo (an FX network series on which forms--from TV to advertising to features, production studio Darling Films, and Kevin J. Walsh, president, U.S. Film, and Scott served as an exec producer). Wol- online, broadcast and theatrical--parallel mainstay feature film and TV production Ed Rubin, managing director, U.K. Televi- ski shot such Scott-directed films as The the recently formulated entity bearing his company Scott Free, which currently has sion/Film.

2019 AICP POST AWARDS CHICAGO | MAY 16th

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March/April 2019 SHOOT 17 Chat Room John Lee Hancock The long road to Netflix's The Highwaymen

By Robert Goldrich fell apart several times over the years. It Director, writer and producer John Lee would come back and I’d read it in its lat- Hancock has a filmography reflecting a est form again. Every time I read it, I was penchant for telling extraordinary human excited. It all finally came together. stories, a case in point being that of Mi- chael Oher, a homeless and traumatized SHOOT: What were the biggest creative boy who became an All-American college challenges posed by The Highwaymen? football player and first round NFL draft pick thanks in large part to a caring wom- Hancock: The challenges involved Photos from the pages of SHOOT Magazine and SHOOTonline.com an and her family. Leigh Anne Tuohy and some of the reasons the film kept falling Sean Tuohy adopted Oher, a homeless through over the years. Anytime you have Invest In Your Future Success teenage African American, bringing their an ambitious period movie like this with family a new son and brother. cars, old guns, people and extras in period With A SHOOT Membership! The Hancock-penned and -directed clothing, there’s considerable expense in- Utilize Member-Only Digital Tools The Blind Side went on to earn two volved. People loved the script and the Promote Your Talent & Work + Get “To give you an idea of SHOOT Archives Access & More! how long ago this was, Paul Newman and Robert Starting at only $14.95 a month, SHOOT Membership provides unlimited access to SHOOTonline Databases & SHOOT Print PDF issue archives, a link to Redford was the first poten- your website in all past & future SHOOTonline articles in which you or your Hopper Stone by Photo tial pairing discussed.” company is mentioned and, most importantly, you can set up a MySHOOT Company and / or Talent Profile(s) and MyNewsroom & more. Academy Award nominations, includ- idea for the movie but we could not get ing Best Picture, and garnered Sandra quite enough money to do it correctly. Member Benefits.... with more features added regularly Bullock a Best Actress Oscar for her Netflix ultimately gave us the money to • Individual “Plus” & “Premier” Members get: MySHOOT Talent profile & Reel. portrayal of Leigh Anne Tuohy. do it properly. Also the expense of CG • “Business” Members get: MySHOOT Company profile & Reel + up to 10 Among other Hancock-directed films had gone down over the years. There Talent Profiles each with Reel. based on true stories are The Rookie, the were over 600 CG shots in this movie, • “Enterprise” Members get: MySHOOT Company profile & Reel + up to Founder and Saving Mr. Banks. shots designed not to be detected, such as 30 Talent profiles each with Reel. SHOOT promotes MySHOOT profiles with Now Hancock’s latest film is The removing modern elements out of scenes. online & email newsletter marketing. Highwaymen (Netflix), for which he • MyNewsRoom: Curate a personal or company news page on your directed Costner and Woody Harrelson SHOOT: What was the approach you website & in your MySHOOT profile with ANY web content from SHOOT, who portray, respectively, Texas Rangers and John Schwartzman, ASC adopted for SPW & external news and features. Frank Hamer and Maney Gault. Drawn lensing The Highwaymen? Copies of SHOOT Magazine print issues & access to all SHOOT archives • out of retirement, Hamer and Gault are • Can post multiple Classified Ads Smart hyperlink added to name in ALL past & future SHOOT & SPW Content part of a last-ditch effort to hunt down Hancock: This is my fourth film with • the bank robbers Bonnie and Clyde. John. He shot Saving Mr. Banks, The • PDF of Annual NDS Event Registration/Attendee Directory + Guaranteed seating at event. Regarded by federal agents as dinosaurs Founder and The Rookie. You never really for their frontier methods, Hamer and get a good look at Bonnie and Clyde until Why do I want a MySHOOT profile? To get more work Gault are on their own in their pursuit. the end of the film. We wanted to shoot it by positioning your profile & work where commercial & entertainment like a graphic novel. We wanted colors to production/post decision-makers will see it. MySHOOT is a dynamic SHOOT: Provide some backstory. What pop. The framing had to be kind of ‘com- commercial, movie, TV & Video production and post talent database for drew you to The Highwaymen? ic-booky’ in a way and heavily stylized. production/post/VFX/music/sound artisans & the companies, rep firms & We wanted the audience to start thinking agents that represent them, to share their profiles and work with potential Hancock: The script came to me of Bonnie and Clyde as pop culture icons. clients who visit SHOOTonline every day for the latest industry information, about 15 years ago, John Fusco had People during that era kind of thought of news, trends, ideas and work. written a draft. Casey Silver was the pro- them that way, treating them like heroes. Whatever segment of the industry you’re in and whether your ducer. (Fusco and Silver stayed involved By contrast, we took a naturalist approach work is :15, :60, or 2:00 hours a SHOOT Membership will make throughout, until The Highwaymen actu- to shooting the Texas Rangers. They you smarter, more visible, and more connected. ally got made.) I took to the story and be- weren’t seen as the heroes. They were came involved. To give you an idea of how more mundane. And then those two ide- SIGN UP: MEMBERS.SHOOTONLINE.COM long ago this was, Paul Newman and Rob- as come together on a lonely road. Bonnie ert Redford was the first potential pairing and Clyde are forced into that naturalistic discussed. The film came together and world at the end of the story. 18 SHOOT March/April 2019 UP-AND-COMING DIRECTORS Spring Collection Hits The Directorial Runway Filmmakers poised to make their mark for many creative seasons to come

By Robert Goldrich

SHOOT’s spring ensemble of up-and- ing career and a recent string of branded tion companies, gaining an invaluable coming directors includes a former agen- entertainment viral hits. education. “I found myself inching closer cy creative director with comedy improv Here’s our spring collection of sev- to directors over the years, learning, ob- experience who’s landed her first pro- eral promising directors to watch. serving.” And among those she watched duction company roost and already some and learned from were O Positive’s di- noteworthy helming gigs. rectors, ultimately deciding to make that Also in the mix is a filmmaker who’s Jess Coulter house her directorial home. Already that made an auspicious debut in the U.S. Informed by an extensive agency cre- has yielded tangible results, including a market with a Grammy-nominated music ative pedigree, Jess Coulter firmly settled comedic IKEA campaign for Ogilvy NY. video and an atypical Super Bowl spot. into the director’s chair when she came And at press time she was about to em- SNext we have a director whose recent aboard the roster of O Positive in late bark on a Dunkin’ job for BBDO NY. endeavors span 2nd unit work on a ma- 2018. However, at that juncture of landing Focused on developing her directing jor feature, his first TV series assignment, her first production house roost, Coulter career, Coulter also has an eye on the big- and a mix of ad fare that includes sponsor was hardly inexperienced as a director, ger implications of establishing herself in tie-ins to major Marvel theatrical releases. having taken the helm of personal proj- the comedy market. She recalled on the Another new talent brings a stellar ects as well as real-world ad fare through agency side having the privilege of work- family filmmaking lineage and an ac- BBDO New York, where she served with ing with adept comedy directors--none of complished track record as an illustrator distinction as a creative director, occasion- whom was a woman. A woman director in to the table, translating into an impressive ally directing select projects for the likes comedy has been a relative rarity, some- From top left, clockwise: Jess directorial debut on a short that takes us of agency clients such as FedEx and Twix. thing she hopes to change by gaining a Coulter; Emma Westenberg; on a sojourn back and forth between real- Coulter was also able during those di- foothold at O Positive, a shop known for Anthony Leonardi III; Cuba Tornado ity and imagination. rectorial gigs to gauge the work cultures its humorous chops, and hopefully serv- Scott; Bryan Rowland; a scene from And rounding out the field is an artisan at different production houses through ing as a catalyst for other women to join IKEA's "Sarah" directed by Coulter; whose "film school" consisted of a global which each respective job was funneled. the fray. and a scene from Fairmont Hotel's real-people documentary campaign, And while serving strictly as a creative, Coulter grew up in Portland, Ore. She short film 9 1/2 directed by Scott eventually leading to a commercialmak- Coulter observed directors and produc- Continued on page 20 March/April 2019 SHOOT 19 UP-AND-COMING DIRECTORS Coulter. Westenberg, Leonardi III, Scott, Rowland Share Continued from page 19 work with.” music video. In 2016, Westenberg earned gards as mentors. In addition to his spot worked for several years with agencies in Best New Fashion Film distinction for and branded content directing exploits, the Pacific Northwest before moving to Blue and You at the Fashion Film Festival Leonardi has been a storyboard artist New York and joining Saatchi as a senior Emma Westenberg in Milan. Her commercialmaking endeav- and/or character designer and concept copywriter, then moved to BBDO in 2010. Emma Westenberg, who first estab- ors began to multiply and she continues designer for such films directed by the Coulter began directing in 2016 while still lished herself in Amsterdam as an artist to be repped by Amsterdam production Russos as Captain America: Winter Sol- a creative. BBDO championed her move and director, recently made an auspicious house Halal for spots and branded con- dier, Captain America: Civil War, Aveng- to the director’s chair from the start, her debut in the American market where tent. But Westenberg’s prime focus is now ers: Infinity War and Avengers: Endgame. first job being a FedEx spot. she’s handled by production house Par- stateside where she lives. Leonardi’s multi-discipline experience During her tenure as a creative, Coulter tizan. First she directed Janelle Monáe’s Westenberg welcomes new experienc- prior to connecting with Bullitt some five had the chance to work with assorted di- “Pynk” music video which earned a es. In some respects, it’s the hallmark of years ago at its inception laid the ground- rectors, forging a kinship with O Positive Grammy Award nomination. Then she her work. “I never want to do the same work for him being able to take on the director Jim Jenkins, starting with their landed her first U.S. ad assignment, Mich- thing twice,” she stressed. “There are broad range of work he’s enjoying today. collaboration on the first two rounds of elob Ultra Pure Gold’s “The Pure Experi- new things in every story, every narrative, The first positive influence was familial the Progresso Soup campaign--written by ence” starring Zoe Kravitz, which aired every character. I’m also very interested in as Leonardi's great grandfather, grand- Coulter who was at Saatchi at the time--in during the Super Bowl. From agency FCB the collaboration aspect. Film becomes parents and parents were all in the enter- which people call into Progresso’s kitch- Chicago, the spot registered with viewers magical when you can all align.” tainment industry in one form or another. en headquarters, connecting via a phone by departing from the loud Big Game His dad, for example, served as a scenic hotline made of soup cans and string. norm as Kravitz whispers into two micro- painter turned stand-by painter. In the Coulter considers Jenkins--who too phones and softly taps on a battle, tech- Anthony Leonardi III latter capacity, he’d be on set to paint in has agency creative roots--among her niques meant to stir autonomous sensory Anthony Leonardi III has steadily a shadow at a DP’s request--or in Jurassic mentors. Independent of that, Coulter’s meridian response (ASMR), which some gained momentum as a director in recent Park change the color of a cow before it comedy acumen was honed not just as claim helps to elicit a tingling euphoric years, to the point now where he has a was dropped into a raptor cage. As a lad, an agency creative and director but also feel. The commercial not only gained ex- hand in commercialmaking, feature films Anthony Leonardi III would hang out, by her involvement in improv and sketch posure on a mega broadcast platform but and series television. On the TV score, he watch his father at work and “see how the writing/acting/directing with NYC’s Up- also has generated millions of viral hits. directed an episode of the SYFY network sausage was made” so to speak. He devel- right Citizens Brigade, and then The Pit Westenberg said the Michelob Ultra series Deadly Class. His season one epi- oped a deep love for the arts and crafts of ensemble. She further developed people spot appealed to her because it “talks to sode debuted earlier this month. filmmaking, which he felt almost led him observational skills, helping her to tap the senses, communicates rather than On the feature front, Leonardi was 2nd invariably to the director’s chair. into truths and human behavior that yells.” unit director for Disney’s much antici- Early on in his career, Leonardi con- brought further dimension to her com- “In my dream world, I’m involved in pated Jungle Cruise. And his ad/branded nected with director Gore Verbinski, for edy. That’s reflected in part in her afore- TV, longer form narrative, commercials content exploits include tie-ins for the whom he drew storyboards and concep- mentioned debut as a staff director at O and music videos,” related Westenberg Infiniti QX50 and Quicken Loans with tual art. Over the years, Leonardi helped Positive--IKEA’s “Morningmorphosis” whose work is driven by a love of people, Avengers: Infinity War, for Audi (a short to design sequences for various Verbinski campaign depicting people enjoying the storytelling, offbeat characters, absurdity, film starring Brie Larson) with Captain films including Pirates of the Caribbean: newfound benefits of becoming a morn- humor and film aesthetics. She is repped Marvel, and at press time he was about At World’s End and Rango. Meanwhile ing person, with great comedic effect. for TV and film by talent agency WME. to direct Google commercials linked to Leonardi diversified into directing, tak- They’re now morning people due to get- Dutch director Westenberg is no Avengers: Endgame. Leonardi has also ing on music videos, most notably Imag- ting a good night’s sleep, thanks to a com- stranger to the U.S. She was born in directed stand-alone spots for the likes of ine Dragons’ first clip, “It’s Time,” which fortable bed and bedroom set from IKEA. Berkeley, Calif., and through an exchange Chevrolet, Harley-Davidson and Dodge. went on to earn an MTV Video Music Coulter’s affinity for comedy is comple- program studied art for a stretch at The Leonardi said that integral to his career Award nomination for Best Rock Video mented by her agency experience. “I have Cooper Union in NY. Westenberg got her has been Bullitt, the commercial/brand- in 2012. Leonardi also served as a story- a holistic sense of the process, like the di- formal education at Gerrit Rietveld Acad- ed entertainment shop formed by film- board/concept artist for such series as rectors at O Positive who were once agen- emy, a school for fine arts and design in makers Joe and Anthony Russo, Justin Game of Thrones and Cosmos. cy writers. I know what it’s like to work Amsterdam. There, she recalled, “the Lin and producer Todd Makurath. Bullitt, All this helped to hone Leonardi’s vi- on a script, to have something floating world opened up to me” as she became said Leonardi, has provided an ideal nur- sual sensibilities as a director, in tandem around for two years that you don’t think immersed in drawing, painting, perfor- turing environment for him to grow as a with a light-hearted comedic touch as will get made--work that has a history and mance and film, discovering “video as the director. “It is a collective where the direc- evidenced in such work as the Infiniti some baggage. When you finally get that best medium for me,” leading to her grav- tors help each other,” said Leonardi who QX50 tie-in with Avengers: Infinity War in idea off the ground, a director can come itating to the school’s A-V department. was brought into the fold by Makurath. which the SUV’s hyper speed run is inter- in at the right moment and provide a new Westenberg graduated with a short she The two first met at the American Film rupted by an elderly woman crossing the burst of energy that will push it forward wrote, directed, produced and art direct- Institute (AFI) as students and developed street. “Bullitt has helped me develop my and help you realize what you wanted, ed, The Still Life of Estelle, which gained a lasting bond. At AFI, Leonardi shot a voice as a director and storyteller,” said adding something you never intended recognition at a Dutch film festival. short film for Makurath who in turn pro- Leonardi who affirmed that the Russo in the beginning. I’d like to be the kind This was followed by Westenberg’s first duced Leonardi’s thesis film. brothers have “stood behind me, giving a of director I wanted to hire--talented and commercial for VPRO Dorst, a brand vid- At Bullitt, Leonardi has formed a bond level of support unlike anything I’ve ever collaborative, normal, kind and nice to eo for Models at Work, and a Regal Degal with the Russo brothers, whom he re- experienced.” 20 SHOOT March/April 2019 UP-AND-COMING DIRECTORS Coulter. Westenberg, Leonardi III, Scott, Rowland Share Backstories On How Their Careers Have Evolved Cuba Tornado Scott Scott brought her art acumen to the meltdown/recession hit, bursting the from agency creative George Dewey. “It Last September during the Toronto short, fashioning a detailed storyboard bubble he was on, sending Rowland was a random email from George which International Film Festival, Cuba Tornado akin to others she’s done over the years scrambling to make a living to support said that Ryan Reynolds thought I’d be Scott saw her first foray into filmmaking for varied projects, including a New York his family. He sought to improve his skill- perfect to direct a brand video for Avia- make its world premiere. Titled 9 1/2, the Lottery commercial directed by her dad. set, picking up digital cameras (the Canon tion Gin,” recalled Rowland. inspired short she wrote and directed for Her illustrations and drawings range from 5D, RED) and learning the ropes, devel- Actor Reynolds of Deadpool fame (and Fairmont Hotels & Resorts, was screened spot storyboards to portraiture, whimsical oping an incisive eye for visuals and an Lively’s husband) starred in what turned at the Fairmont Royal York in Toronto. studies of animals, even distinctive tat- affinity for telling a story. The latter took out to be a tongue-firmly-in cheek-film The short served as the centerpiece of the toos. In 2017 she created a study on the shape in particular when he got the gig to for his Aviation Gin. In the piece Reyn- Fairmont Loves Film exhibition, under- brilliant painter Francis Bacon. Scott said direct, lens and edit work for the Latter- olds “explains” how the gin is made and scoring the hotel brand’s longstanding of the work, “I conducted a photographic day Saints (LDS) Church, working with what goes into every bottle. The comedy association with cinema, playing host to study on Francis Bacon through makeup, agency Bonneville International on the became a viral hit, setting the stage for a the filming of some 250 features around light and set design to blend the bound- global “I Am A Mormon” campaign. The return engagement directed by Rowland the world over the years, including such aries between subject and painting; ‘a brief was simply to meet various people and starring Reynolds along with Hugh iconic movies as Breakfast At Tiffany’s tightrope walk’ between figuration and and capture who they were so that audi- Jackman. In this two-minute piece, Reyn- and the Hitchcock masterpiece Vertigo. abstraction.” ences could connect with them.” olds and Jackman produce commercials The latter was lensed at the Fairmont, San Scott’s extensive illustration experi- The campaign took Rowland all over for each other’s drink brands--Reynolds’ Francisco, as was Scott’s 9 1/2. ence informed her initial directing gig. In the world, making little documentaries Aviation Gin, and Jackman’s Laughing For Scott, an accomplished illustrator fact, she doubts she would have been able which showed what everyday members of Man Coffee--thus signaling an end to who long resisted settling into the direc- to segue into helming 9 1/2 otherwise. the LDS Church did and how they lived. their social media feud. The twist is that tor’s chair, the Toronto rollout of 9 1/2 was Whether that’s true might be subject to “I’d go to Japan and meet five people, judging from his spot for Aviation Gin, a bit of a surreal experience. Her parents debate due to the power of heredity. Her have no background on them,” recalled Jackman didn’t know the feud was over. were each premiering their own projects family filmmaking lineage even extends Rowland. “I’d show up for a day, get to This so-called Jackman/Reynolds at the concurrent Toronto Film Fest--RSA beyond her parents, reaching back to know them and then interview them. truce film not only showcased Rowland’s Films director Jake Scott with the feature her grandfather, the legendary Sir Ridley Finding out about people, interviewing deft handling of humor but also his vi- American Woman and executive produc- Scott, and her great uncle, the late great them became my passion.” sual sensibilities as Reynold’s commercial er Rhea Scott of Little Minx with the A.V. director Tony Scott. Lasting a couple of years, the campaign- within the commercial for Laughing Man Rockwell-helmed short Feathers. And while she may have spent much -done on a shoestring budget--served as Coffee is a beautifully shot location piece, The Fairmont Loves Film exhibit, with of her early adult life seemingly averse Rowland’s film school, as he evolved into extolling Jackman, his social conscience stills, interviews and screenings of 9 1/2, to directing pursuits, 9 1/2 has proven to becoming a director/DP, eventually tak- and progressive activism overseas. has since embarked on a global tour, in- be the catalyst needed to spark her coming on commercials and building a reel. Rowland continues to collaborate with cluding London last month and potential- mitment to diversify into filmmaking. At One such reel-building exercise entailed Reynolds, directing multiple commercials ly another event in the Asia-Pacific region press time, Cuba Tornado Scott was about his shooting his daughter, then 10 years and branded entertainment fare. Reyn- later this year. to join RSA Films’ directorial roster for old, cavorting about and simply being a olds, Dewey, an ex-McCann veteran, and The opportunity to create the short- special projects as she looks to build her kid. Through a mutual acquaintance, Rowland often brainstorm, conceptual- film--with a brief consisting of only the reel and apply her talent and vision to a actress Blake Lively saw the piece and it izing, developing and executing creative theme “Fairmont loves cinema”--inspired wider range of ambitious projects. struck a chord. This led to Rowland di- ideas. “I’ve learned a lot from that process Cuba Tornado Scott to finally embrace a recting a brand video for what’s now her with them,” related Rowland whose latest directorial assignment. Scott’s vision for former lifestyle and ecommerce company released work born out of that creative re- 9 1/2 bridges adult and childhood, real- Bryan Rowland Preserve. In turn this project sparked lationship is a mockumentary ad for the ity and imagination, as we see a grown Bryan Rowland didn’t initially have di- other assignments. upcoming film Detective Pikachu starring woman in today’s world, dealing with ap- rectorial aspirations. In some respects, he EP Alec Eskander saw Rowland’s po- Reynolds, with a cameo appearance by pointments, business and the like in the kind of fell into the director’s chair. But tential and brought him aboard Escape Lively. The comedy promo shows how Fairmont San Francisco lobby. As she’s the filmmaker--whose home for com- Velocity Content where the caliber of thoroughly Reynolds has immersed him- about to be whisked off in a car to a biz mercials and branded entertainment is projects has ascended for the director, in- self in the Pikachu character--to the point engagement of some sort, she looks up Escape Velocity Content--has proven that cluding a recent AdventHealth Xmas spot of obsessive ridiculousness. Lively even at the Fairmont, leading us to a window his ultimate career choice has been ser- for agency 22squared which brought to complains that Reynolds didn’t pick up which illumination shines through, tak- endipitous, marked by inspired visuals, life the power of new beginnings for can- their kids at school because Pikachu has ing us to a girl whose curiosity and imagi- good-natured, self-deprecating comedy cer survivors, chronicling a one-of-a-kind no children. Like the Aviation Gin fare, nation run unbridled as she follows a trail and a brand of storytelling that evokes event in which patients of all ages, from “Becoming Pikachu” has proven to be a of flickering light from a projector. Brief emotion and laughter. across the AdventHealth system around viral sensation. glimpses of scenes from Vertigo grace the Rowland’s roots are in editing as he be- the country, came together to form the Now Rowland is in development on screen. It’s as if we’re sojourning through came expert in the postproduction arena Survivor Bell Choir. Together, they per- some other entertainment properties. “I two worlds, the responsibilities of an with tours of duty at local post houses in form with synchronized bell ringing a feel fortunate to have found a place as a adult, and the wonderment she earlier Utah. He then got in on the account/busi- moving rendition of “Silent Night." director, getting the opportunity to work experienced as a child, with the Fairmont ness side for a startup involved in stream- During production of this spot, Row- alongside talented, creative people at playing host to both. ing full HD content. Then the mortgage land received an email out of the blue agencies and in entertainment.” March/April 2019 SHOOT 21 CINEMATOGRAPHERS & CAMERAS

Newton Thomas Sigel, ASC Ben Smithard, BSC Darren Lew Arlene Nelson Lensing, Collaborating, Envisioning, Innovating, Improvising DPs share insights into Bohemian Rhapsody, Blinded by the Light, Maniac, This Giant Beast

By Robert Goldrich challenges posed to him was capturing the nightmare was doing this over seven childhood was 16mm, although it was One DP recently garnered his first ca- the look, spirit and feel of that Live Aid days in the ever-changing British weather cut from the film. Top Of The Pops was reer Best Cinematography BAFTA Film performance. “Our entire story leads to a and hoping for at least a little continuity. Betacam, the video format of the day. Award nomination. show, done in the flat light of day, against We couldn’t afford to silk the whole stage, The ‘I Want To Break Free’ music video Another lensed a film which made a a backdrop that was purposefully austere. so I had to try and control it piecemeal.” was 35mm, shot with the same 35BL and major splash at Sundance, was acquired What’s more, you can see the very same Sigel marvels over Malek in the role zoom lens that filmed Freddie’s very last by Warner Bros. and is scheduled to pre- performance on YouTube as it was broad- of Mercury. “Rami is a meticulous and images before he passed away.” miere at theaters in August. cast by the BBC,” related Sigel. “Produc- wonderfully collaborative performer,” as- As for his biggest takeaway or lessons A third cinematographer recently tion design, choreography and costume sessed Sigel. “To this day, I don’t under- learned from his experience on Bohe- wrapped his second Netflix series, con- design were all beholden to reproduce stand how he grew into the skin of Fred- mian Rhapsody, Sigel succinctly shared, tinuing a collaborative relationship with this historic event faithfully, and they did die so fast. We had a terrific movement “How much I love shooting music.” one director and forming a new one with a phenomenal job. But I was free, actually coach, Polly Bennett, who worked with a directorial duo. obligated, to show a new perspective. For him relentlessly. Our first week shooting And our fourth DP reflects on a hybrid me, this meant telling the story from the was Live Aid, which was crazy, but be- Ben Smithard, BSC documentary/narrative series for Ama- inside out, and in two tracks. One was to cause the choreography was fixed, I could Also carrying musical overtones is zon Prime, which also contains elements show what was going on internally with plot some very specific camera moves, Blinded by the Light, director Gurinder of improv. Freddie, the band and the important peo- which was helpful. The dramatic mate- Chadha’s film which had a rousing debut Here are insights from Newton Thom- ple in his life. The other mission was to rial was equally fruitful with Rami. Even at Sundance, leading to it being acquired as Sigel, ASC on Bohemian Rhapsody, express the magical relationship Freddie though he was going very deep to chan- by Warner Bros. Slated to hit theaters in Ben Smithard, BSC on Blinded by the had with the audience. As he said, he was nel this idiosyncratic character, he was August, Blinded by the Light introduces Light, Darren Lew on Maniac, and Ar- singing to the guy in the last row. always very camera-friendly. We found us to a 16-year-old British Pakistani boy lene Nelson on This Giant Beast That is “If you look at the camera choreogra- a chemistry very early and it carried us whose life is changed in 1987 when his the Global Economy. phy,” continued Sigel, “it is totally differ- through the show.” friend loans him Bruce Springsteen cas- ent than the BBC. Much more muscular Regarding his camera and related settes. Stirred by Springsteen’s music and and subjective, often putting the audi- choices in taking on Bohemian Rhap- lyrics, the lad is inspired to find his own Newton Thomas Sigel, ASC ence in a place they’ve never been. I tried sody, Sigel explained, “The story takes voice as a writer, push back against the Newton Thomas Sigel, ASC recently to set this up with the opening aerial that place over 15 years, 1970 to 1985. This pe- racism around him, and challenge his fa- earned his first Best Cinematography goes from high above the stadium to a riod also saw a seismic cultural shift, from ther’s dogmatic views. BAFTA Film Award nomination on the close-up of Freddie, and around him, the height of the counter-culture to the Ben Smithard, BSC, an Emmy winner strength of Bohemian Rhapsody (Twen- bringing the audience back in to the shot. decadence of the ‘80s. I wanted to find a for Outstanding Cinematography for the tieth Century Fox). The lauded feature- “I also took limited license with the language that expressed that. limited series Cranford, shot Blinded by -which won four Academy Awards includ- lighting. While it had to stay daylight, “The movie begins on the Alexa ST the Light, marking a return engagement ing Best Leading Actor for Rami Malek I tried to build a subtle arc to allow the with netted vintage Cooke Speed Pan- with Chadha. as Freddie Mercury, and Editing for John stage lighting to have an increasing influ- chro lenses. It is handheld, and through Smithard recalled, “Gurinder asked Ottman, ACE--takes us from Queen’s be- ence as the gig went on. Queen came on a very specific LUT. By the late ‘70s, it me to shoot Blinded By the Light after ginnings through its ascent to super star- at 6:40pm, so it wasn’t a big cheat. Some is all Alexa 65, DNA lenses and a very collaborating on Viceroy’s House, a film dom, reflected in the rock band’s stirring of my favorite shots are where you see a clean, slightly desaturated LUT, mostly about the partition of India in 1947. I performance at Live Aid. hint of the fading sun through the gaps in on cranes, dollies and Steadicam. We love shooting period historical films and For Sigel, one of the prime creative the stadium roof. As simple as it sounds, also had a few specialty scenes. Freddie’s Blinded by the Light fit into that category 22 SHOOT March/April 2019 CINEMATOGRAPHERS & CAMERAS

of interest for me. Also the period it is set with his team to sort as many problems struggling strangers who connect during older elements. We got the C series look in (the 1980s) is also the time that I did out as they could with the small budget.” a pharmaceutical drug experimental trial and used some E series as well.” most of my growing up as a young person Smithard deployed the ARRI Alexa involving a doctor with mother issues and Lew said that the new DXL camera so the story had an additional resonance. I Mini, shooting ARRI RAW, with Zeiss Ul- an emotionally complex, malfunctioning performed admirably, and that “incred- remembered the music, politics, clothing, traprimes and Angenieux zooms. “I love computer. ible support” from Panavision wasn’t con- social upheaval and general atmosphere the Alexa Mini because it’s so flexible and While the show is a departure from fined to just the camera and the lenses. of England in the 1980s. Gurinder of- easy to use. The Ultraprimes are probably the norm, so too was it different from the “Both Cary and I have a relationship with ten talks about the film being a kind of the best set of lenses designed in the last standard series working formula which Light Iron, the post house owned by Pan- sequel to her 2002 feature Bend it like 20 years; it’s a large set of focal lengths often entails multiple directors and ro- avision.” Dailies and post were done at Beckham, which I didn’t shoot, but for and they are very neutral lenses which I tating DPs. Instead Fukunaga directed Light Iron; the work done there, affirmed me in the look of the film it’s personally prefer as a starting point for cinema. The and Lew shot all 10 episodes. “To do this Lew, also helped achieve the desired look. a sequel to The Damned United, my first Angenieux Lenses are the best zooms much work in a set amount of time on a Looking back on his Maniac experi- feature film from 2008. It has that same around, and I spend a lot of time on the show with this much ambition was per- ence, Lew observed that he and Fuku- gritty feel of the streets, buildings and zoom when I’m operating. I may change haps the biggest challenge,” observed naga generally work on intimate projects. landscape. Blinded by the Light is a very prime lenses from film to film but I am Lew. “The series deals with different Maniac, though, was much larger in different kind of film, it is more upbeat rarely without some Angenieux zooms. I realities, flashbacks, flash-forwards, mov- scale, with trucks and trailers taking over and has a stronger message about the joy also shot some of the footage in New Jer- ing through different eras--the Middle multiple city blocks. Still, though, they of growing up, even if it’s in a place that is sey on a Canon C300 MK2, which I think Ages, the 1980s, all over. It’s ambitious were able to retain that intimacy they falling apart at the seams. I also loved all is a brilliant camera.” in its scale and to keep that all together crave while working. “I learned more the music and I was a Bruce Springsteen In addition to Blinded by the Light, was one huge challenge. Our style was to about how do you make a big produc- fan so that made it easy to accept the film. Viceroy’s House and Damned United keep a light touch, to devise a look that tion feel as small as possible in terms of I adore working with Gurinder so it was (which was directed by Tom Hooper), let’s you feel like you’ve gone into these production, lighting, footprint and mo- an easy decision to make when she asked Smithard’s body of work includes the fea- different time periods without being bility so that the actors and the director me to shoot Blinded by the Light.” tures Goodbye Christopher Robin and My heavy handed. It takes more work to do can have the freedom to explore and be Chadha and Smithard developed a Week With Marilyn (both directed by Si- something with this kind of a more deli- creative,” said Lew. “How to turn around bond on Viceroy’s House which he de- mon Curtis), and TV fare such as the criti- cate approach.” and shoot something else or in a way we scribed as "a big, complicated film to cally acclaimed film The Dresser and The Additionally shooting in New York hadn’t planned as actors discover some- shoot, and lots of our collaborative spirit Hollow Crown series, for which Smithard took on another dimension as Fukunaga thing different. We found ways to be light, and understanding came from that ex- earned a BSC Award nomination. and Lew shied away from iconic locations limber and nimble.” perience. Shooting in India is amazing, familiar to most people. “We wanted to Lew described himself as “a lucky and the scale is out of this world, so we find a New York that people to a degree guy,” crediting UTA with getting him had been through a lot together before Darren Lew didn’t know so well. We went to locations projects that bring him together with we started Blinded by the Light. We ap- DP Darren Lew goes way back with where people weren’t used to seeing film- stellar directors. Recently he’s done ad- proached the film as we would any other, director Cary Fukunaga, starting with a ing. And Cary wanted to see most of those ditional photography on The Irishman, talking, visiting locations and discussing collaboration on “Go Forth,” a commer- places in 360 degrees, which meant lots collaborating with Martin Scorsese. And every aspect of the film and story. We also cial for Levi’s which won a 2010 AICP of planning, logistical work and rigging over the years, he’s done commercials did a small shoot in New Jersey before Show honor as well as a Cannes Bronze to make that happen. What’s great about with Kathryn Bigelow, Albert Maysles, we started shooting the main film so that Lion--both for cinematography. Lew later Cary is he’s an uncompromising director, and Darren Aronofsky (Maybelline, and a allowed us to have a few detailed discus- directed and shot second unit on Fukuna- always creatively interesting.” Meth Project PSA), as well as Phoenix’s sions before the craziness of the principal ga’s True Detective (season one) for HBO. The camera of choice for Maniac was “Chloroform” music video for filmmaker photography.” And then the director and DP made their the Panavision DXL, paired with Pan- Sofia Coppola, and the short film Past Some of that craziness was rooted in first trip to Africa, working with a sparse avision anamorphic glass and comple- Forward for David O. Russell. Lew also being true to the period piece. “The big- crew to do a short of their own, Sleep- mented with an array of zooms. “Panavi- shot a segment of the Freakonomics docu- gest challenge by far,” assessed Smithard, walking In The Riff. “It was a great exer- sion is one of the few places that has a mentary for director Alex Gibney. “was the period details, primarily the cars. cise in building confidence that we could department that can customize lenses,” “Chloroform” is one of a number of Sometimes it’s harder shooting a period do something almost anywhere with very related Lew. “They have a number of vin- notable music videos shot by Lew. Those film that is closer to contemporary times few resources, not even a script,” recalled tage lenses that have made a lot of films clips, spanning such artists as David Bow- than it is shooting a film that’s set 100 Lew. “Cary and I shot it ourselves on we’ve loved over the years. Panavision is ie, Beyonce, Madonna and Miley Cyrus, years ago for example. You can’t just rock Canon 5Ds. People still write me to this the one place that can make those lenses have generated collectively some 1.5 bil- up on a street and start shooting a film set day about that film. Sometimes I get treat- work and adapt to modern cameras and lion views. Beyonce’s “Pretty Hurts” gar- in the ‘80s. Everything is different, the ments for commercials and people refer- formats. We wanted to shoot Panavision C nered Lew a Best Cinematography MTV cars, street furniture, clothing, buildings, ence that film in their treatments.” series anamorphic lenses which are beau- Music Video Award as well as a Camerim- much more so than anyone would think. Most recently Lew teamed with Fu- tiful. Panavision pulled together a full set age nomination. Lew was also a Camerim- On a low budget that can be extremely kunaga on Netflix's Maniac starring for us, enabling close focus and affording age nominee for Bowie’s “Blackstar.” trying, and it was a constant problem for Emma Stone and Jonah Hill. The visu- us as many in-between focal ranges as we At press time, Lew had just wrapped us. Luckily we had a great production de- ally captivating limited series, a mix of could get. Some of it they had to build another Netflix series, Living with Your- signer, Nick Ellis, who worked tirelessly dark comedy and drama, centers on two from scratch, making a new lens out of Continued on page 24 March/April 2019 SHOOT 23 Toolbox CINEMATOGRAPHERS GORILLA GROUP DEPLOYS DAVINCI RESOLVE Nelson Tames Giant Beast Blackmagic Design announced that the Gorilla Group has chosen DaVinci Resolve Studio as part of a facility expansion to support Dolby Vision color Continued from page 23 with Nelson. “He gave me freedom to correction and IMF format delivery for Netflix. self starring Paul Rudd and for which all explore this hybrid form, bringing in im- Designed by Jigsaw24, the comprehensive system features a dual boot, the episodes were directed by team of prov scenes,” said Nelson. “Spontaneous HP Z8 workstation running Linux and Windows, alongside an external crate Jonathan Dayton and Valerie Faris. elements of improv took the form of little featuring three NVIDIA Titan V 12GB graphics cards, 12 SSD slots for local side scenes which meshed nicely with storage and 40GB Ethernet. The suite relies on Sony BVM-X300 and Dolby the documentary portion. The work was PRM 4200 reference monitors. Arlene Nelson a hybrid like Kal (Penn), a comedian who “We built the system after being tasked to grade a six- Among varied career highlights thus has a serious side to him. We also worked part episodic drama for Channel 4 and Netflix in collabo- far for cinematographer Arlene Nelson on making traditional interviews as cin- ration with Goldcrest Post’s Jet Omoshebi,” said Gorilla would be shooting A Mighty Wind for ematic as possible.” Group managing director Richard Moss. “Traitors was director Christopher Guest, and earning Nelson noted that when Penn exited our first time working in Dolby Vision, and we aimed to a primetime Emmy nomination (along or entered a place, she and Laven would replicate Jet’s setup at Goldcrest to facilitate the process with Nicola Marsh) for the American make “a little scene or movie out of it. We as much as possible. Since building the crate, it has be- Masters episode “Troubadours: Carole were making a hybrid documentary/nar- A scene from Traitors come our IMF delivery transcoder box also.” King/James Taylor & The Rise Of The rative within the documentary portion of The job wasn’t without its challenges and Gorilla had to overcome some Singer-Songwriter.” each episode, developing our own lan- technical challenges to deliver the grade on Traitors and win its status as a Now Nelson’s most recent addition guage while keeping the authenticity of Netflix preferred vendor. to those highlights is her lensing of the each scene’s spirit.” “It’s a steep learning curve learning to deliver through the Netflix IMF eight-part docuseries This Giant Beast Nelson shot in 30-plus cities in more workflow, and so we worked closely with Dolby and Netflix’s color science That is the Global Economy (Amazon than a dozen countries over four-and-a- teams to implement an ACES color pipeline,” explained Moss. Prime), executive produced by Adam half months to capture the many differ- The fact that DaVinci Resolve features a full nonlinear editor (NLE) togeth- McKay and Will Ferrell, among others. ent stories, the serious and the bizarre, er with its industry standard grading toolset was a significant factor in the The show chronicles the surprising way in This Giant Beast. She trekked every- Gorilla Group’s decision to implement it. the economy interconnects and impacts where from monsoon-soaked Thailand “We first had to produce a Dolby Vision grade for Netflix, then an SDR trim the lives of people all over the planet, told rubber tree farms to an airplane grave- for Channel 4, where the series was premiering,” Moss related. “Channel 4 has through the curious, thoughtful mind of yard in the Mojave Desert, a crypto-mine ad breaks, whereas Netflix required uninterrupted video. On top of that, we host Kal Penn, an actor (Harold & Ku- in Prague and a corruption reporting had international deliveries to handle, as well as both graded and ungraded mar, How I Met Your Mother) who’s also center in Singapore, utilizing four ARRI archival masters. DaVinci Resolve enabled us to bring it all together. By the a former associate director of the White cameras--a pair of Alexa Minis and two end we had so many deliveries that round tripping through separate finish- House Office of Public Engagement. ARRI Amiras. The latter, she explained, ing and grading suites, dropping in visual effects, and going back and forth, Each episode focuses on a central ques- are “fantastic for documentary-style you’ve got to do it in both systems in parallel. We managed to negate all of tion about the global economy, including: shooting” while the Alexa Minis’ small that by staying in DaVinci Resolve for the entire process.” How can I launder a bag of dirty cash? size brings flexibility and the mobility to Why is death so expensive? Does buy- get into small spaces. IKEGAMI ROLLS OUT HDR SUPPORT FOR MONITORS ing knockoff Nikes really fund terrorism? The DP shared that her earlier collab- Ikegami has made high dynamic range (HDR) support available as an option And is it easier for jerks to get rich? orations with Guest left a lasting impact for its HLM-60 monitor series. This Giant Beast is a hybrid spanning on her. Besides A Mighty Wind, Nelson The new option includes EOTF tables for Hybrid Log-Gamma (HLG) and S- elements of documentary, narrative, ce- shot several commercials for Guest and Log3 in addition to conventional gamma. Existing monitors in the HLM-60 leb fare (with guest stars like Zach Gali- worked with his improv troupe. “I love series can be upgraded with the new option retrospectively. The HLM-60 se- fianakis, Patton Oswalt, Meghan Trainor, shooting improv, the unpredictability ries includes models HLM-2460W, HLM-1760WR and HLM-960WR. Ikegami’s Rashida Jones), and even improv, a chal- of what’s happening in front of you. It’s HLM-2460W is a 24-inch Full-HD monitor with a 1920 x 1200 pixel 10-bit lenging mix which attracted Nelson and raw, real, honest, surprising--and can mix resolution LCD panel. It offers 400 candela per square meter brightness, very played an integral role in the series cre- nicely with documentary and narrative.” narrow front-to-back dimensions, light weight and low power consumption. ators gravitating towards her to be the Nelson further recalled her first day of Multi-format SDI, 3G-SDI, HDMI, Ethernet and VBS inputs are provided as lone DP. Nelson has experience shooting shooting A Mighty Wind. She said that standard. The HLM-2460W incorporates a full narrative and documentary work, bring- a studio exec told her she was the first 1920 x 1080 pixel high brightness and high ing a stylized look to her shooting. These female DP to lens a Castle Rock/Warner contrast LCD panel. This has a wide viewing attributes made her an ideal choice for Bros. feature. “That historical first made angle, fast motion response, and high-quality the multi-faceted This Giant Beast. She me realize at that moment just how far color reproduction, achieving real pixel allo- could thus mesh well with the two direc- we’ve come but still need to go.” cation without resizing. The monitor’s grada- tors on the series who worked on all the This Giant Beast is Nelson’s first proj- tion characteristics make it ideal for a wide episodes: Lee Farber and David Laven. ect for Amazon. She’s no stranger to Ikegami's HLM-2460W HD monitor range of broadcast applications. Farber handled narrative vignettes, streaming services, though, having shot The HLM-1760WR monitor has a 17-inch Full-HD 1920×1080 pixel 450 maintaining more of a conventional re- the Netflix docuseries Ugly Delicious. candela per square meter 10-bit resolution LCD panel. The HLM-960WR is a lationship with DP Nelson. By contrast, And in the offing is another yet-to-be-dis- highly compact multi-format LCD monitor with a 9-inch Full-HD 1920 x 1080 Laven, director of the documentary por- closed Netflix docuseries for which Nel- pixel 400 candela per square meter 8-bit resolution LCD panel. tions, had an atypical collaborative bond son is slated to serve as director and DP. 24 SHOOT March/April 2019 On The Wire

Tessa Films Director Toben Seymour Takes Mr. World On a Spin for The Produced by Noah C Haeussner of Union Entertainment Group, ARC- Richards Group and Eyeglass World A personable and highly adventurous puppet TIC Wows Critics Produced by Noah C Haeussner of Union Entertainment Group (JANIS: known as Mr. World trips the light fantastic, dives into shark-infested waters and zips through LITTLE GIRL BLUE), and executive produced by Union partner/editor Einar Thorsteinsson, the treetops with the greatest of ease in a new three-spot campaign for Eyeglass World from ARCTIC hit theatres February 1, 2019. The Richards Group, brought to life by Tessa Films director Toben Seymour. Research Study From CoLab and Splash Worldwide Reveals Rich Rising Sun Pictures Springs into Action for Marvel Studios’ “Captain Rewards of Dynamic Content Optimisation Done Right At the start of 2019, Marvel” Striving for picture-perfect realism and applying a mania for detail, Rising Sun creative technology company Splash Worldwide and project partner CoLab Media Consulting Pictures produced nearly 300 visual effects shots for Marvel Studios’ latest film Captain Marvel. launched an in-depth study with senior brand marketers on the subject of Dynamic Content Beavers Do What Beavers Would Do, If... In a suite of three episodic TV :30s broke Optimisation, or DCO. March 17, Great Southern Wood Preserving, Inc., Abbeville, Ala., introduces the world’s greatest Mob Scene Names Award Winning Editors Josh Beaumont and Chris fans of YellaWood brand pressure treated pine: a scheming team of beavers. Nesheim as Co-Creative Directors Within the Agency’s Theatrical Divi- Cloud-Based eTribez Production Management Platform Launches New sion Mob Scene, one of Hollywood’s leading entertainment marketing agencies for major “Locations Management” and “Staffing & Crew Management” Modules motion picture studios, television networks, and streaming channels, has named award win- The recently launched, end-to-end, Cloud-based Production Management Platform called ning Editors Josh Beaumont and Chris Nesheim as Co-Creative Directors, Theatrical. They will “eTribez Production Management” – developed by Israel-based eTribez, Inc., has just launched both report to Craig A. Platt, Mob Scene’s Executive Vice President, Theatrical. two additional modules: LOCATIONS MANAGEMENT and STAFFING & CREW MANAGEMENT. Blackmagic Design Announces New URSA Mini Pro G2 Camera “Hot Flashin’ - A Feel Better Musical Comedy,” Created by Gina Jourard Blackmagic Design announced URSA Mini Pro 4.6K G2, a second generation URSA Mini Pro With Original Songs by Tom Pergola, To Debut Mother’s Day Weekend camera featuring fully redesigned electronics and a new Super 35mm 4.6K image sensor with “Hot Flashin’,” a new play written and produced by noted entertainer Gina Jourard - which she 15 stops of dynamic range that combine to support high frame rate shooting at up to 300 describes as “A Feel Better Musical Comedy” - and featuring the original music of renowned frames per second. songwriter Tom Pergola, will debut on May 9 at The Odyssey Theater in West LA. Aspect Names Jason Chappelle, Executive Creative Director Aspect, a multi- Kristian Mercado’s “Pa’lante” Takes Top Music Video Award at SXSW award winning creative advertising agency that provides strategic marketing solutions across Pa’lante, director Krisitan Mercado’s riveting short film exploring the struggles of working-class all entertainment platforms, has named Jason Chappelle as its new Executive Creative Director. Puerto Ricans in the aftermath of Hurricane Maria, won the Jury Award for Music Videos at the French Butter’s Brett Froomer Gives Thomas’ English Muffins a Fresh recently concluded SXSW Film Festival in Austin. Visual Twist Thomas’, the number-one selling English Muffin brand in America, has Documentary, “Believe! The Yulia Tymoshenko Story,” Highlights Politi- launched a national ad campaign, Wake up to what’s possible. cal Struggles of Beloved Former Ukrainian Prime Minister and Her Cur- Rising Sun Pictures Springs into Action for Fox’s “Alita: Battle Angel” rent Run in Ukraine Presidential Election VisionaireMedia executive producer, Rising Sun Pictures’ ability to deliver amazing visuals is on full display in the 20th Century Fox’s Jerome Gary, who produced the Oscar-nominated Schwarzeneg- new cyberpunk adventure film Alita: Battle Angel. ger-fueled documentary “Pumping Iron,” and director/producer Toot Your Own Horn! Blackmagic Design Congratulates 2019 Oscar Mary Lambert (“Pet Sematary”), have started principal photog- Nominated Films Blackmagic Design would like to con- raphy on their new film, “BELIEVE!, The Yulia Tymoshenko Story,” a gratulate the 2019 Oscar nominated films and the production documentary about the life of two-time former Ukrainian Prime professionals whose hard work and creativity helped bring them Minister Yulia Tymoshenko—centered around her current run in to life. publicity wire the Ukraine presidential election scheduled for March 31, 2019. Creative Studio Versus Welcomes K.C. Gulino and Miller to Present New Product Lineup at NAB 2019 pr.SHOOTonline.c Tom Colabraro Full-service creative production studio Versus Miller Tripods Ltd. will showcase a full lineup of new products at announced the addition of two new hires: K.C. Gulino as Senior NAB 2019 (Booth C8721), including the 75 Sprinter II 2 Stage Carbon Fibre Tripod, the debut of Business Development Executive, and Tom Colabraro as Senior Producer. its HDC Tripods, a new line catered for cinematographers, as well as two new camera plates. Lucky Post Helps Rabbit Foot Studios Illuminate The Life of A “Navajo Filmotechnic’s ‘Russian Arm’ Takes Its Name From History When people Son” For YETI Red earth stamped by horse hoofs, cheering crowds and clanging metal think about camera arms, they usually visualize the large camera crane originally conceived gates, honored tradition and new roads come together in the new YETI Presents film, “Navajo and developed by Filmotechnic. It truly revolutionized the entertainment industry, giving Son.” Derrick Begay is a quiet hero. Unassuming in person, bold in the ring, Begay knows the directors the ability to capture their vision like never before, at a price point most could access. ropes of rodeo competition. Nonfiction Unlimited Signs Director Marcus Ubungen for Commercial Yard Dog Forms Alliance With Elma Garcia Films Los Angeles-based produc- Representation Nonfiction Unlimited has signed director Marcus Ubungen for com- tion company Yard Dog, led by partners/executive producers Joe Piccirillo and Beth Pearson, mercial representation. A director at home in both commercial and documentary worlds, has formed an alliance with Elma Garcia Films for advertising projects. Ubungen has directed spots for Fitbit, Samsung, and Porsche among others and is in produc- Killer Tracks Teams With Wax Ltd. To Launch New Production Music tion on his documentary Beyond the Fields. Label Audio Wax Killer Tracks, a Universal Publishing Production Music company, has Derby’s Grant Greenberg Pairs Models with Recyclables in Fashion Film partnered with independent record label Wax Ltd. to launch new production music label For V Magazine A mammoth recycling facility serves as the improbable backdrop for a Audio Wax. fashion film featuring some of New York’s top models in Heatwave¸ a new short film directed Director Pascui Rivas Celebrates World Premiere of “Ordinary Gods” At by Grant Greenberg and produced by Derby for V Magazine and eyewear maker Oliver The Santa Barbara International Film Festival Peoples. A renowned Director of commercials, film and documentary, Pascui Rivas journeys to the “NCIS: LOS ANGELES” Celebrates 10 Years Congratulating CBS on the 10th Santa Barbara Film Festival for the World Premiere of his labor of love, “Ordinary Gods,” with season of NCIS: Los Angeles, DigitalFilm Tree has supported the success of the action-packed Martin Gore (Depeche Mode Guitarist) and Ricky Restrepo (Estados Alterados Drummer) in television series on nearly 250 episodes. attendance. ##PiDay, SF Production House The Cabinet Wishes You a Happy #PiDay For the full stories [and many more], contacts info and videos with credits, and while many across the globe celebrate the Greek letter “π” - in English, “pi” - those in the visit SHOOT® Publicity Wire (spw.SHOOTonline.com). SPW is the best place to know immediately get hungry and think of one thing: “Pie.” Serving up a cinematic slice in announce your news or video release to amp up the “buzz” among the entertain- honor of the holiday is The Cabinet, the SF-based production house. ment & advertising industries motion picture segments’ movers and shakers from San Francisco-based 1606 Studio Taps Vickie Sornsilp as Head of Production Hollywood to Bollywood and from Madison Avenue to Cannes and beyond. To get 1606 Studio, formerly MADE-SF, has hired veteran post-production producer Vickie Sornsilp as more info on how to “Toot Your Own Horn” via SPW visit pr.SHOOTonline.com head of production.

March/April 2019 SHOOT 25 QUARTERLY 2019 TOP TEN VISUAL EFFECTS & ANIMATION TITLE VISUAL EFFECTS/ANIMATION AGENCY PRODUCTION

HBO/Bud The Mill New York Tony Robbins, shoot supervisor; John McIntosh, 2D lead; Yoon-Sun Bae, Heather Kennedy Eck, Vi Nguyen, Matthew DeFranco, Droga5, New York O Positive, bicoastal Light’s “Joust” Ant Walsham, Neeraj Rajput, Samarendra Lenka, Inturi Chandra Sekharm, Bharath Ediga, Prasanna Bhat, Madhana Gopala, Venkatesh Srinvivasan, Wieden+Kennedy, David Nutter, director Badarinath Chinimilli, Ramanjaneyulu Thota, Nehal Desai, 2D artists; Tom Bardwell, 3D lead; Lauren Shields, Tim Kim, Hassan Taimur, James Mulhol- Portland, Ore. Spencer Riviera, director land, Todd Akita, Paul Liaw, Sandor Toledo, Ayush Bajoria, Leela Shanker, Spandana Battula, Raj Kumar, Tighe Rzankowski, 3D artists; Sue Jane, matte 1 painting; Muralikrishna Reddy, tracking lead; Andrew Sommerville, EP; Clairellen Wallin, sr. producer (Toolbox: Nuke, Flame, Maya, Houdini) Pixomondo, Los Angeles Derek Spears, VFX supervisor; Chelsea Miller, VFX producer; Andrew Zeko, VFX coordinator; Daniel Knight, Fei Chen, CLICK HERE TO VIEW SPOT > Shawn Sahara, VFX artists; Wiliam Appleby, VFX editor. (Toolbox: Nuke, Maya, Arnold) Hennessy’s MPC London DDB Paris RSA Films, bicoastal/ “The Seven Carsten Keller, head of CG; Ryan Jefferson Hayes, creative director; Boyo Frederix, 3D supervisor; Rod Norman, 2D supervisor; Selcuk Ergen, head of FX; international Worlds” Tomek Zietkiewicz, producer. Ridley Scott, director 2 (Toolbox: Nuke, Nukestudio, Maya, Arnold, Houdini) CLICK HERE TO VIEW SPOT >

Travelers’ LOBO, New York Luis Ribeiro, EP; Gabriela Leal, producer; Clara Morelli, head of prodn; Helena Jardim, Rosangela Gomes, coordinators; Felipe Jorna- TBWA\Chiat\Day New York Variable, New York “Howard’s da, art dir/concept artist; Fernando Heynen, Wilson Panassi, storybd; Libero Malavoglia, concept artist; Mauricio Lobel, CG dir; Eiti Sato, Bruno Sader, Steve Hoover, live-action dir. Unfinished Marcel Nuilo, Cristiano Porfirio, Nathalia Curi, Frederyco Martins, modeling; Flavio Castelo, lead rigging; Leondardo Cadaval, animation supervisor; LOBO, New York Story: The Marcio Nicolosi, lead animator; Michael Maron, Chris Mayne, Luke Randall, Caleb Lemotte, Nathalia Lemotte, Mat Sackley, Detuco, Norman Lemes, Guilherme Marcondes, 3 Tree House” Hannry Pschera, Jerome Saravas, Jannaina Bonacelli, Raphael Vinicius, Ronaldo Brito, animators; Diogo Girondi, lead compositor; Mauricio Reis, animation director VFX 2D; Luis Duarte, VFX/simulation.(Toolbox: Maya, Houdini, Nuke) LOBO, Sao Paulo, Brazil Chelide Teixeira, producer; Fabiana Fukui, art dir; Joao LOBO, Sao Paulo CLICK HERE TO VIEW SPOT > Cunha, set design, modelmaker; William Pereira, Jose Paulo da Silva, Zsazsa Fernandes, modelmaker, seamstress; Vermelho Steam, modelmaker. Leff Peffer, stop motion director News UK/ Framestore London Pulse Creative, London Framestore Pictures, The Times/ Helen Hughes, EP; Josh King, sr. VFX producer; Suzanne Jandu, head of 2D; Christian Baker, lead comp; David Watson, lead CG; Adam Smith, lead London The Sunday moderler/head of modeling William Bartlett, director 4 Times’ (Toolbox: Nuke, Maya, Substance, Houdini, Arnold Render Engine) “Politics. CLICK HERE TO VIEW SPOT > Tamed”

Hyundai JAMM, Santa Monica, Calif. Innocean USA, O Positive, bicoastal Motor Amanda Brian Hajek, VFX supervisor/lead compositor; Jake Montgomery, Miles Essmiller, Mark Holden, Flame artists; Fred Hopp, CG artist; Asher Huntington Beach, Calif. Jim Jenkins, director America’s Edwards, EP; Ashley Greyson, producer. 5 “Elevator” (Toolbox: Houdini, Mantra, Flame) CLICK HERE TO VIEW SPOT >

Ford Focus Electric Theatre Collective, London GTB UK, London 2AM Films, London Active’s “The Jon Purton, producer; Neil Scholes, VFX supervisor/3D lead; Tobin Brett, FX lead; Iain Murray, 2D lead; Alex Prod’Homme, Christian Block, Alex Grey, Steve Cope, director Beauty of Aitor Arroyo, Daniel Manning, 2D artists; Gareth Bell, Thanos Topouzis, Ryan Maddox, Patrick Krafft, Conor Ryan, Nicolas Lebas, Max Johnson, Ste- 6 Change” phane Renaldi, Quentin Dubois, Tom Di Stasio, Thanos Kousis, Eddy Martinez, Nick Turner, Kristopher Gropatsakis, 3D artists; Luke Morrison, colorist. (Toolbox: Flame, Nuke, Maya, Houdini) CLICK HERE TO VIEW SPOT >

Mercedes’ Blacksmith, New York Ian Zwarts, VFX supervisor, 2D Flame lead; Daniel Morris, VFX supervisor; Oliver Varteressian, Tuna Unalan, CG supervisors; Merkley + Partners, Biscuit Filmworks, “Say The Charlotte Arnold, EP; Bindy St. Leger, VFX producer; Jacob Slutsky, Robert Bruce, Yebin Ahn, compositors; Joey Deady, Flame compositor; Vitally New York Los Angeles Word” Burov, CG generalist; Sauce Vilas, CG animator; Rick Walia, Junle Jegede, Mitch Deoudes, FX artists. (Toolbox: Maya, Houdini, Zbrush, Substance Noam Murro, director 7 Painter, Mari, Nuke, Flame) ATK PLN, Dallas Patton Tunstall, VFX supervisor; Jon Speer, technical supervisor; Justin Skerpan, producer; Darrell Vasquez, animation. (Toolbox: Maya, Houdini, Nuke, Arnold) BOT VFX, Chennai, India PJ Torrevillas, character/creature effects (CFX) supervisor; CLICK HERE TO VIEW SPOT > Rawan Alhosani, CFX artist; Daniel Ries, model/surfacing; tony Fan, Jim Riche, TDs. Yannix Studios, Bangkok rotoscope & tracking

Family BlindPig @ Absolute Post, London And Rising, London Great Guns, London Action’s Belinda Grew, post producer; Ric Comline, post creative director, compositor; Dominica Harrison, Niall High, Christine Peters, creature design & Duncan Christie, director “Family animation; Elliott Platt, 2D; Matt Turner, colorist. 8 Monsters” (Toolbox: pen & paper, Photoshop, TV Paint, After Effects, Cinema 4D, DaVinci Resolve)) CLICK HERE TO VIEW SPOT >

Me Too/Girl We Are Royale, Los Angeles Deutsch, Los Angeles We Are Royale, Los Angeles for Gender Brian Holman, ECD, partner; Jayson Whitmore, exec director, brand partnerships; Jen Lucero, managing director, partner; Juliet Park, sr. art director; Heather-Lynn Aquino, director Equity’s Heather-Lynn Aquino, art director, EP; Rhys Demery, EP; Eric Zapakin, head of prodn; Juliet Park, Heather-Lynn Aquino, Yoyo Wang, Eleena Bakrie, 9 “Anonymous” Arthur Metcalf, Matty Deans, design team; Hyungsoon Joo, Matty Deans, Arthur Metcalf, Zak Tietjen, animation team. (Toolbox: Adobe Animate, Illustrator, After Effects, Photoshop) CLICK HERE TO VIEW SPOT >

ABC/Whiskey Steelhead, Los Angeles Deutsch, Los Angeles Steelhead, Los Angeles Cavalier’’s Austin Meyers, associate director of post; Blake Loyd, comp supervisor; Mike Reigle, Mani Trump, Justin Pascal, Nuke artists; Patton Tunstall, CG Steelhead crew, director “Getaway” supervisor; Kennon Fleisher, director of motion graphics; Luis De Leon, lead After Effects artist; Jonathan Minaya, assistant After Effects artist. 10 (Toolbox: Nuke, Houdini, Blender, Color Resolve, Edit Premier, After Effects) CLICK HERE TO VIEW SPOT >

26 SHOOT March/April 2019 VFX & Animation Developments VFX CHART TOPPER DNEG SCORES 4TH OSCAR IN 5 YEARS Bud Light With A GOT Twist Global VFX, animation and stereo conversion company DNEG was recog- David Nutter, Spencer Riviera, The Mill, Pixomondo team on nized for the second consecutive year at the 91st Academy Awards--this time Chart-topping Super Bowl spot for its work on director Damien Chazelle’s First Man for Universal. DNEG’s VFX supervisor Paul Lambert and DFX supervisor Tristan Myles A SHOOT Staff Report stands at different angles and distances were on-hand to accept the Best Visual Effects Oscar During this year’s Super Bowl, agencies to be used as the background. Sounds for their in-camera FX work on First Man, alongside Droga5 and Wieden+Kennedy, along straightforward but these had to be done miniature effects supervisor Ian Hunter and special ef- with production house O Positive, deliv- on different days. fects supervisor J.D. Schwalm. ered a Game of Thrones-twist ending to “Weather and time of day were issues,” This is the fifth Academy Award win for DNEG, and the latest entry in Bud Light’s series of continued Robins. “One day was sunny, DNEG's Oscar ensemble the fourth in the last five years. DNEG had previously “Dilly Dilly” commercials. another overcast and so on. This became been recognized for its work on Blade Runner 2049, Ex Machina, Interstellar What starts as a Bud Light Super Bowl one of the biggest obstacles in post. Since and Inception. commercial featuring the King and Bud we had modeled the stands in CG for the As the lead visual effects partner on First Man, DNEG delivered around 430 Knight descends into chaos when the wide drone shots, we used them in the VFX shots under the supervision of overall effects supervisor Lambert, who menacing Game of Thrones character the jousting sequence. We combined the in oversaw all the on-set visual effects work as well as the VFX process in post- Mountain makes a surprise appearance, camera crowd and the CG stand so the production. defeating the defender of the “Dilly Dilly” perspective and parallax was correct. This The team used a unique blend of cutting-edge in-camera techniques, kingdom in a jousting contest. worked especially well on the camera car special effects, scale models, and never-before-seen footage from NASA’s ar- Bud Light’s agency, W+K, collaborat- shots filming the Bud Knight as he gal- chives to enable director Chazelle to realize his creative vision for this biopic ed with HBO and Droga5 on the :60 titled loped down the course. about legendary astronaut Neil Armstrong. “Joust,” replete with a sense of spectacle “For the wide drone shot at the end we One of the VFX team’s biggest challenges was to create the most realistic which entailed drone shots and a fire- placed gas poppers in the ground. This and immersive in-camera FX, utilizing the biggest LED screen ever built on breathing dragon The ad reunited people fire would be joined with the fire from the a movie set. from the Game of Thrones crew under the dragon to give direction to the fire along aegis of director David Nutter. The first the floor. It was decided to place B camera MPC NY BRINGS FOURSOME INTO THE FOLD half of the spot, with Bud Light material, on the ground to also capture an alternate MPC NY has named David Piombino as its deputy head of 2D, with Thiago was directed by Spencer Riviera. angle of the fire. Of course this “plate” Porto, Dan Fine and Santosh Gunaseelan taking senior creative positions. VFX houses on “Joust” were The Mill ended up in the edit. We had not shot ele- Piombino will be leading the burgeoning 2D team at MPC’s NY studio, New York and Pixomondo, Los Angeles. ments for it, no crowd in the stands back which has previously worked on a string plate. Using the power of The Mill we ma- of high-profile commercials including Effects expertise nipulated what we had and made a shot. Tiffany’s prestigious holiday campaign Tony Robins, shoot supervisor for The agency loved it so much they asked and a Louis Vuitton campaign starring The Mill New York, shared, “We had the if we could make it longer. Second time’s Emma Stone. usual challenges on any spot but this was a charm. As the dragon breathes fire into Piombino, who has 20 years of ex- a large production which always ampli- the arena, we added CG people running perience in feature films, television fies the issues. There were two directors for their life.” and commercials, has led high-profile and two agencies which made for a lot Meanwhile the prime responsibility MPC's (l-r) Fine, Piombino, Gunaseelan, Porto features such as Beauty and the Beast, of people on set. Green screen, shooting for Pixomondo was to bring the Game Netflix film Triple Frontier and television series including Mr. Robot and The matching BG plates, horse stunts, rig re- of Thrones dragon (the fabled Drogon) to Defenders, and has worked with global brands such as BMW, Google, Apple moval, drone shots, stunt men on fire and life. Pixomondo VFX supervisor Derek and Disney. weather over four days were some of the Spears related, “The schedule was very Porto, who joins MPC from Brazil, has worked across the globe as a VFX biggest challenges we faced. ambitious, but that in no way could be compositor and sr. Flame/Nuke artist on campaigns for Nike, Pepsi, Honda, “For the opening overhead drone shot allowed to compromise the spot. Our big- FIFA and the award-winning Ciclope festival opening titles. He now brings his we created the rest of the arena, added gest challenge was to bring the Drogon expertise and his varied film and commercial background to the studio as a multiple tents, extra people and a castle we all know and love out of that world VFX supervisor. on the hill. The tents were created in CG and into the world of the ‘Joust’ spot. Due MPC also welcomed Dan Fine as a CG lead. Fine has worked in the commer- based upon stills captured on set. The ex- to the short schedule, there was no time cial and film industry for over 12 years and previously worked at animation tra people were also from CG. The castle to re-shoot flame elements. It meant we house Hornet as lead 3D artist. was a matte painting. This was a very had to re-use elements originally shot for Fine has led jobs for global brands such as Facebook, McDonald’s and large production with lots of equipment the series and find the best way to fit the ESPN, and after freelancing at some of the most prominent visual effects stu- and people everywhere on set. Cleaning animation to them in order to tell that dios in New York City, he now he joins MPC as a permanent member of their up the hero plate became a task in itself. story. Keeping that same energy and char- CG team. At one end of the set was a large green acter from the show in the ‘Joust’ spot I Gunaseelan, who joins as sr. FX/CG supervisor, will be working with the screen that had to be tied to truck. At think was key to the audience identifying team in the NY office and gaining experience with the company before join- times we had to deal with gusty winds. the dragon as Drogon. It meant treading ing MPC’s Bangalore studio as a creative director, bolstering the studio’s There were multiple shots looking down a fine line between what we wanted to do growing creative offering even further there. the jousting course at the Bud Knight and had the elements to achieve. In the Gunaseelan has served in roles ranging from VFX supervisor to TD and has with the green screen behind him. We end, I think it all works very well in ser- mentored over 200 students in digital content across hallmark colleges in NY. shot multiple plates of the crowd in the vice to the spot.” March/April 2019 SHOOT 27 QUARTERLY 2019 TOP TEN TRACKS MUSIC & SOUND TITLE MUSIC/SOUND AUDIO POST AGENCY PRODUCTION

Reebok’s Barking Owl, West Los Angeles Barking Owl, West Los Angeles Venables Bell & Partners, PRETTYBIRD, Culver City, Calif. “Storm the Court” Track: “Prayer Hands” by A-Trak and YehMe2; Kelly Bayett, creative director/partner; AJ Murillo, engineer; Eolyne Arnold, San Francisco Tom Noakes, director Jessica Dierauer, music supervisor; Morgan Johnson, sound designer; KC Dossett, assistant producer Exile, Santa Monica, Calif. 1 Shane Reid, music edit CLICK HERE TO VIEW SPOT >

Dunkin’s “Duet” BANG Music, New York Mackcut, New York BBDO New York Smith & Jones, Los Angeles Timo Elliston, composer; Brian Jones, producer Sam Shaffer, mixer Ulf Johansson, director Squad 47, Bethesda, Maryland 2 Steve Greenstein, food/tabletop director CLICK HERE TO VIEW SPOT > Rolex’s “The Art of KBV Records/KBV Music, New York 750 London J. Walter Thompson WW MJZ, London 3 Film--The Letter” Tony Verderosa, Alex Wurman, composers Sam Ashwell, mixer UK & VMLY&R, global Juan Cabral, director CLICK HERE TO VIEW SPOT >

Tsing Tao’s Yessian Music, Los Angeles & Detroit Yessian Music, Detroit Havas Shanghai TVCX Shanghai “Summer Days” Marc Chu, composer; Ben Lantz, sound designer; Brian Yessian, chief creative officer; Ben Lantz, mixer Julien Vanhoenacker, director 4 Michael Yessian, head of production CLICK HERE TO VIEW SPOT >

Audi’s “Cashew” Beacon Street Studios, Venice, Calif. Lime Studios, Santa Monica, Calif. Venables Bell & Partners, Rattling Stick, Andrew Feltenstein, John Nau, composers Rohan Young, audio mixer; Jeremy San Francisco Santa Monica, Calif. LSD, Santa Monica, Calif. Nichols, audio assistant; Susie Boyajan, Ringan Ledwidge, director 5 Rohan Young, sound designer; Susie Boyajan, executive producer executive producer CLICK HERE TO VIEW SPOT >

Microsoft’s “We All Win” JSM Music, New York Sonic Union, New York m:united//McCann Hungry Man, bicoastal Joel Simon, chief creative officer/CEO/co-composer; Jason Krebs, co-composer; Jeff Michael Marinelli, mix engineer; Justin New York, Bryan Buckley, director Fiorello, executive producer Cortale, producerc Eric David Johnson, SVP, exec music producer; Dan Gross, 6 APM Music, Hollywood, Calif. stock music music producer CLICK HERE TO VIEW SPOT >

Mercedes-Benz’s Amber Music, New York Sound Lounge, New York Merkley + Partners, Anonymous “Hey Mercedes” Ian Honeywell, composer; Michelle Curran, executive producer; Mike Perri, producer Tom Jucarone, mixer; Seth Phillips, New York Content, bicoastal 7 recordist Chris Sargent, director CLICK HERE TO VIEW SPOT >

Me Too Movement/ duotone audio group, New York 740 Sound, Los Angeles Deutsch, Hornet, New York Girls for Gender Equity’s David Leinheardt, managing director; Ross Hopman, EP; Gio Lobato, producer. Chris Pinkston, mixer; Scott Ganary, Los Angeles Natalie LaBarre, director “Daniela” duotone audio post, New York executive producer Andy Green, Juan Aboites, sound designers; Greg Tiefenbrun, EP 8 Steelhead, Los Angeles Cayce Sylvester, audio engineer; Ted Mrkovic, managing director; Adam Becht, EP; Terry Miglin, audio director; Patrick Lewis, producer CLICK HERE TO VIEW SPOT >

Samsung Galaxy’s Human, bicoastal Another Country, Chicago Leo Burnett, Chicago Pulse Films, Los Angeles “The Future” Thomas Kerry, music arrangement; Morgan Visconti, creative lead; James Dean Wells, John Binder, mixer Chris Clark, director, Sam Pilling, director executive producer music production “Que Sera Sera,” sung by Doris Day; Frank De Vol and his Orchestra 9 Another Country, Chicago CLICK HERE TO VIEW SPOT > John Binder, sound designer

Asahi Lifestyle Nylon Studios, Sydney Nylon Studios Sydney TBWA\Melbourne Goodoil Films, Sydney Beverages/Schweppes’ Paul Le Couteur, sound designer Paul Le Couteur, mixer JH Beetge directors “The Rush of Turning Studios, Sydney 10 Schweppervescence” Elliott Wheeler, composer CLICK HERE TO VIEW SPOT >

28 SHOOT March/April 2019 Music Notes MUSIC & SOUND AUSTIN SHUPE JOINS SHINDIG Barking Owl Tops The Chart Playa del Rey, Calif.-based SHINDIG Music + Sound, approaching its two-year anniversary, has brought Girl storms the court for Reebok, Venables Bell aboard staff composer Austin Shupe, a former col- league from HUM. Along with its in-house compos- A SHOOT Staff Report on the Reebok piece, sharing, “The big- ers, SHINDIG taps into a large pool of freelance tal- Created by San Francisco-based agency gest challenge was finding something ent to find the right match for each project. Venables Bell & Partners, Reebok’s that was as irreverent and cheeky as the Additionally, SHINDIG’s mixing capabilities have “Sport the Unexpected” campaign kicks agency’s and director’s vision for the spot. Austin Shupe been amped up with a newly constructed 5.1 audio off with “Storm the Court,” a film featur- This track (‘Prayer Hands’) was in the mix room and vocal booth that enable sound designer/mixer Daniel Hart to ing an unexpected, first round that I sent accommodate VO sessions and execute final mixes for clients in stereo and/ and seemingly unin- over when they were or 5.1. SHINDIG’s exec team includes creative director Scott Glenn, EP Debbi vited guest, a girl with in pre-production. It Landon, head of production Caroline O’Sullivan, and Hart. an other worldly vibe, felt a bit like a wild- who interrupts a pick- card and maybe too NYLON STRETCHES INTO MELBOURNE up basketball game- absurd but I loved Cross-pacific music and sound boutique Nylon Studios has expanded with -stopping street smart how hypnotic and a new custom-built studio in Melbourne, Australia. The 2,800 square foot male players in their mystical it was. Really space includes two new state-of-the-art post suites equipped with recording tracks. seemed like it was her booths, with 5.1 and cinema sound capabilities. The current full-time staff in- This lass clearly inner monologue. cludes EP Ceri Davies, composer Lydia Davies, head sound designer Paul Le travels to the beat of The music itself felt Couteur, sound designer Ramsay Demarco and producer Alice Vanderwey. her own drummer- like it was freaking The new studio further expands and diversifies -but in this case, it’s an the genre and taking Nylon’s global network, with the Melbourne shop offbeat beat we can lit- Morgan Johnson the piss out which sharing work across existing studios in New York erally hear as she unfurls a bit of inspired, worked so well with the concept. and Sydney. Nylon global EP Hamish Macdonald strange choreography. A basketball player “The music was an edit that Shane originally hails from Melbourne and felt it was has stopped his shot in mid-release and Reid, the editor did,” continued Dierauer. essential to hire artists who are native to the lo- eventually starts to move to the beat of the “He is an incredible music editor and just Nylon Melbourne cal market. Further extensions are underway to girl--as do game onlookers, even extend- nailed it.” build a customized suite to support the work of in-house composer Davies ing all the way to a guy in his apartment Meanwhile from sound designer John- as well as visiting composers from other markets to increase the Melbourne looking out of his second story window. son’s perspective, “one of the biggest scope to three post suites and one composition suite. The film showcases the Reebok Aztrek challenges was not overdoing it once Double, an all-new update to the brand’s the storm girl is revealed. I feel like we BUTTER SPREADS INTO LICENSING original all-terrain adventure shoe from could’ve easily gone too far making the International music shop Butter Music + Sound has expanded its portfolio to 1993. sounds too intense or menacing. But in include boutique music licensing of indie artists for commercials, TV and film. Tom Noakes of the end I think we The Butter Music + Sound Sync Division will curate top emerging indie artists PRETTYBIRD di- achieved a nice bal- currently making their way through the national and international touring rected and Larkin ance of strangeness circuits for licensing, as well as original compositions, in a one-stop-shop sync Seiple lensed “Storm and realism which service package ranging from master recording to publishing. the Court” with mu- helps to keep your Butter’s artist signings include: L.A.-based indie group Neil Frances (Marc sic supervision, sound attention drawn. But Gilfry and Jordan Fellerto); U.S./U.K. modern dance-pop duo BOII (Joshua design and audio post most of all it was just Hoisington and Adam Welsh) on behalf of the from Barking Owl fun to work on. Al- Sofi Tukker label “Animal Talk”; rock band The in West Los Angeles. lie (Nordstrom who Cowboys; and dance/electronic artist Rumtum The music track was is Venables Bell & (John Hastings). Butter already has established a “Prayer Hands” by Partners’ sr. art direc- relationship with Neil Frances whose “Show Me A-Trak and YehMe2. tor) and Elliot (Nord- the Right” was featured on the HBO comedy hit Editor was Shane strom, sr. copywriter Modern pop dance duo BOII Silicon Valley; another track graced a Toyota spot. Reid of Exile. Reebok's "Storm The Court" for the agency) were “Storm the Court” amazing to work with topped SHOOT’s quarterly Top Ten and really had a clear vision of what they Tracks Chart. The Barking Owl ensemble wanted.” For Event Dates & Deadlines included creative director/partner Kelly In addition to the Nordstroms, the Bayett, music supervisor Jessica Dier- Venables Bell & Partners team included See Industry Events Calendar auer, sound designer Morgan Johnson, executive creative director Will McGin- producer KC Dossett and audio post en- ness, creative director Byron Del Rosario, at IndustryEvents.SHOOTonline.com and gineer AJ Murillo. director of integrated production Hilary Awards Shows Timelines Organizer Coate, producer Namrata Abhyankar, as- Creative challenges sociate partner/head of strategy Michael at Timelines.shootonline.com Music supervisor Dierauer reflected Davidson, and sr. strategist Dylan Phillips. March/April 2019 SHOOT 29 DIRECTORS

Filmmaker Lauren Greenfield Chicago-based live-action commercial production company Strange Loop has added director Adam Moorman to its roster. A Chicago- Continued from page 9 edy will extend beyond the advertising native, Moorman has a body of work which includes such brands nated for a Writers Guild Award for Best arena. Greenfield noted, for instance, as Bose, Marriott and Walmart.....Instant Karma Films has signed Documentary Screenplay, and debuted that Girl Culture Films will be develop- director Zoé Fisher for U.S. representation spanning commercials, branded content and still photography. Born in Paris, Fisher recently on Amazon Prime last month. ing both unscripted and scripted televi- moved her family to Brooklyn, having previously lived and worked in sion series. London where she made a name for herself as a photographer. Her There’s also much in the offing for work has appeared in publications such as Elle, Marie Claire and for Creating opportunities Greenfield herself, including a new global brands P&G, Nestle, Johnson & Johnson and Danone. Fisher’s While Greenfield has been able to documentary for Showtime which she spots and case study films for Milka garnered critical acclaim and translate her documentary success into isn’t at liberty to publicly discuss; it’s ex- numerous global awards including multiple Cannes Lions. She is commercialmaking and branded op- pected to come out in the fall. also a go-to director for spots in the children’s market....Filip Williander has joined portunities, she was concerned that the Furthermore Greenfield is attached to The Martin Agency, Richmond, Va., as creative technology director. He comes over same wasn’t happening for other deserv- direct her first scripted narrative feature. from BBDO New York where he worked on Bacardi, FedEx, AT&T, GE, and Lowes. ing women. And at press time she was slated to direct Prior to that he founded a digital agency called Pretty Handsome Nerds. Williander’s Hence Girl Culture Films was born. “I a campaign being produced by Chelsea expertise is a mash-up of creative thinker meets innovator who loves technology, knew from my experience in documen- in association with Girl Culture Films. a technological swiss-army knife who will partner closely with Martin’s creative taries, at Sundance, in the indie narra- Meanwhile her Generation Wealth and design teams....Kansas City-based agency Barkley has expanded its leadership tive film community that there is plenty companion exhibition--which includes team with the promotion of veteran exec Jason Parks to chief growth officer. In his of incredible female talent. But I kept the film, photography and other mate- new role, Parks is now responsible for all aspects of the Barkley brand, including asking myself, ‘Why doesn’t that talent rial--continues its worldwide tour and is marketing and content development. Additionally, he is responsible for the get into the commercial arena?’ We want about to open at Deichtorhallen Ham- company’s growth through new agency client relationships, plus the shop’s rapidly to remedy that.” burg followed by the Louisiana Museum expanding project and consulting work. Parks formerly served as EVP/managing Additionally she’s hopeful that rem- of Modern Art in Copenhagen this fall. director of Barkley, which included new business responsibilities. He led Barkley in new business through its winning streak over the past six months, including Planet Matthew Heineman Fitness, Winnebago, Haribo, and Valent. Parks has been at Barkley for eight years..... Continued from page 10 a visual language for the film. I knew, for interested in collaborating. I jumped on example, that I wanted to personify and Skype and was nervous given his pedi- visualize the torment of PTSD. In the gree. I was a first-time (narrative) film- script, the sequences were more linear. maker on a film that didn’t have that Nick came up with a brilliant, sort of big a budget. But from that first Skype fractured, hyper-real approach to those Production house Wondros has secured Siobhan McCafferty & call to the end of the film, he treated me sequences, I loved getting to that place Associates to handle representation on the West Coast and in Texas. as an equal and he became a friend, a with him.” Siobhan McCafferty and Nikolai Giefer of Siobhan McCafferty & mentor and collaborator. What makes Asked what his biggest takeaway was Associates are both representing Wondros’ commercial division, Bob so brilliant, among other things, is from his experience on A Private War, under the guidance of EP Sophie Gold....Dattner Dispoto and that he’s such a chameleon. Certain DPs Heineman observed, “I’m extraordi- Associates (DDA) has signed DPs Michael Bonvillain, Richard Henkels, you know shot a film because it has that narily grateful to make films. It’s a huge David McGrory and Thomas Yatsko for representation. Also coming particular look. For Bob, each film is so privilege and responsibility. I want to aboard DDA’s talent roster is editor Hugh Ross. As for feature film bookings, DDA has different and distinct. He always does continue making documentaries. And I landed Axis Sally for cinematographer Jayson Crothers, Old Guard for DP Tami Reiker, what’s best for the story, trying to build want to continue making narrative fea- ASC, and The Quarry for DP Michael Alden Lloyd. DDA’s TV bookings include Ballers the vision of the director. I can’t speak ture films as well. These forms are evolv- for DP Rodney Taylor, ASC, Motherland for DP Jon Joffin, Raised By Wolves and an highly enough of him.” ing and changing so fast. I make my doc- episode of Legion for DP Erik Messerschmidt, Grey’s Anatomy for DP Alicia Robbins, As for Fenton, Heineman gravitated umentaries feel like narrative in some the Lost Boys pilot for DP Michael Wale, the telefilm Message In A Bottle for DP Ryan toward him in large part based on the ways. And my first narrative was made to McMaster, the Jane The Novela pilot for DP Checco Varese, ASC, the Stumptown pilot editor’s work on American Animals for feel in some ways like a documentary. I for DP Magni Agustsson and production designer Toni Barton, and the Triangle director/writer Bart Layton. want to keep telling stories that matter.” pilot for costume designer Genevieve Tyrrell....Chesapeake Systems, workflow “Bart’s a friend of mine and I saw in As for what’s next, he’s following up solutions architects for highly advanced media technology systems in media and American Animals that Nick blends on his Showtime docuseries The Trade, entertainment, has brought Chris May aboard its Northeast U.S. team as director documentary and narrative in a fasci- with a second season delving into hu- of business development. In this role, May focuses on helping media organizations nating way. I wanted that documentary man trafficking. Heineman also has a understand their business needs and best practices amid the generational shift in aesthetic for A Private War," explained narrative feature in development on the how content is produced, acquired, distributed, archived, consumed and monetized. Heineman. "I wanted an editor who Paradise fires in California. With over 21 years of experience that includes time at Spectra Logic, Levels Beyond, Digital Strategies, Turner Sports and CNN, May integrates technical, creative and understood the language of verite film- And at press time Heineman was ten- business perspectives to facilitate progress on all fronts. May reports to Chesapeake making. Nick was the perfect choice. He tatively scheduled to direct a commer- Systems CEO Jason Paquin.... elevates the material in a way that’s not cial via his advertising/branded content always on the page. Together we created roost, Superprime. 30 SHOOT March/April 2019

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