Top Ten Tracks 8 Up-and-Coming Up-and-Coming VFX &Animation Top Ten 6 Chart Chat Room 4 Chat Room 4 Directors 19 Directors

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dxl.panavision.com Perspectives The Leading Publication For Commercial, Branded Content & Entertainment Production March/April 2018 By Robert Goldrich Volume 59 • Number 2 spot.com.mentary www.SHOOTonline.com EDITORIAL Publisher & Editorial Director True or False? Roberta Griefer 203.227.1699 ext. 13 [email protected] Editor Robert Goldrich This column’s headline build its brand and regain trust. But rath- several mainstream brands have started 323.445.6818 [email protected] is the litmus test ques- er than tell a story that suspends disbelief, to distance themselves from the NRA. ADVERTISING Digital & Print Rates & Information tion when assessing its attempt at a charming slice-of-life tale It’s a movement that comes from the [email protected] whether a campaign evokes utter disbelief. heart, that resonates and that has come 203.227.1699 ext. 13 www.shootonline.com/go/advertise will ring true and connect with audiences Perhaps the pros could learn from together sans ad agencies or marketing Advertising Production or if a false chord will set back a brand. grass-roots amateurs whose virtue—no experts. Yet it carries a lesson for mar- Gerald Giannone [email protected] Two recent endeavors underscore the matter if you agree with them or not—is keters, creatives and strategists. Students 203.227.1699 ext. 12 peril of being disingenuous as well as the their care, concern, decency and desire to have sparked and helped sustain a stream OFFICES value of being true to yourself and others. make something positive emerge out of of social media conversation, affirming Main Office 256 Post Road East #206 On the former Westport, CT 06880 USA score, I recently saw It's a movement that comes from the heart, that resonates and 203.227.1699 Fax: 203.227.2787 a Wells Fargo spot West that has come together sans ad agencies or marketing experts. 323.445.6818 on TV in which a Circulation woman learns she has been charged for tragedy. I’m referring to the students who the power of authenticity, creating a com- 203.227.1699 ext 12 [email protected] a purchase of dog food and other canine survived last month’s mass shooting at munity by connecting with people from Editorial Production Manager/Custom Reprints Michael Morgera treats that she never made. A cat then ap- Marjory Stoneman Douglas High School all walks of life, and taking the initiative 203.227.1699 ext. 11 [email protected] pears on screen, disappointed in her hu- in Parkland, Florida, which killed 17 to bring about positive change. SHOOT Publicity Wire man companion. Lucky for the woman people. Traumatized by the death of their Authenticity is the currency for com- 203.227.1699 ext12 [email protected] that Wells Fargo has a vigilant fraud alert classmates, angered by inaction on the is- munication. As brands increasingly see © 2018 DCA Business Media LLC. All rights reserved. SHOOT and SHOOTonline are registered U.S. trademarks. service. Really? Fraud alert from the sues involved over the years, these survi- the importance of standing for some- No part of this publication may be reproduced, stored in any company which opened millions of fake vors have mobilized a powerful, effective thing, they too can explore how they can retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, accounts without getting customers’ au- campaign to keep the gun control debate be agents for positive change to gain rel- without the prior written permission of the publisher. thorization. Who alerts us of their fraud? alive. Rather than dissipate over time, the evance and connect more meaningfully Print Issues Subscription Service [email protected] Wells Fargo has the right to try to re- call for reform has built momentum, and with people than ever before. Find PDF Versions and order issues backissues.SHOOTonline.com by Brian Eloe SHOOT (ISSN# 1055-9825) printed edition is published POV bimonthly for members by DCA Business Media LLC, 256 Post Road East, #206, Westport, CT 06880. Printed periodicals postage paid at Westport, CT and at additional mailing offices. POSTMASTER: Send address changes to SHOOT, P.O. Box 184, Lowell, MA 01853 Keeping Focused In A Crowded Kitchen USPS (06-234)

SHOOT ePubs Like a cooking chal- I look at this process as a metaphorical you’re the true decision maker, it’s about The SHOOT >e.dition weekly ePub is published on Friday. The SHOOT Dailies are published daily Mon.-Fri. lenge on “Hell’s Kitch- funnel used to identify only the essential being able to diplomatically articulate Brand New[s] weekly ePub is published Wednesdays. en,” the “too many ingredients. why the notes don’t serve the story. SHOOT Screenwork published Mondays. www.shootonline.com/subscribe cooks” scenario plays When creative starts, you’re at the wide However, for the majority of us with- SHOOTmobile out daily in the creative industry, severely end of the funnel...taking in everything . out sign-off power, we must entertain Get the SHOOTonline Mobile app complicating even the best ideas by frag- Defining the “creative vector” is a strain- the whims. Then it becomes about dem- App Store: iPhone.SHOOTonline.com Google Play: Android.SHOOTonline.com menting the process. ing process that gets you to the funnel’s onstrating why something doesn’t work Mobile Web Version: m.SHOOTonline.com For a live-action director, it’s often that narrow end, which is the most concise while simultaneously providing some- SHOOT is printed in the U.S.A. high-profile project with significant bud- way to explain your vision. Basically, the thing that does. Instead of saying “that get, a laundry list of stakeholders and di- “why someone will be moved” and essen- won’t work,” you should be providing verging ideas that must be woven into a tial brand or product message. other workable options you can compare single message. How can directors stay fo- Success Prep—The best way to prevent side by side. SHOOT is a member of: cused when there are many cooks in the possible pain points or concerns and con- Every director believes their vision is kitchen? For me, it comes down to three fusion is to anticipate them in advance. the right one. However, being able to use things: 1) identifying the true project vec- The best directors identify these challeng- input from others in a productive way is tor; 2) doing your homework; and 3) gen- es in the prep process and solve for them. the path to success. Being willing to col- Follow SHOOT at: tly steering to keep the mission on course. Tactful Leading—Of course, no matter laborate and explore different tastes is #SHOOTONLINE Funnel Vision—With the start of any how clearly you define your vision or how what ultimately builds trust in you as a project, you’ll consume tons of info and prepared you are, there will still be times creator. In fact, the most successful direc- input to craft the vision. At some point, when off-base feedback will need to be tors are those who can take the various however, you must define the “project addressed. This is where you, as a direc- ingredients and still craft a succulent dish. vector” and boil it into a simple elevator tor, need to trust the vision and use tact Brian Eloe is live-action director/cre- pitch that quickly articulates the big idea. to keep your team on the right course. If ative director for 2C Creative. March/April 2018 SHOOT 3 Short Takes Chat Room BRENNAN STASIEWICZ GOES JOYRIDING FOR BIKEID Pam Fujimoto Director Brennan Stasiewicz of bicoastal production company ECD of WONGDOODY, June Cleaver Is Dead Honor Society embarks on a styl- ish joyride in Stockholm, cruising By Robert Goldrich they may even be shown outside of the amid picturesque city views in In her career thus far, Pam Fujimoto has home (since we know moms identify with this brand film for the premium collected honors from the Cannes Lions, labels other than just “mom.”) Swedish bicycle maker BIKEID, D&AD, One Show and Communication created direct to client. Going for Arts. Her first job was as an art director SHOOT: What is June Cleaver Is Dead’s a sophisticated “car ad for bikes,” at WONGDOODY’S Seattle headquar- relationship to WONGDOODY? Stasiewicz fuses cinematic visuals and sweeping landscapes with vignettes ters. She then went on to work at TBWA\ of three urban dwellers reliving epic rides through the city streets. The spot Chiat\Day and Creature before making Fujimoto: JCID is a consultancy within embodies the clear style of the bikes, driving home the idea that joy is found her way back to WONGDOODY, at its Los WONGDOODY. JCID will take on its own both through design and by never putting “your feet on the ground.” Stasie- Angeles office this time, in 2014. clients and many of WONGDOODY’s cli- wicz funneled his creative chops into the piece by not only directing the spot, Now exec creative director at WONG- ents benefit from our services. JCID will but also serving as the writer. DOODY, Fujimoto has taken on an addi- work directly with brands. We are not cur- tional role as co-founder of the recently rently working with other creative agen- HAVAS GROUP LAUNCHES CHINA DESK launched June Cleaver Is Dead, named cies but are open to partnerships with The Havas Group announced the launch of Havas China Desk, an initiative after the stereotypical sitcom mother in media agencies and other agencies that aimed at supporting all aspects of China-related business for the group’s cli- ents. The desk will also allow all of Havas Group’s agencies to strengthen their “This is a way to make sure service offering, notably for Chinese groups looking to expand first in Europe more relevant, less cliche and then worldwide but also for international brands aspiring to succeed in the Chinese market. advertising gets out in the China Desk has already supported more than 20 clients and China-Europe world, at least around this projects across the group, including Beijing Capital Group, HNA and Alibaba Cloud’s debut in Mobile World Congress this year. mom target." The new entity is Paris-based and led by Wanchen Chung, appointed head the TV series Leave It To Beaver. provide complimentary services. of China Desk. She joined Havas Group in 2013 as an international consul- A core of WONGDOODY staffers are tant. Composed of consultants with multicultural backgrounds, Havas China lending their talents to the June Cleaver Is SHOOT: What are your priorities as exec Desk works hand in hand with the group’s agencies across the globe, notably Dead consultancy, looking to spur on the creative director of this new venture? Havas China. demise of the stereotype, bringing a con- temporary mom perspective to marketing Fujimoto: This is a way to make sure PEOPLE ON THE MOVE... and communication, helping brands to more relevant, less cliché advertising gets Santa Monica-based VFX studio JAMM has better connect with women today. out in the world, at least around this mom hired animation vet and longtime collabora- target. That we check ourselves and avoid tor Steward Burris as animation supervisor. SHOOT: What is the mission statement embarrassing missteps. And transcend Burris has been working with JAMM in a free- for June Cleaver Is Dead. advertising by putting actions behind a lance capacity since its inception four years brand’s words in ways that truly become ago, and this position makes the partnership Fujimoto: Moms make 85% of purchase mom’s ally. Strategic insights are worth- official. Burris has been animating and super- decisions. Yet one study revealed that 95% less unless we bring them to life in a com- vising on feature films, television, commer- of moms don’t relate to the women they pelling way, and the more you know, the Steward Burris cials, games, and VR since graduating Van- see in advertising. When brands fail to better chance you have—at finding a more couver Film School over two decades ago. He's worked on everything from connect with this target audience, they unique or compelling angle that becomes The X-Files and Breaking Bad to The Curious Case of Benjamin Button, Harry are missing out on $2 trillion in consumer a launching pad for great creative. Potter and the famous dancing KIA hamsters. Burris specializes in character spending. At JCID we help brands con- Clients are generally working with performance and photo-real creature work. Examples of Burris’ skill for in- nect with this important audience—by agency teams comprised of young, single jecting warmth and personality into animated creations can be seen in the getting insights from moms across a males. Part of our mission is to make the KIA Hamster spots, and in the awkward interactions between robots and hu- range of demographics and then having ad industry friendlier to women who mans in the Kohler “Never Too Next” commercial....Translation has appoint- moms create the advertising itself. We’re want to start a family. We can’t service ed Kenneth Pang as the business lead for existing and new business on the uniquely positioned to deliver this since our JCID clients without powerful mom West Coast for accounts including Alaska Airlines. Pang is based out of the our ECD is a mom, our managing direc- talent—so we provide benefits to moms in- agency’s San Francisco office. Pang was previously principal of his own con- tor is a mom and 50% of our executive cluding great pumping facilities, shipping sulting firm, Sec 127, where he worked with clients including Microsoft, Ga- team are moms. breast milk home during travel and pay- torade and Nestle. As VP of client leadership at HelloWorld, Inc., Pang worked So what does that look like from a cre- ing for a travel companion to join mom on with clients such as Starbucks and Intuit. Pang, who previously worked with ative standpoint? For starters, moms may business trips so baby can come along. We Translation from 2007-2011, also consults with numerous startups at various be shown as the breadwinner (since 42 % also want to encourage more women to growth stages and has co-founded multiple startups.... are) or they may be multicultural (since start in the industry so we give a Women 50% of newborn babies are not white) and in Advertising scholarship each year. 4 SHOOT March/April 2018 May 10th, 2018

Los Angeles

Tickets on Sale Now: aicp.com/events 1st QUARTER 2018 TOP TEN VISUAL EFFECTS & ANIMATION TITLE VISUAL EFFECTS/ANIMATION AGENCY PRODUCTION Kia’s “Feel The Mill L.A. Pete King, EP; Hillary Thomas, producer; Vanessa Yee, prodn coordinator; Robert Sethi, shoot supervisor/creative dir/art dir; Tim David&Goliath, Los Angeles MJZ, bicoastal/international Something Rudgard, shoot supervisor/2D lead artist; Jason Monroe, shoot supervisor/3D lead artist; Steve Cokonis, 2D lead artist; Daniel Thuresson, Lisa Ryan, Nicolai Fuglsig, director Again” Jeannie “Remedy” Huynh, Benoit Mannequin, Lior Weiss, Jason Bergman, Ed Black, Ashley Forbito, Chris Hunsberger, Kai Chun Tsai, Krysten Richardson, Glyn Tebbutt, Daniel Lang, Elliot Brennan, Ian Blewitt, Adrian White, Adam Lambert, Matt Dobrez, Stefan Smith, Tom Van Dop, Yukiko Ishiwata, 2D 1 artists; Chris Bayol, Cory Cosper, Nole Murphy, Omar Taher, Brian Lee, Benjamin Chan, Danny Garcia, Freddy Parra, Jae Jun Yi, James Robinson, Jinguang Huang, Alice Panek, Elizabeth Hammer, Jeremy Ramirez, Steven Olson, Dan Warom, Michael Lori, Ed Laag, 3D artists; Rasha Shalaby, Andy Wheater, CLICK HERE TO VIEW SPOT > Marissa Krupen, matte painting; Jacob Bregman, animation. (Toolbox: Flame, Nuke Maya) Santander Framestore, London Arnold Worldwide, Boston Rattling Stick, Santa Monica, Calif., Bank’s “Piggy” Helen Hughes, EP, head of advertising; Josh King, sr. VFX producer; Lara Marshall, line producer; Alex Thomas, on set supervisor (L.A.); Tim Jenkinson, and London VFX supervisor, CG lead; Chris Redding, VFX supervisor, compositing lead; Osman Gani, animation supervisor; Grant Walker, head of CG; Nikola Daniel Kleinman, director Yordanov, David Lochhead, concept artists; Paola Santoro, lead modeler; Joel Best, Omar Jason, modeling; Judit Somogyvari, texturing; Andy Butler, 2 rigging; Steffan Perry, colorist; Ross Burgess, creative director, animation; James Brown, Felice Minieri, animators; Gabriela Ruch Salmeron, groom; Rafael Rey Camacho, FX, lighting; Mathias Cadyck, Sebastian Mayer, lighting; Sam Meisels, Mike Simons, Kane Herd, Pawasut Chatmaleerat, Pedro CLICK HERE TO VIEW SPOT > Sabrosa, compositors; Hasan Khan, Jonathan Williams, paint & roto. (Toolbox: ZBrush, Maya, Mari, Maya, Houdini, Nuke, Photoshop, Baselight) McVitie’s Nexus Studios, London Grey London Nexus Studios, London “Crane” Smith & Foulkes, director; Chris O’Reilly, Tracey Cooper, exec producers; Maiwenn Le Borgne, Derek Walsh, production managers; Callum Strachan, art Smith & Foulkes, director director; Florian Casper, CG supervisor; Dominic Griffiths, animator; Cecille Carre, Joao Pedro Sustelo, designers; David Slade, editor. 3 (Toolbox: Maya, Houdini, Carbon Cloth, Yeti Fur, modo, Photoshop, Nuke, After Effects, Premiere) CLICK HERE TO VIEW SPOT > Day One’s Lobo, New York & Sao Paulo Guilherme Marcondes, dir; Aron Matschulat Aguiar, producer, editor; Luis Ribeiro, Alberto Lopes, Loic BBDO New York Lobo, New York and “Sunshine” François Marie Dubois, EPs; Felipe Jornada, art dir; Antonio Soares Neto, Vinicius Barros, storybd; Olavo Chagas, CG dir; Milton Dias, Frederico Martins, Sao Paulo, Brazil Diego Esteves, Eiti Sato, Daniel Adami, Felipe Bassi, Leo Rezende, Marcel Fukuwara, modeling; Flavio Castello, lead rigging; Alexandre Marassá, Felipe Guilherme Marcondes, director Gimenes, rigging; Leonardo Cadaval, animation sup./animator; Marcio Nicolosi, lead animator; Lucas Peres, previs; Andrea Delfino, Janaina Bonacelli, 4 Bruno Carias, Bruno Hamzagic, Daniel Alvite, Daniel Bahia, Daniel Vasconcellos, Jorge Zagatto, Marcelo Zanin, Raphael Vinicius, Seixas Silva, Renato Sena, Rodrigo Souza, Ronaldo Brito, Ste Kajimoto, Thiago Martins, Victor Fernandes, animators; Bruno Ferrari, lead compositor; Lucas Stringhetti, VFX; CLICK HERE TO VIEW SPOT > Chan Tong, VFX 2D. (Toolbox: Photoshop, Maya, Vray, Nuke, Premiere, Flash, Houdini) Renault’s “The Nki, Paris The Loft Publicis Conseil, Paris WIZZ, Paris Postman” Wacyl Djender, CG supervisor; Emilie Nicodex, postproduction director AKAMA, director (Toolbox: 3DSMax, VRay, Ornatrix, Nuke) WIZZ, Paris 5 AKAMA, director; Amanda Stubbs, producer CLICK HERE TO VIEW SPOT > Mercedes- Sehsucht, Hamburg, Germany antoni, Berlin Sehsucht, Berlin Benz’s Ole Peters, director; Jan Tiller, exec producer; Tanya Curnow, Stephan Reinsch, producers; Bernd Wondollek, DP; Axel Brötje, Julius Brockelmann, Caroline Ole Peters, director “Stronger Than Goehner, design; Daniel Jahnel, Timo von Wittken, Juan Pablo Brockhaus, 3D lead; Sebastian Welti, Jannes Kreyenberg, Max Zachner, Thure Koch, Ben Time” Watts, Florian Breg, Raphael Vincente, Alexander Siquans, Hannes Gerl, Christoph Gaudl, 3D; Maurice Jochen, Ivan Vasiljevic, additional assets; Florian 6 Zachau, compositing lead; Jona Maluck, Alexander von der Lippe, Patrick Altmeier, Christian Reimann, compositing; Mitra Navab-Pour, motion design; Artur Jagodda, Sabine Panek, editors. CLICK HERE TO VIEW SPOT > (Toolbox: Houdini, Maya, Arnold, Redshift, ZBrush, Yeti, Mari, Nuke, Resolve) New York MPC New York McCann New York Biscuit Filmworks, Los Angeles Lottery’s Camila De Biaggi, managing director; Elissa Norman, sr. producer; Alvin Cruz, creative director/VFX supervisor; Marcus Wood, 2D/3D lead; Renato Noam Murro, director “Small Town” Carone, Michael Glen, Steinar Nedrebø, Amit Shukla, Manu PS, Joslin Job Mathew, Sriram P, Suhas Bjat, R Vignesh, Priyanka Day, 2D team; Suhas Bhat, Sindhuja B, Sravan Kumar, Sreenivasa Aditya Yanamalachintala, Elangovan Ganeshan, 3D team 7 (Toolbox: Flame, Nuke, Maya) CLICK HERE TO VIEW SPOT > Nike’s “Nothing Time Based Arts, London Wieden+Kennedy, London Riff Raff Films, London Beats A Sheldon Gardner, Francois, Roisin, VFX supervisors; Michael Aveling, Jamie Crofts, Thiago Dantas, Al Ford, Stephen Grasso, Matt Jackson, Adam Megaforce, director Londoner” Paterson, Ben Stonehouse, Luke Todd, Leo Weston, Flame; Aitor Arroyo, Ralph Briscoe, Linda Cieniawska, Matt Shires, Bernardo Varela, Leandro Vazquez, Grant White, Nuke; Ben Cantor, Dan Davie, Oscar Gonzalez Diez, Federico Guzzardo, Tom Hall, Dave Loh, Sam Osborne, Nigel Timms, Federico Vanone, 8 Chris Wood, CGI; Jess Gorick, Stephen Ross, motion graphics; Sylvie Minois, matte painting; Simone Grattarola, color grade; James Allen, Tom Johnson, color grade; Chris Aliano, producer. CLICK HERE TO VIEW SPOT > (Toolbox: Flame, Flame Assist, Flare, Nuke, Maya, XSI, Houdini, ZBrush, Arnold, Resolve) Audi Spain’s post23 Creative Animation Studio, Barcelona Proxmity Barcelona post23 Creative Animation Studio, “Ever After” Jordi Garcia, animation director; Bor Arroyo, art director-animation; Angee Marcazzan, sr. producer. Barcelona (Toolbox: Maya, ZBrush, Marvelous Designer, Speedtree, Substance Painter, Houdini, Nuke X, Nuke Studio) Jordi Garcia, director Sr. Alice Films, Barcelona 9 Fernando Trullois, live-action director CLICK HERE TO VIEW SPOT > Under Zoic Studios, Culver City, Calif. none BODEGA, bicoastal Armour’s “Ice Chris Jones, executive creative director; Ian Unterreiner, EP/head of production; Jeff Blodgett, EP; Derek Johnson, producer; Kevin Montenegro, coordina- Hayley Geffen, co-director Man” tor; Julien Brami, VFX supervisor; Tim Hanson, CG supervisor; Mike Degtjarewsky, 2D supervisor; An Dang, Flame assist Under Armour 10 (Toolbox: Maya, ZBrush, Vray, Mantra, Houdini, Nuke, Flame) Megan Oopen, co-director CLICK HERE TO VIEW SPOT >

6 SHOOT March/April 2018 VFX & ANIMATION Youth Served By The Mill, Director Fuglsig, David&Goliath Kia Super Bowl spot "Feel Something Again" ranks #1 in quarterly VFX/Animation Chart

A SHOOT Staff Report challenges was authentically re-creating ago. The VFX team also captured Tyler’s quick shot of a black and white photo of MJZ director Nicolai Fuglsig and The Mill the 25-year-old version of Steven. We had acting on set, drawing from his bodily re- Tyler appears. This photo from back in the L.A. helped rocker Steven Tyler to “Feel to get that absolutely right. Fortunately, sponse and mimicking his facial emotion '70s was used as a crucial reference—not Something Again” in Kia’s Super Bowl thanks to the amazing artists at The Mill, for the CGI version of him. only for the VFX artists, but for the audi- spot from David&Goliath, L.A. The effort we were able to get the glowing approval of Toward the beginning of the spot, a ence to take note before the big reveal. also yielded the #1 entry on SHOOT’s Steven, his daughter, friends and a handful quarterly Top Ten Visual Effects/Anima- of rockers who know him best. tion Chart. Tyler stars in this :60 set at an old aban- Facial reconstruction doned car racetrack. With the familiar The fountain of youth flowed to Tyler notes of “Dream On” playing backwards, from talented VFX masters at The Mill Tyler looks as though he’s about to race who deployed CGI magic. In order to give the Kia Stinger against another legend, the rocker his youthful look, The Mill’s Indianapolis 500 champion Emerson Fit- artists reconstructed his face entirely in tipaldi. After a moment of reflection, Tyler CGI. First, a scan was taken of his body to accelerates the car in reverse around the give the artists a base to work from. Then track. When he comes to a stop, he finds came the sculpting process, where the himself in the early 1970s—a young rock artists filled in muscle, fat and cartilage star in his prime. The spot ends with the to reverse the effects of time. They also on-screen text “Feel Something Again.” matched the look of his lips, eyebrows David Angelo, founder/chairman of and cheekbones, drawing reference from David&Goliath, said, “One of the biggest footage and photos from about 45 years Steven Tyler finds fountain of youth in Kia's Feel Something Again"

March/April 2018 SHOOT 7 1st QUARTER 2018 TOP TEN TRACKS MUSIC & SOUND TITLE MUSIC/SOUND AUDIO POST AGENCY PRODUCTION Mercedes-Benz’s Yessian Music, Hamburg, Germany Yessian, Hamburg antoni, Berlin Sehsucht, Hamburg “Stronger Than Time” Brian Yessian, chief creative officer; Zacharias Adrian, composer; Ingmar Rehberg, EP/ Max Fritz, mixer Ole Peters, director managing director; Michael Yessian, production head; Uli Witt, Lukas Lehmann, produc- Loft Studios Berlin, voiceover recording 1 ers; Max Fritz, Michel Riecken, Robin Großkopf, sound designers CLICK HERE TO VIEW SPOT >

Samsung’s “Human” Beacon Street Studios, Venice, Calif. Sound Lounge, New York R/GA, New York Arts & Sciences, Andrew Feltenstein, John Nau, Danny Dunlap, composers; Leslie DiLullo, exec producer; Rob Sayers, engineer; Becca Falborn, West Hollywood, Calif. 2 Rommel Molina, sound designer; Vivi Rojas, mix assistant; Kate Vadnais, sr. mix producer. producer; Mike Gullo, exec producer. Michael Spiccia, director CLICK HERE TO VIEW SPOT > Kia’s “Feel Something Licensed Music: “Dream On” by Steven Tyler Margarita Mix, Santa Monica, Calif. David&Goliath, Los Angeles MJZ, bicoastal/international Again” Human, bicoastal Nathan Dubin, sound engineer; Whitney Nicolai Fuglsig, director Mike Jurasits, creative director/sound designer; Matthew O’Malley, James Leibow, Jon Warren, exec producer 3 Hubbell, Tom Keery, Andy Bloch, composers/arrangers; Jonathan Sanford, exec producer CLICK HERE TO VIEW SPOT >

Stratosphere Surf BANG New York & Prague BANG Europe none Creative Embassy, Prague Boards’ “Stratosphere” Timo Elliston, composer (NY); Mirek Smilauer, sound designer (BANG Europe); Brad Mirek Smilauer, mixer Tomas Franta, director 4 Stratton (NY), Jakub Svejda (Prague), exec producers. CLICK HERE TO VIEW SPOT > Budweiser’s JSM Music, New York Heard City, New York Mosaic, Chicago Vayner Productions, New York “American Pony” Joel Simon, chief creative officer/president/co-composer; Shawn Haden, co-composer; Philip Loeb, engineer VaynerMedia, New York Ivan Tinoco, Jason Beauregard, Nathan Kil, sound design; Jeff Fiorello, executive producer; Norman Felker, producer, directors 5 head engineer CLICK HERE TO VIEW SPOT >

Rolex’s “Cinema” Duotone Audio, New York Duotone Audio Post, New York J. Walter Thompson, New York Quad, Paris 6 Peter Nashel, Brad Fischer, composers Andy Green, mixer Paul Greco, music director Jan Wentz, director CLICK HERE TO VIEW SPOT > Toyota’s “Thin Ice” Metallica, “Nothing Else Matters” Lime Studios, Santa Monica, Calif. Saatchi & Saatchi LA, RadicalMedia, bicoastal SOUTH Music & Sound Design, Santa Monica, Calif. Zac Fisher, mixer Torrance, Calif. Tarsem, director (music arrangement and production) Kristen Hosack, music supervisor Lime Studios, Santa Monica, Calif. 7 Michael Anastasi, sound designer CLICK HERE TO VIEW SPOT >

Ford Expedition’s “We Elias, bicoastal Lime Studios, Santa Monica, Calif. Global Team Blue (GTB), RESET, Santa Monica, Calif. The People” Lime Studios, Santa Monica, Calif. Rohan Young, mixer Dearborn, Mich. Diego Contreras, director 8 Rohan Young, sound designer CLICK HERE TO VIEW SPOT >

GE’s “What Matters— Hook & Line Music + Sound, bicoastal Sonic Union, New York BBDO New York Smuggler, bicoastal Anthem” Bryan Senti, composer Michael Marinelli, engineer; Justine Cortale, Rani Vaz, music producer Todd Field, director 9 producer. CLICK HERE TO VIEW SPOT >

Santander Bank’s Soundtrack: “Home” written by Simon Steadman and Charlton Pettus Soundtrack Boston Arnold Worldwide, Boston Rattling Stick, Santa Monica, Calif. “Piggy” Future Perfect, Santa Monica, Calif. Mike Secher, audio engineer Daniel Kleinman, director vocal arrangement 740 Sound Design, Los Angeles 10 Chris Pinkston, lead sound designer; Josh Reinhardt, sound designer; Scott Ganary, exec producer CLICK HERE TO VIEW SPOT >

8 SHOOT March/April 2018 MUSIC & SOUND Music Notes String and Tins Breaks Out In Song Droga5 London, and String and Tins, London, got eight countries to sing in a Mercedes Drives To #1 Slot commercial for Ancestry.com. String and Tins produced and recorded the music as people from across Europe sing their hearts out to the 1980s track “Together Yessian Music, Hamburg, tops quarterly Chart Forever.” The chorus reflects the Ancestry DNA finding that the average British person has 60% DNA from somewhere in Europe. Brexit or no, millions of Brits have A SHOOT Staff Report emotional categories that needed to be cultural and ancestral ties to Europe. Berlin-based agency antoni created this associated with this unique car. Strength, The track features the voices of real people from different European countries. campaign introducing the new Mercedes- class, and mysterious timelessness made We see characters based in their own settings. Benz G-Class, hearkening back to the au- it necessary to find a combination of a The amalgamation of accents shine through in the tomotive brand’s DNA and legacy. Titled matching musical counterpart. Further- harmonies of the song, giving a sense of charm for each of the home countries. The commercial closes as all of “Stronger Than Time,” the CG/live-action more this musical concept needed to be the voices sing together accompanied by The City of piece was directed by Ole Peters of Ham- compatible with the dynamic structure Prague Philharmonic Orchestra. burg-based Sehsucht and unfolds to mu- of the film, alternating between the full Mike Bamford, director at String and Tins, was on set sic and sound design from Yessian Music force of the driving scenes and the atten- Ancestry.com's "Together Forever" in each of the locations. He said, “I oversaw the vocal in Hamburg. Yessian’s efforts earned the uated sequences of being trapped inside performances of the actors to make sure the audio was captured in a way that would number one slot in SHOOT’s quarterly Top the amber as a time capsule. edit together naturally. In a world where Automated Dialog Replacement is readily Ten Tracks Chart. Ingmar Rehberg, executive producer/ available, it would have been possible to redo it all in post, but there’s something At the heart of the campaign is a managing director of Yessian in Hamburg, much more real about the recordings we captured on set.” massive amber-like block installation, related, “The biggest takeaway with this Directing a cast of untrained singers meant several approaches had to be taken with an original 1979 model G-Class sus- project was that it is not possible to match to make the song coherent to the many different dialects. Bamford related, “Not pended inside. Peters explained, “Amber all necessary challenges without getting everyone was familiar with the ‘80s track which is more famous in the U.K. than has preserved the DNA of life for over 40 a grip of the very intellectual and philo- Europe, so we had a full day of vocal coaching to run through the lyrics. In a few million years—the exceptional character- sophical mechanics that were embedded cases, the actors weren’t English speakers at all and I had to direct them through istic of the iconic G-class design is still in the concept of the film. By only delving translators.” Titled “Together Forever,” the :60 was directed by Noam Murro of predominantly the same after 40 years. into and maintaining the vision of how to Biscuit Filmworks. This is an exception on the automotive tell the story of a hero in the abstract and market where cars tend to look more and metaphysical context of time itself, we Oscars Strike Eleven In Nike Spot more similar. The parallels between the wouldn’t have been able to find the right Tennis star Serena Williams is at the center of this Nike spot preserved DNA in amber and the same strategy. We had to take this idea a step fur- which affirms that there is no wrong way to be a woman. Titled design DNA of the G-class led to the core ther. After all, this was a very large launch “Until We All Win,” the ad from Wieden+Kennedy, Portland, idea of this campaign and finally to the for the G-Class and taking place at one of broke during the recent Oscars telecast. The commercial is film. One of the main challenges was to the automotive centers of the world, De- woven with snippets of Williams both on and off the court; create a transition between dynamic and troit. In the end we learned that it always the piece is guided by Williams’ intimate narration of her past powerful driving shots of the G-Class and pays off to first put a lot of brainpower Serena Williams struggles in becoming the most authentic version of herself. She the journey at a macro level through the into concepts before being inspired by the shares powerful words on womanhood, race and motherhood. static amber material.” right way to start the process.” Jeff Payne of Santa Monica, Calif.-based Eleven served as sound designer and Uli Witt, senior producer at Yessian The Yessian ensemble of talent on mixer on the :30. Assistant mixer was Andrew Smith. Music in Hamburg, observed, “The main “Stronger Than Time” also included com- challenge with the concept the agency poser Zacharias Adrian, chief creative of- Warren, Day Launch Call To Action had in mind was finding the right musi- ficer Brian Yessian, sound designer/audio Grammy-winning and nine-time Oscar nominated songwriter Diane Warren and cal idea to match the momentum and the post mixer Max Fritz, sound designers Mi- Grammy nominated singer/songwriter Andra Day have joined forces with the social inert moments where the time almost chel Riecken and Robin Großkopf, produc- media platform indi.com to launch a call to action to help raise funds and support stands still. We felt that the music would tion head Michael Yessian and producer the efforts of non-profit organizations and causes around the world. Warren’s Oscar have to be spot on to convey the right Lukas Lehmann. nominated song “Stand Up for Something” from the feature Marshall, performed by Day and the co-songwriter Common, will serve as the musical foundation for the challenge; the anthem’s powerful and inspiring lyrics speak to the respect and dignity of standing up for “what you got in your heart.” To participate in the call to action, the public can go to www.indi.com/standupforsomething/challenge ; then submit or share a video or a photo of what they #standupfor. Warren’s songs have long been embraced as anthems for groundbreaking movements—educating girls globally, supporting survivors of sexual assault, supporting humanitarian efforts in war and crisis zones, protection of animals and advocating for other human rights and social justice campaigns. “Stand Up for Something” was recently performed at the Women’s March by Day. The song is being adopted by non-profits worldwide. Warren is honored her song is part of this movement, “I am thrilled that ‘Stand Up for Something’ is making such an impact. Right now more than ever, we need to stand up for what we believe in and what we know is right. I’m very excited to have joined forces with Andra Day, Indi.com and others for this amazing call to action. I cannot wait to see what people around the world will create to have their voices.” Ingmar Rehberg (l) and Uli Witt of Yessian Music, Hamburg March/April 2018 SHOOT 9 VFX & Animation DIRECTORS Reel FX Launches Montreal Studio Creative studio Reel FX is expanding its global reach. A Montreal satellite studio is in the offing, added to Reel FX’s existing offices in Dallas and Holly- Welcome to the Special Spring 2018 Edition wood, Calif. The new locale will be another hub for Reel FX Animation Studios, of SHOOT’s Directors Series. Our mix of profiles includes its feature film division, and will also serve as an outpost for the studio’s com- Luca Guadagnino whose Call Me by Your Name landed four Academy Award nominations, including for Best Picture, and mercial and VR/AR divisions. Reel FX’s global headquarters will remain in Dal- Bryan Fogel who won the Best Documentary Feature Oscar las’ vibrant Deep Ellum artist community. for Icarus. Both filmmakers also have production company af- “We’re aggressively ramping production in Montreal filiations for commercials and branded content—Little Minx for a short list of theatrical budget animated film projects for Guadagnino, and Supply&Demand for Fogel. and more things to come,” said Reel FX CEO Steve O’Brien. On the spotmaking front, we profile Martin de Thurah of Epoch Films who recently won the DGA Award as Best Commercial Director of the Year. And then Partners and clients include major studios as well as high there’s the prolific spot and music video duo, Dom&Nic, who are handled in the profile game producers. With a track record of producing U.S. by Station Film and in the U.K. by Outsider. original animated feature titles, including The Book of Life Another ad artisan, director DeMane Davis—who is repped by Sweet Rickey— and Free Birds, this expansion will position Reel FX Anima- now finds herself committed to another discipline for the next six months or so Future home of Reel FX tion Studios to partner on the development and produc- as producing director for season three of Queen Sugar, Ava DuVernay’s acclaimed primetime series on Oprah Winfrey’s network OWN. tion of more top tier animation titles going forward. We also connect with accomplished narrative filmmaker Rebecca Miller who’s The Montreal studio will be located near the city’s downtown district in the made her first foray into the documentary discipline with a personal, eye-opening historical building Le Nordelec, which has been recently renovated into an ur- look into the life of her father, the late, legendary playwright Arthur Miller. ban loft development with commercial, retail and residential units by Allied Rounding out our profiles lineup are two filmmakers who have scored on this REIT. The phase one studio build-out will house up to 220 artists, with further year’s festival circuit. Alison Klayman with Take Your Pills, a documentary which premiered at SXSW; and Rudy Valdez whose feature directorial debut The Sen- expansion plans on the horizon. tence won the U.S. Documentary Audience Award at the Sundance Film Festival. Klayman’s roost for commercials and branded fare is Washington Square Films ODD Addition Complements Oscar-Winning Icarus while Valdez has come aboard the spotmaking roster of Park Pictures. Animation from ODD (Office of Development & Design) in NY is featured in Meanwhile our ensemble of up-and-coming talent consists of a skate video director Bryan Fogel’s Icarus, which won the Best Documentary Feature Oscar. filmmaker who just made a major breakthrough at Sundance; a director who established herself in London, has turned out some initial notable U.S. campaign Icarus is a wild ride that begins with Fogel attempting to duplicate cyclist work and is just taking on her first representation in the American ad market; a Lance Armstrong’s doping regimen. What starts as an investigative filmmak- prolific music video director who has since diversified into commercials, branded ing piece quickly turns into a conspiracy thriller when Fogel meets Grigory content and shorts; and a helmer whose work in fashion, music and dance has Rodchenkov, director of Russia’s National Anti-Doping Laboratory. During struck a responsive chord with brands and audiences. their time together Rodchenkov befriends Fogel and shares top secret infor- SHOOT also delves into Leading Producers, gleaning insights from Peter Spears, mation that reveals Russia’s system wide state-sponsored doping program, a first-time producer who became a Best Picture Oscar nominee forCall Me by Your Name; Alison Benson, EP of HBO’s Divorce; Ken Biller, EP of Genius, covering season arguably the biggest sports scandal in history. 1 on Albert Einstein and the much anticipated season 2 on Pablo Picasso; Mike ODD involvement started as the story was still be writ- Medavoy, EP of the limited series The Long Road Home; ten—helping shape the visual direction for the film’s de- and Jane Root, who’s teaming with Darren Aronofsky to sign and animation. A key animation sequence in the doc- produce the docuseries One Strange Rock. umentary shows exactly how Russian athletes were able And then in our Cinematographers & Cameras Series, we meet three DPs—one who recently won to avoid positive drug detection during the 2014 Sochi his first ASC Award on the strength of The Crown; Winter Olympics. ODD’s ECD Gary Breslin spoke to Rod- another who lensed Strong Island, nominated for ODD animation for Icarus chenkov over the phone moments before he was forced this year’s Best Documentary Feature Oscar; into witness protection to understand Russia’s detailed ploy to obtain negative and a lenser whose career was launched by tests for their athletes during the Olympics. David Fincher with the Netflix series Mind- hunter, which in turn has opened up new Knowing he had little time to explain, Rodchenkov crudely sketched his lab spot opportunities. configuration on a napkin, a blueprint for Breslin to recreate in CG a detailed Our feature stories and several of the depiction of the operation. profiles have been edited for the print issue. All these stories can be seen in their Ottawa Animation Fest Seeks Submissions entirety in our 3/26 Special Directors SHOOT>e.dition and on SHOOTonline. So The Ottawa International Animation Festival (OIAF) is now accepting film read on and enjoy. —Robert Goldrich entries for competition in 2018. Entries are due May 25 and there's no entry fee. Editor From September 26-30, Ottawa will once again play host to the animation [email protected] universe; a hub of inventive, mesmerizing, and provocative art. OIAF invites animators from around the globe to submit their recent work in the following Director Profiles Features major categories: Animated Feature; Narrative Animated Short; Non-Narrative Up-and-Coming Directors Animated Short; Student Animation; Commissioned Animation (series, com- DeMane Davis...... 11 Springing Forward With New Talent...... 19 mercials, music videos); Young Audiences—Preschool, Ages 6-12; and VR Ani- Martin de Thurah...... 12 mation. The latter category is brand new. Dom& Nic...... 13 Leading Producers In addition to category prizes, submissions will also be considered for a va- Bryan Fogel...... 14 Fresh Produce: Perspectives on Film, TV...22 riety of craft and other awards including the Festival’s Academy Award recog- Luca Guadagnino...... 14 nized Grand Prize for Short Animation. Alison Klayman...... 15 Cinematographers & Cameras There are also national competitions for Canadian animators and a Cana- Rebecca Miller...... 16 Insights into The Crown, Strong Island, dian student competition. Rudy Valdez...... 17 Mindhunter, Spots...... 25

10 SHOOT March/April 2018 DIRECTORS DeMane Davis A producing director

By Robert Goldrich first opportunities in primetime TV. Davis on the Sundance Network. DeMane Davis loves directing commer- shined in season two and now assumes DuVernay first reached out to Davis via cials and branded content via production greater responsibilities for season three. Twitter back in 2015. Noting that she has house Sweet Rickey. But she won’t be able Adapted for TV from the novel of the a screen grab of that tweet, Davis recalled to do so for about a six-month stretch, a same title by Natalie Baszile, Queen Sugar that DeVernay appreciated her work on prospect which she welcomes because a follows the lives of a black family, center- LIFT, asking her to be part of “Array Day” new opportunity beckons, one which she ing on three siblings: two sisters, Nova where people ask filmmakers about their people, she cried. It’s a wonderful oppor- feels will enable her to bring even more to Bordelon (played by Rutina Wesley), a process. “Array Day” is a Twitter takeover tunity. The scripts and actors are great, the ad arena when she returns. journalist and activist from New Orleans, by DuVernay’s releasing company Array. you get to play with all these tools. It’s a Davis has been named producing di- and Charley Bordelon (Dawn-Lyen Gard- Following a second “Array Day,” Davis magical place.” rector for season three of Queen Sugar, ner), a woman who, with her teenage son was welcomed as part of the directing tal- As for her biggest takeaway thus far Ava DuVernay’s acclaimed primetime Micah, leaves her upscale home in Los ent for season two of Queen Sugar. from Queen Sugar, Davis related, “First, Angeles and moves to the heart of Loui- “I got that call from Paul Garnes,” re- TV series work moves faster than com- siana to claim an inheritance—an 800-acre called Davis. “What I didn’t tell him was mercials. Unlike trying to achieve perfec- sugarcane farm—from her recently depart- that I had recently broken my ankle. I tion in 30, 60 or 90 seconds, here you ed father; and their brother Ralph Angel didn’t tell anyone until I arrived, showing have two takes per setup and have to (Kofi Siriboe), a struggling single dad. up on crutches. I assured everyone that move on. I had to adjust. But more im- Davis brings broad-based filmmak- everything’s fine. And it was. Directing portantly is something I’ve learned from ing experience to Queen Sugar. She and Queen Sugar was simply a great experi- Ava—that it’s okay to share. I like to share Khari Streeter directed Kerry Washing- ence. And now I feel fortunate to be in- anyway—sharing resources, knowledge. On the set of Queen Sugar ton in LIFT, a feature which premiered vited back. Getting to work with this crew That’s a big part of what everybody does series on Oprah Winfrey’s network OWN. at the 2001 Sundance Film Festival and and cast again is a treat. They’ve become here. But sometimes you get in a bubble Davis is currently in New Orleans where was nominated for an Independent Spirit my family. To see this family, the conflicts and you are wary that if you share, some- she will not only direct a pair of episodes Award. Davis also owned two small ad the characters face, the subject matter one else will take your idea. Ava taught this season but also oversee and lend sup- agencies and worked at stalwart shops they’re dealing with, is wonderful. Each me that you are an individual and will see port to the other female directors on the such as Hill Holliday, Arnold Worldwide episode is like watching an hourlong film. something differently than anyone else. series, figure out locations and other lo- and what is now KBS. She’s freelanced as It’s a very ambitious show. We’re liter- When you have that unique perspective, gistics, and work closely with the show’s a writer on Nike, McDonald’s, Citibank, ally building a house right now in three you don’t have to worry about sharing two DPs, Antonio Calvache and Kira Marshall’s, CVS and American Eagle. weeks on set. Everybody comes together anything. And that feeling, that vibe is Kelly, as well as production designer Ina She has directed campaigns for such cli- on this show.” what we have on set. It’s a familial vibe, Mayhew. Davis is responsible for main- ents as Bank of America, Blue Cross/Blue Perhaps most fulfilling, though, about different from what I’ve heard exists on taining the look of the show and serves Shield, Tidy Cats and Cigna. her new role on Queen Sugar, shared other sets. I want to re-create this experi- as a self-described “keeper of the story.” Davis is also no stranger to producing, Davis, “is getting to work with all these ence for the rest of my life—to maintain DuVernay first reached out to Davis for having done so on her feature directorial female directors, It feels a bit like being sharing, my calmness, my demeanor and season two, entrusting her to direct a cou- debut (helmed in tandem with Streeter Santa Claus. I’m not allowed to tell you to help inspire creativity in everyone else. ple of episodes. DuVernay has committed and Harry McCoy), Black & White & Red her name but when Ava told one film- I want to take that vibe, all the knowledge to female filmmakers for the entire run of All Over, which screened at the Sundance maker she would get the chance to direct I’ve gained and apply it to everything I do, Queen Sugar, affording many of them their and Edinborough film festivals, and ran an episode, working with all these great including commercials.”

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

March/April 2018 SHOOT 11 DIRECTORS Hot Locations California Takes Initiative With New Wrinkle The expanded Film & TV Tax Credit Program 2.0 includes a provision called Martin de Thurah the Career Readiness Initiative that helps students from all walks of life gain access to production-related careers. It requires each project in the tax credit Reflects on 2nd career DGA win program to offer hands-on opportunities ranging from paid student intern- ships and professional skills tours to teacher externships. So far, the feedback By Robert Goldrich from students and educators has been overwhelmingly positive. At an early age Martin de Thurah studied A high-profile example of the initiative in action is acting and painting as he tried to find his Disney’s A Wrinkle in Time. Director Ava DuVernay made way in the arts. He wound up on a path career readiness and access to the filmmaking process a which led to National Film School in his priority. She personally interviewed and selected three native Denmark, eventually finding his community college students for on-set internships and calling as a director. created an atmosphere of inclusiveness that has inspired In 2005, de Thurah made his first di- the students to continue exploring careers in the produc- rectorial splash in music videos. Over just Ava DuVernay tion industry. Here are a few Career Readiness Initiative a year’s span the director’s clip-making stats to date:

exploits progressed from a local Danish Shane Karns/courtesy by Photo of DGA • 97 internships band to varied international acts. Next For de Thurah, the biggest creative • 18-49 student age range came acclaimed short films, including challenge posed by “Machines” was build- • 30% of students from work-based learning programs Young Man Falling which was selected for ing to the delightfully absurd punchline • 70% of students from community colleges Critics’ Week at Cannes in 2007. with a story that the viewer would believe • 4 classroom workshops Later de Thurah diversified into com- and “buy into.” This suspension of disbe- • 24 teacher externships mercials, a success story punctuated by a lief is deftly attained. De Thurah credited • 48 projects made contributions to underwrite paid internships and pair of DGA Award wins—in 2014 and last his long-time collaborator, DP Kasper scholarships month—as spot director of the year. The Tuxen, for his contributions to the work. latest DGA Award came on the strength De Thurah topped a field of DGA nom- STARZ Series Counterpart Shoots In Berlin of StubHub’s “Festival” and “Machines” inees this year which also consisted of The critically acclaimed STARZ Original series Counterpart began produc- for Goodby Silverstein & Partners; and Alma Har’el of Epoch Films; Miles Jay of tion on February 28 in Berlin. The 10-episode second season of the one-hour WealthSimple’s “Mad World” from Wealth- Smuggler; Hoffman/Metoyer from MJZ; scripted drama is from creator Justin Marks, Gilbert Films and Anonymous Simple’s in-house agency—all produced by and Isaiah Seret of Biscuit Filmworks. Content, with MRC serving as the studio for the series. Season two of the es- Epoch Films, de Thurah’s commercial- Epoch having two nominees wasn’t pionage spy-fi thriller will continue production in Los Angeles later this year. making/branded content home in the U.S. lost on de Thurah. He observed that Betty Gabriel (Get Out, Purge: Election Year, Westworld) joins the cast as Naya for the past seven years and counting. Epoch is “a mid-range, medium-sized Temple, a former FBI agent recently hired by the Office of De Thurah credited Goodby Silver- company” with a boutique vibe, a far cry Interchange to clean house. Gabriel is best known for her stein creatives with letting him “run with from the “big factory” feel of some other portrayal of Georgina in the Best Picture Oscar-nominat- the ball,” particularly on “Machines” houses. The working environment at Ep- ed film Get Out. which started with the basic premise of och is extremely supportive in terms of Gabriel joins Academy Award®-winner J.K. Simmons machines going beyond controlling other production as well as career development. (Whiplash, The Accountant, Juno) who plays Howard Silk, machines to exerting their will over hu- “Everybody likes and respects each other, Olivia Williams (The Sixth Sense, Hyde Park on Hudson) as mans. The director took that storyline to like a family.” He cited the shop's collab- J.K. Simmons Emily Burton Silk, Harry Lloyd (The Theory of Everything, an ambitious visual level carrying higher orative camaraderie. Jane Eyre) as Peter Quayle, Nicholas Pinnock (Captain America: The First Aveng- stakes, depicting the rise of artificial intel- That family feel was also evident in de er) as Ian Shaw, Nazanin Boniadi (Homeland, Ben-Hur, Hotel Mumbai) as Clare, ligence and its inevitable chaotic turn on Thurah’s acceptance remarks at the DGA and Sara Serraiocco (Salvo, Cloro, Worldly Girl) as Baldwin. humanity. As the machines take over the Awards ceremony. He not only thanked world, our lead human character, who is Epoch and his support team but also gave Succession Wraps In New Mexico about to meet his demise, laments about a shout-out to Har’el, sharing that he After shooting previous episodes in New York, the HBO Drama series Succes- never seeing and hearing Sia live in con- thought she was going to win the award sion recently came to New Mexico. A Succession episode was lensed during the cert. It’s a profound regret that makes an based on her high-caliber work. He also second half of January in the state. offbeat case for getting out and experi- pointed to her efforts to open up opportu- “Succession starts off 2018 in what we are confident will be another boom- encing life, making sure to pick up those nities for women directors, a reference to ing year of production for our film industry in New Mexico,” said Nick Maniatis, tickets at StubHub to attend worthwhile, the Free The Bid program she launched a director of the New Mexico Film Office. memorable events. little more than a year ago. The production employed 89 New Mexico crew members and approximate- De Thurah described the DGA Award ly 75 New Mexico background talent. as “a very prestigious prize” because it The HBO series is created by Jesse Armstrong and executive produced by is judged by and represents recognition Armstrong, Adam McKay, Frank Rich, Kevin Messick, Will Ferrell, Jane Tranter from “your peers.” and Mark Mylod. Succession follows the Roy family—Logan Roy and his four While continuing his spotmaking pur- adult children—who control one of the biggest media and entertainment con- suits, de Thurah is also prepping his first glomerates in the world. The series tracks the lives of the key members of the feature with the second draft of a script Roy family as they grapple with what the future will hold for them as their ag- currently being crafted. He hopes to start ing father begins to take a step back from the company. StubHub's "Machines" shooting either later this year or in 2019. 12 SHOOT March/April 2018 DIRECTORS Dom&Nic A duo that's a trio

By Robert Goldrich ter out of Leo Burnett London. Titled Wonderful Flight,” the film chronicles the While audiences on both sides of the At- “House of Cards,” the PSA puts us in the 50-year-long love story of Doris and Ed- lantic have been drawn to the work of the perspective of a passenger in a window ward Bair, the airport’s much loved teddy directorial duo of Dom&Nic—repped by seat on a high-speed train. At first the bears who were shown in Heathrow’s first Station Film in the U.S. and Outsider in view appears to be a typical urban land- Xmas TV ad the prior year (also helmed Europe—perhaps what’s most remarkable scape. But as we move past the various by Dom&Nic). The commercial shows a also extended into the car arena with the is the varied nature of their storytelling, houses and blocks, the camera reveals series of tender and charming moments “Honda Knows” campaign for RPA, San- with content ranging from serious to sen- that some are constructed from giant over the decades—from the first day the ta Monica, and Mercedes-Benz’s “Power- timental, poignant to comic. playing cards. Furthermore, several of Bairs met, to family reunions showing us slide” from Merkley & Partners, NY. Assorted bookends bear this out. For these houses of cards are falling apart, children and grandkids—but always at the As for how they’ve managed to become example, consider Dom&Nic’s lauded the cards tumbling off and away in slow same location: Heathrow’s arrival hall. generalists in a directorial world marked piece from yesteryear for housing and motion. The effect is powerful and mov- On the stateside front, sprinkle in com- by specialists who are often subject to be- homelessness charity organization Shel- ing, an eloquent visual metaphor for the edy, including Dom&Nic’s very first com- ing pigeonholed, Hawley explained, “We fragility of the housing situation for many mercial—Nike’s “What Are You Getting enjoy not repeating ourselves.” in society. “House of Cards” was rated Ready For?” out of Wieden+Kennedy, Goffey noted that even when they get the second most awarded commercial of Portland—and a Bronze Cannes Lion-win- a run of scripts calling for heavy VFX, 2009 by The Gunn Report. ning spot, “Shopping Cart,” for the pro it’s their take on the story that helps to Fast forward to this past Xmas, by golfers PGA Tour out of GSD&M in Aus- differentiate each job. “We try to go into sharp contrast, and Dom&Nic—aka Domi- tin, Texas. The latter is part of a campaign a meeting with agency creatives, giving nic Hawley and Nic Goffey—teamed with which shows golfers in unlikely situations them something extra. It comes down to Havas London on a sentimental spot for using their golf skills to solve a problem. us getting an interesting script and offer- Heathrow's "It's A Wonderful Flight" U.K.’s Heathrow airport. Titled “It’s A Dom&Nic’s American ad work has Continued on page 18

March/April 2018 SHOOT 13 DIRECTORS Bryan Fogel Shifting gears in his documentary debut

By Robert Goldrich are able to avoid detection, passing as- says, ‘Don’t lose this....It’s everything.’” It Bryan Fogel’s auspicious debut as a docu- sorted drug screening tests. Icarus follows turns out “everything” was “thousands mentary filmmaker is a testament to his Fogel as he takes performance-enhancing of spreadsheets and documents, many of adaptability as the story he intended was drugs to see if they will strengthen his which ended up in (World Anti-Doping relegated to the backburner when a much endurance as an amateur bike rider. He Association investigator Richard) McLar-

bigger, all encompassing tale emerged. then seeks out help on how to test clean, en’s final report. So it was scary. I was courtesyPhoto Netflix And his deft handling of that tale has leading him to Dr. Grigory Rodchenkov, saying to different people on my team: beyond that of documentarian—namely yielded Icarus, which recently won the a maverick Russian scientist who’s expert ‘You take a hard drive, you take a hard that of protector and guardian for Rod- Best Documentary Feature Oscar along at beating the system. Over a period of drive, you take a hard drive.’ I sent the chenkov. “Nobody else had the info, the with earning a DGA Award nomination, months, the two form a bond as shocking hard drives to different locations, getting evidence he had. We had to preserve this and an Orwell Award from the 2017 Sun- allegations emerge placing Rodchenkov safety deposit boxes. It was very surreal story—and preserve him,” said Fogel. “Ev- dance Film Festival, among other honors. at the center of Russia’s state-sponsored because all of a sudden I was at the cen- ery day we were navigating the process, Fogel originally intended to delve into Olympic doping program. For Fogel, the ter of it...I was literally the go-between for protecting Grigory so we could continue sports doping and how star athletes—such first-hand guinea pig premise of his docu- Grigory and WADA (World Anti-Doping our journey to tell his story.” as champion cyclist Lance Armstrong— mentary gives way to a much more signif- Association) and the IOC (International Icarus takes on an almost hybrid form icant story, arguably the biggest interna- Olympic Committee), and I was sitting in of a documentary that plays much like a tional sports scandal in history which he meetings with the world leaders of sport narrative feature thriller. Rodcheknov’s and Rodchenkov are positioned to expose saying, ‘Here’s what they did, here’s the story as chronicled in Icarus played a to the world at large. Rodchenkov even- evidence. Here’s where you’ll find the major role in the International Olym- tually flees to the U.S., leaving his family bodies, the blood, the bullets. Go.” pic Committee’s original decision, an- behind and in fear for his life. At the proverbial blink of an eye, Fogel nounced in December 2017, to ban Rus- Fogel recalled, “The first thing Grigory was no longer the film’s protagonist—that sia from participating in the 2018 Winter Photo courtesyPhoto Netflix does when he gets off the plane [in the distinction getting passed on to Rodchen- Games. In the ensuing weeks, though, Dr. Rodchenkov (l) and Bryan Fogel U.S.] is he hands me a hard drive and he kov. Furthermore Fogel took on a role Continued on page 18 Luca Guadagnino The power of love and collaboration

By Robert Goldrich who first came on board as a producer parents (Michael Stuhlbarg, Amira Casar) On one hand, Call Me by Your Name had and then years later became available when a 25-year old grad student named myriad challenges to overcome—budget con- to direct; and James Ivory, a noted film- Oliver (Armie Hammer) arrives. Elio be- straints, numerous stops and starts, and var- maker in his own right, who agreed to comes involved with Oliver and in the ied unfulfilled project iterations over nearly write the screenplay. It was a match made process learns the beauty and heartbreak

10 years since actor Peter Spears first read in heaven, the pairing of two revered of love. Alessioby Photo Bolzoni the novel of the same title by Andre Aciman storytellers—Guadagnino known for his “The story is an affirmation of love,” that it’s his hometown. “Everything you and set out to produce a film that would do emotionally moving fare and attention to said Guadagnino. “You can love where you see in that movie that looks and feels like justice to the book. sensory detail; and Ivory, a heralded mas- want, however you want, who you want.” summer is the wizardry of our amazing On the flip side, though, the project ter of literary adaptation. Still, there were logistical hurdles to re- DP and Luca knowing the town, how to had inherent advantages, most notably Call Me by Your Name has earned as- alizing that tale as the timing of the shoot make it feel like summer while in fact we the strength of its coming-of-age love sto- sorted accolades, including four Oscar turned out to be far from ideal. Guadagni- were deluged and under water.” ry. Patience was also a virtue as the wait nominations—Best Picture, Adapted no noted that the summer of 1983 story Guadagnino and Mukdeeprom decid- of almost a decade ultimately yielded the Screenplay, Leading Actor (Timothee was shot in a 17th century Italian villa— ed to shoot Call Me by Your Name with right team to bring Call Me by Your Name Chalamet) and Original Song (Sufjan except the weather that particular month a single 35mm lens. “I like limits,” ex- to fruition, including: Luca Guadagnino, Stevens for “The Mystery of Love”). Ivory turned out to be extraordinarily and un- plained Guadagnino. “I think it’s impor- wound up winning the Oscar, his first, for characteristically rainy. “We didn’t have tant to know the limits you are working the screenplay. His three prior Academy the sunshine we wanted in May,” recalled within and to find the language through Award nominations were for Best Direc- Guadagnino who credited cinematogra- these limits. I gave myself the specific tor—for A Room with a View in 1987, pher Sayombhu Mukdeeprom and sound limit of one lens because I did not want Howards End in 1993 and The Remains of designer Jean-Pierre Laforce with helping the technology to interfere with the emo- the Day in 1994. to overcome the unexpected weather. tional flow of the film. I wanted us to be In Call Me by Your Name, Chalamet Spears, though, gave considerable concentrated on the story, on the charac- Photo courtesy of Sony Pictures Classics courtesyPhoto Pictures of Sony portrays 17-year-old Elio who lives in a credit to Guadagnino who knew Lom- ters, and the flow of life.” Call Me by Your Name northern Italian villa with his academic bardy, the locale in Italy, all too well in Continued on page 18 14 SHOOT March/April 2018 DIRECTORS Alison Klayman Docu prescription: SXSW & Netflix

By Robert Goldrich This month, Klayman forged some seemingly aren’t enough hours in the day Director Alison Klayman—whose work new festival ground, bringing a film—Take to accomplish what we set out to do. Cog- spans lauded documentaries, shorts, Your Pills—to SXSW for the first time. nitive-enhancing drugs go hand in hand commercials and branded content—is no She also experienced another first in her with the drive for productivity at all costs. stranger to the festival circuit, initially festival travels, coming to SXSW with a Sadly, these pills have become the defin- scoring with her feature documentary de- distribution deal already in place. In fact, ing drugs of a generation. but, Ai Weiwei: Never Sorry, which won a one week after its debut screening on day SXSW, assessed Klayman, is “a dream the dynamics in our society which are Special Jury Prize at the 2012 Sundance one of SXSW, Take Your Pills premiered fit” for Take Your Pills. She cited the fes- making this the drug of our time,” said Film Fest, and was then shortlisted for an on Netflix (3/16). tival’s appeal to Millennials, its focus on Klayman. “So many people feel pressured Academy Award, and nominated for two Klayman—who is handled for com- tech and the social conscience reflected and stretched thin. This is something that News & Documentary Emmys as well as mercials and branded entertainment in the different art forms showcased. touches many people in America—from a DGA Award. by Washington Square Films—explores Klayman recalled that the project all walks of life.” in Take Your Pills how today’s do-more- started with Netflix reaching out to her, Klayman was sought out for her better-faster society has spurred on the leading to a conversation with Maria documentary and storytelling acumen popularity of prescription stimulants such Shriver and her daughter, Christina as reflected in not only Ai Weiwei: Never as Adderall and Ritalin, which are no lon- Schwarzenegger, who wanted to do a Sorry—which chronicles artist and activist ger just a treatment for kids with ADHD. film about Adderall. (Shriver and Schwar- Weiwei as he prepares for a series of ex- These stimulants have made their way zenegger are EPs of Take Your Pills.) “It hibitions while increasingly clashing with into college classrooms, Wall Street and wasn’t even on my long list of topics to the Chinese Government—but also var- Photo courtesyPhoto of Netflix Silicon Valley, virtually any place fueled tackle but I immediately recognized it ied other projects, including films she’s Take Your Pills by the need to succeed—and where there could be an important project, exploring Continued on page 29

CONGRATULATIONS TO ALISON KLAYMAN ON THE SXSW WORLD PREMIERE OF TAKE YOUR PILLS

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March/April 2018 SHOOT 15 DIRECTORS Toolbox Feature Tech Meets Streaming On Altered Carbon Altered Carbon (Netflix), produced by Skydance Television, envisions a grim Rebecca Miller future where technology has enabled humans to transfer their consciousness from one body to another--effectively giving eternal life to a privileged few as A heartfelt debut as a documentarian they move through a steady stream of cloned host bodies. The high-concept series is also pushing the boundaries of traditional TV technology. By Robert Goldrich Altered Carbon becomes one of the first episodic shows to be shot on the An accomplished narrative filmmaker— ARRI Alexa 65, and finished in Dolby Vision HDR. as evidenced by Maggie’s Plan, a Sony Deluxe’s global postproduction teams worked Pictures Classics release starring Greta closely with Skydance Television’s production Gerwig and Julianne Moore, Personal team to develop a highly collaborative and for- Velocity which won the Sundance Dra- ward-thinking workflow to handle the massive file matic Grand Jury Prize and Independent sizes from the Alexa 65--bringing feature-quality Spirit’s coveted John Cassavetes Award, visuals to the small screen on an advanced level. and her first feature Angela, recipient of Altered Carbon “We were in a unique position from the begin- Sundance’s Filmmakers Trophy—Rebecca ning because our DPs Martin Ahlgren and Neville Kidd loved the look of the Miller is now once again breaking new Alexa 65, which at that point had only been used to shoot features,” said Di- ground, making her documentary debut. some distance” which only time could eter Ismagil, VP of post production at Skydance Television. “I’ve worked with It’s a personal, familial foray into non-fic- bring, she shared. Deluxe on TV projects for over a decade, so right away I went to them to brain- tion as the subject is none other than her And from a practical standpoint, Miller storm on how to handle these intimidating file sizes--how do you manage the father, Arthur Miller, the late, legendary had a production partner emerge, pro- dailies? How do you do VFX pulls? How do you get everything done on time playwright whose body of work includes ducer Damon Cardasis, “whom I could and control costs? There was a lot to figure out initially just to make sure we the seminal Death of a Salesman, The trust to undertake this work” which en- could pull this off.” Crucible and All My Sons. tailed chasing down and gathering differ- Deluxe teams at Encore in Vancouver and Hollywood, EFILM, and Company Arthur Miller: Writer, which recently pre- ent bits of film and video scattered across 3 tackled these workflow challenges with a number of approaches, including miered on HBO, has material never seen different locations and storage facilities, their proprietary service, Synapse Portal. This service simplifies ingest and au- before by the public, including interviews having the material digitized, and so on. tomates distribution of original camera plates to VFX vendors with the desired and home movie-style footage which cap- Cardasis provided a trusted level of car- specs, dramatically reducing turnaround times and eliminating the potential tures him in a relaxed, reflective state, yield- ing and organization that allowed Miller for human error. ing impromptu moments and observations. “to finish this project that I had started Traditionally used for features, Synapse Portal for TV was first deployed by The documentary provides insights into long ago, kind of tidying up that part of Encore and Company 3 on 2017’s American Gods, to great success. Knowing the author that are quite different from my life.” the speed and flexibility of the Synapse Portal would be crucial for the VFX conventionally held perceptions. As for whether the experience of mak- schedule, Deluxe worked with production to develop a workflow to keep costs Though Rebecca’s interviews with her ing Arthur Miller: Writer has whetted her down using downrezzed 4K ProRes XQ files for mastering the show rather than father and priceless home footage—cap- appetite to take on more documentary the massive ARRI RAW files. tured over the last 25 years of his life—had work, she noted that it has, though she Encore Vancouver handled dailies, EFILM handled VFX data management, been around for awhile, she finally decid- currently has other projects pending, Company 3’s Jill Bogdanowicz colored the series, and Encore Hollywood man- ed to construct a documentary using that including an undisclosed limited series aged the finish and final delivery–-all in close collaboration withAltered Car- material. “One of the reasons I decided for television, and a narrative feature she bon post producer Allen Marshall Palmer and the DPs. to do the documentary was I wanted his would like to make in the near future. humor and playfulness to come across. Down the road, though, she can see her- Surf’s Up For RED Digital Cinema, FUJINON I think that’s been surprising to a lot of self again delving into the documentary Considered one of the premiere surfing competitions, Volcom Pipe Pro is people,” observed Miller who added that discipline. “It’s so different from making the inaugural event for the World Surfing League (WSL), bringing together the her dad’s story is “as much about failure a narrative feature. It [making a docu- world’s top pipeline surfers. as it is success. The message for writers mentary] is like the writing process in the Live footage from the event was captured on RED Digital Cinema’s WEAPON and artists is that you have to keep trying. sense that you have an idea, raw material with MONSTRO 8K VV sensor equipped with FUJINON Premier PL 25-300mm You need perseverance. Otherwise you go and you have to carve them into a form— and 19-90mm Cabrio zoom lenses for Red Bull TV, in addition to Hawaii and silent. Artists cannot be silent.” that action is a little bit like writing in a Australia cable channels. The event also served as a real-world demo day with The timing was right to bring this doc- way, finding a structure that will reveal shooters from Red Bull, the WSL, and Uncle Toads Media umentary to fruition, Miller explained, the subject in the best way.” Group trying out the new camera sensor and lens com- because she had some time to reflect on bination. her father’s life and legacy. “I needed “Forensic exercise” Local and visiting video professionals also received Relative to the challenges posed by Ar- hands-on time with the RED camera and FUJINON zooms - thur Miller: Writer, she related, “Making a during an open house at Hawaii Camera. movie about a parent that includes a part This year the Hawaii Camera demo day attracted up- of their life that was before you knew the RED outfitted with Fujinon ward of 75+ attendees. parent can be challenging. You’re look- This marks the third year that RED and the Optical Devices Division of FUJIF- ing, for example, at the relationship with ILM have collaborated during the Volcom Pipe Pro. his first wife—their love letters. And then Photo by Inge by Morath@The Photo Inge Morath Founda tion/Magnum Photos/courtesy of HBO it’s strange to piece together your parents’ Rebecca Miller (l) and Arthur Miller Continued on page 29 16 SHOOT March/April 2018 DIRECTORS Rudy Valdez Completing The Sentence

By Robert Goldrich be a thoughtful, professional filmmaker ally found herself targeted by prosecutors, In his feature directorial debut—The even when telling a deeply personal story Despite her alleged participation—she Sentence, which recently won the U.S. which shook the very core of his family— contended she was not involved in any Documentary Audience Award at the has yielded a film which elicited a tearful drug conspiracy—and the nonviolent na- Sundance Film Festival—Rudy Valdez ap- standing ovation following its premiere ture of the charges, Shank was subject to pears in a brief scene during a contem- screening at Sundance, exposing a social mandatory minimum drug sentencing of plative moment, becoming as vulnerable injustice that has impacted a large seg- 15 years in a federal prison. Mandatory husband Adam, her parents and of course as those he’s filming. Valdez confesses, ment of our society. sentencing didn’t allow the judge any Valdez himself. “I don’t know what it is about standing And that exposure will increase as discretion, even though circumstances of Valdez took the initiative. He fervently behind the camera but it’s allowed me to HBO made a deal at Sundance to acquire the case called for a much shorter prison pursued a longshot, seeking clemency for be able to cope with a lot of the things the TV and digital distribution rights to term, if not probation. Cindy which was granted just as Presi- that I’ve seen.” the documentary. Valdez spent about a decade shooting dent Barack Obama prepared to leave of- This coping mechanism—the ability to The Sentence introduces us to Valdez’s footage documenting his nieces growing fice in late 2016. sister, Cindy Shank. The mother of three, up so his sister could at some point see The Sentence is the ninth film from Shank was incarcerated in 2007 for tan- their accomplishments and various per- Park Pictures Features, which was gential involvement with a Michigan drug sonal milestones. launched in 2010, to make the Sundance ring years earlier. She was sentenced even But this project evolved into some- cut. But it’s the first documentary ever though her then live-in boyfriend drug thing much bigger, becoming an intimate produced by Park, the motion picture dealer was shot and killed some time portrait of the devastating consequences division of commercial/branded content back—and at that point she was charged that an unjust mandatory minimum drug production house Park Pictures. Jackie with no crime. sentence can have on a family. For Shank, Kelman Bisbee, who partnered with her The Sentence As the girlfriend, though, she eventu- this included her daughters, her now ex- Continued on page 30

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MONTANA THE ULTIMATE LOCATION Fort Benton March/April 2018 SHOOT 17 DIRECTORS Dom & Nic Duo Is A Threesome With EP John Madsen Continued from page 13 Chemical Brothers over the years, thus to live music at venues across the U.K. sional arguments. John helps us see what ing something that can make it unique.” far yielding eight videos, including the makes sense financially, the practical side Hawley conjectured that the duo’s acclaimed “Wide Open” which garnered Threesome of filmmaking. He will let us know that roots in music videos may have contrib- a Film Craft Gold Lion at Cannes, two Hawley and Goffey identified another we might not be able to achieve our vision uted to a healthy range of work. “We had Bronze Lions, and a D&AD Yellow Pencil. dynamic that has enabled them to take a certain way because of budget.” the opportunity to kind of write our own That relationship took on an ad dimen- on a wide expanse of creative work—the Goffey and Hawley liken their col- scripts and a pattern emerged before we sion as Dom&Nic enlisted the Chemical practical sensibilities brought to the mix laboration to that of agency writer and art got into commercials,” he said. “We’d do Brothers to do a special version of a track by their colleague of the past 20-plus director teams. “You have an art director a Chemical Brothers video that was quite for a new music video-styled ad, “Follow years, executive producer John Madsen. who writes something, a writer who art dark. So we’d look for something humor- the Rabbit,” for 02 out of agency VCCP “It’s not just the two of us. It’s three directs. By the end of the job, you don’t ous for the next video. We would do new London. The piece features a mesmeriz- people,” affirmed Hawley. “John is part of remember which is which or who did stuff each time so early on people saw a ing blue rabbit that interrupts people in our creative process on every job. Noth- what. They were just creatives making collection of dramatically different work their everyday pursuits. Folks then intui- ing is held back as we explore creative the creative the best it can be. That’s how in style and tone.” tively follow the rabbit, facilitating a social possibilities and the budget we have to Nic and I work with each other and with Dom&Nic have had an enduring col- campaign in which viewers stay on the realize them. It’s a collaboration among John,” said Hawley. “We are constantly laboration with the Brit electronic duo bunny trail leading to 02 Priority Tickets the three of us, with discussions, occa- brainstorming, feeding off each other.” Bryan Fogel Reflects On His Oscar-Winning Icarus Continued from page 14 firmed Fogel who touched upon the time, we all felt the film could be better. We because of Netflix,” which brings a reach loopholes emerged in that ban, allowing added significance of this when put into a all wanted to continue working on the film of 190 countries spanning 120 million many Russians—without an official flag big picture context. Serving as a presenter coming into Sundance,” recalled Fogel. “We homes and 600 million people. It’s nir- or government delegation—to compete in at the Cinema Audio Society Awards last delivered our Sundance cut at 8 am on the vana for documentarians “if your goal is the Winter Olympics. month in Los Angeles, Fogel said that day we were premiering at 11 in the morning. to have your film seen,” he said, whether Fogel cited George Orwell’s obser- Icarus shows “the lengths to which Rus- As proud as I was of that Sundance cut, cre- it be on TV, a computer, an iPhone or any vation that “sport is war without the sia will go to meddle into international atively I felt the film could be made stronger, other streaming media device. weapons.” And for an event such as the affairs,” paralleled to Russia’s meddling further polished and crafted. Netflix gave me As for what his filmmaking future Olympics, sport, noted the documentar- designed to undermine elections in other the creative runway to do that. They allowed holds, Fogel is exploring the scripted ian, is “a geopolitical weapon showing the countries, including the U.S. me five months after Sundance to continue space, both features and TV, as well as power and strength of a country,” a con- to craft and work on the film.” continuing to consider documentary cept which Russian President Putin has Netflix And then there’s the global exposure projects. Furthermore, he is mulling over embraced as his approval rating in Russia The success of Icarus, affirmed Fogel, is provided by the Netflix platform. During options in the shorter format world as “skyrockets” with each Olympic victory. also attributable to Netflix on different fronts. a Doc Roundtable at last year’s AFI Fest, he is on the roster of production house “That’s why Grigory coming forward At the 2017 Sundance Film Festival where Fogel noted that more people are “caring Supply&Demand for commercials and with these truths is so important,” af- Netflix acquired Icarus, Fogel noted, “At that about documentaries than ever before branded content. Guadagnino Weathers Storm In Call Me by Your Name Continued from page 14 elation of desire—either a burst of desire have to compromise on a project you are Inconscio Italiano and Bertolucci On Ber- As a producer, Guadagnino had earlier for someone else or you discover you are passionate about. I was so inspired by so tolucci. Guadagnino earned international worked with Mukdeeprom on Ferdinan- the object of someone else’s desire. In this many people on this film—Armie, Timo- acclaim for I Am Love, which scored an do Cito Filomarino’s Antonia. “Sayomb- movie, Elio realizes there is something thee, Michael, my DP. And I’ve always Oscar nomination for Best Costume hu has a specific sensitivity to nature and to him he really doesn’t know how to been fascinated by the concept of an au- Design and Golden Globe and BAFTA at the same time he’s a sculptor of light,” handle but he wants to follow somehow.” dience. And to see how audiences have Award noms for Best Foreign Language assessed Guadagnino. “I also admire his While dark events grow out of that desire reacted to this film, how it has resonated Film. A Bigger Splash premiered in com- way of being as a person who brings such in I Am Love and A Bigger Splash, Call with so many, means a great deal. It’s both petition at the Venice Film Festival. a wonderful calmness and spiritual seren- Me by Your Name yields a more hopeful humbling and empowering.” Known for his feature filmmaking, ity to the set.” and profound experience, one that takes Guadagnino’s films have premiered at Guadagnino has also explored storytell- its toll yet makes young Elio better for festivals all over the world, including Ven- ing prospects in shorter form fare. He is A completed trilogy having gone through it. ice, Berlin, Toronto, Locarno, Busan and handled by production house Little Minx Guadagnino said he regards Call Me Guadagnino feels gratified by having Sundance. He made his feature directo- in Santa Monica, Calif., for spots and by Your Name as the last leg of a trilogy, gone through the experience of making rial debut at the 1999 Venice Film Festival branded content. Over the years he has starting with his films I Am Love and then Call Me by Your Name. “It reinforced my with The Protagonists. His other features directed branded entertainment for such A Bigger Splash. He observed that the belief system that if you work with people include Melissa P and the documenta- brands as Giorgia Armani, Cartier and three movies are connected by “the rev- you trust and can share with, you don’t ries Mundo Civilizado, Cuoco Contadino, Salvatore Ferragamo. 18 SHOOT March/April 2018 UP-AND-COMING DIRECTORS Springing Forward With New Talent Directors poised to make their mark for many seasons to come By Robert Goldrich

SHOOT’s spring ensemble of up-and- on the strength of his feature documen- skateboarders about their relationships coming directors includes: an obsessed tary, Minding the Gap, which tells the and personal lives. “I found a pattern of skate video filmmaker who made a break- story of three young men—including family dysfunction and over time I settled through at Sundance; and a helmer who himself—who bond with one another via on making this a character-driven film in established herself in London, has turned skateboarding to escape volatile families the town I grew up in, Rockford, Illinois. out some initial notable U.S. campaign in their Rust Belt hometown. However as I grew up with these guys. We had similar work and is just taking on her first repre- they grow up and adult responsibilities issues and situations—and I slowly worked sentation in the American ad market. take hold, unexpected revelations jeopar- my way into the film [as an on-camera Also in the mix is a prolific music dize their decade-long friendship. subject] over the past couple of years.” video director who has since diversified The poignant film marks a stirring fea- Liu developed the film with Chicago- Sinto commercials, branded content and ture directorial debut for Liu—one which based Kartemquin Films, and as a co- shorts. Not quite a year ago, he garnered also recently landed him representation production of POV and ITVS. He not his first U.S. production company home for commercials and branded content only directed and co-starred in Minding for spots and videos. through Nonfiction Unlimited, a produc- the Gap but also was its DP, co-producer And rounding out the field is a film- tion company known for helping docu- (with Diane Moy Quon) and co-editor maker whose work in fashion, music and mentarians diversify into the ad arena. (along with Joshua Altman). dance has struck a responsive chord with The backstory for Minding the Gap dates Additionally, Liu’s presence at Sun- brands and audiences. back to when teenager Liu began filming dance extended beyond Minding the Gap. Here’s our spring collection of several skate videos. “It became an obsession,” he He also served as a segment director and promising directors to watch. related. “It also allowed me to connect with DP for America to Me, a 10-part limited other videomakers across the country. We’d series which chronicles a year at one of From top left, clockwise: Bing Bing Liu give each other tips on upping our game. Chicago’s most progressive and diverse Liu; Minding the Gap; Georgia Bing Liu is a breakthrough director, Over time, the skate videos became more public schools, located in suburban Oak Hudson; Misty Copeland in Under literally. This past January Liu won the and more experimental.” Park. The series—under the aegis of direc- Armour's "Unlike Any" campaign; Sundance Film Festival’s Special Jury Then some five years ago Liu started tor Steve James (Hoop Dreams and this Yoni Lappin; Equinox's "Impossible Award for Breakthrough Filmmaking going around the country, interviewing Continued on page 20 Happens"; Stewart Maclennan March/April 2018 SHOOT 19 UP-AND-COMING DIRECTORS The Spring Collection: Filmmakers Bing Liu, Georgia Continued from page 19 I was less a protagonist in the traditional campaign is evident, additionally reflected how I found it. You’re always working with year’s Best Documentary Feature Oscar- sense and more in the character of film- in other individual spots profiling stunt a brief of some sort, respecting the music nominated Abacus: Small Enough to maker, being the camera itself. I also be- woman Jessie Graff, Harlem Run founder and what it stands for.” Jail)—is both intimate and epic in its story- came a bit vulnerable as I interact with Alison Desir, world champion sprinter Na- For commercials and music videos, telling, exploring America’s charged state my friends, which helped serve the pur- tasha Hastings, and actress/Taekwondo Hudson related, “I like the people aspects of race, culture and education. America to pose of touching on the issues involved Black Belt artist Zoe Lanxin. of the job as well as making art with the Me made its world premiere as part of the more deeply.” “It was beautiful to work on that cam- potential to reach a huge audience in a Sundance Fest’s Indie Episodic lineup. Regarding what Minding the Gap paign,” shared Hudson. “It had a lot of democratic and fair way. I try to learn from A Kartemquin Films project produced taught him, Liu spoke about “not go- heart, especially with Misty who has a everything I do. I am constantly exploring in partnership with Participant Media, ing into a project with a set idea of what beautiful presence and an amazing story. how to communicate, shedding light on America to Me was picked up for distribu- a story is going to be. You have to let the The campaign was a hunt for conveying people, their emotions and stories. Com- tion by Lionsgate’s Starz network ahead characters’ lives lead the way, and you’re the right feel and emotion for each athlete. mercials are now really exciting and attrac- of the show’s Sundance debut. there to capture it in a way that’s true to We had these beautiful poems. But also tive to me. Traditional formats are chang- James and Liu share a connection on them, that doesn’t get in their way.” the body and its movement can explain ing. And I’m hopeful that barriers are fronts other than just America to Me. For There are other lessons that Liu would life’s secrets that we don’t have words for.” breaking down—where women directors example, James was an exec producer on like Minding the Gap to impart to certain Testament to Hudson’s work is the re- get more opportunities to work on what in Minding the Gap and his spot/branded viewers. Alluding to the abusive father peat business it generated as Droga5 re- the past were considered ‘male brands.’” content representation is also at Nonfic- figures that the main characters endured turned to her for a Dick’s Sporting Goods Hudson was drawn to Park Pictures on tion. James’ affiliation with Nonfiction as youngsters, Liu shared in his Artistic anthem short tribute to a collection of fe- several levels, including it being a com- goes all the way back to the company’s Statement for the film, “What’s clear from male athletes. The piece is marked by cin- pany with a woman at the helm, partner/ inception. He was the very first director doing this project is that violence and its ematic elegance along with some music EP Jackie Kelman Bisbee. “Production signed by Nonfiction partner/exec pro- sprawling web of effects are perpetuated video sensibilities, a discipline in which companies are waking up to diversity but ducer Loretta Jeneski, aka LJ, back in in large part because these issues remain Hudson has made an indelible impres- Park Pictures has always been naturally 1995 when she established the company. behind closed doors, both literally and sion with clips for such artists as Pink, diverse in terms of its leadership and tal- Liu met Jeneski at an after party fol- figuratively. My hope is that the charac- Loyle Carner and Glass Animals. These ent,” said Hudson. “And I was very much lowing the screening of Minding the Gap ters who open doors in Minding the Gap garnered nominations and wins in multi- attracted to all that filmmaking talent and at Sundance. Liu said he was attracted to will inspire young people struggling with ple categories at MTV, Ibiza VMAs, Berlin their body of work at Park Pictures.” Hud- Nonfiction Unlimited by Jeneski’s “en- something similar—that they will survive MVA, UKMVA and the MOBO Awards. son also liked the continuity of having the thusiasm for my creative voice and her their situation, live to tell their story, and The Pink music video “What About Us” same company handling her on both sides willingness to work with me to develop create a life of causality for themselves.” earned Hudson a nomination for Best Di- of the Atlantic. it for the commercial realm. It was also rector at the 2017 UK MVAs. On the shorts front, Hudson is cur- comforting to know that she has an un- Georgia Hudson Hudson grew up in London and at- rently developing Temper, an artistic derstanding of my scattered schedule as a Georgia Hudson has made her first tended Camberwell Art School where documentary on youth culture and grief. filmmaker actively working on and devel- mark in the American ad market and is she studied ceramics. “I’d work with clay, Hudson described Temper as “an experi- oping new projects. She has worked with now looking to continue that with her re- put it into the fire and watch the alchemy mental project, made on a shoestring bud- my trusted advisor Steve James since his cent move to Park Pictures for representa- take hold,” she recalled. “In a way it trans- get, that informs what I want to continue Hoop Dreams days.” tion in the U.S., U.K. and the Netherlands. lates into how I wanted to work on film, to do—to tell stories about real people as Liu regards James as a friend and men- Park Pictures is her first career stateside taking the elements and transforming it I figure out how to harness the emotion tor. Liu described himself as “very self production house roost. into something of its own, a pure form of of those stories and tell them through the taught, working as a grip, electrician, A prime example of Hudson’s alluded art to capture emotion and tell stories.” moving image. At the same time, I want camera assistant, camera operator, all to initial inroads into U.S. fare is her work Hudson also made 16mm performance this imagery to convey emotion in a way while I kept making skate videos. I didn’t on Under Armour’s global “Unlike Any” art films. After graduating, she started that is never preachy.” go to film school. To be able to sit down campaign from Droga5, New York, pro- working in fashion, art directing runway Temper is slated for release later this year. and have coffee with Steve, who’s en- duced by London-based Agile Films, shoes and creating short fashion promos. countered seemingly every situation, has Hudson’s former production house affili- Sought out by I-D magazine, she went on Yoni Lappin been a wonderful education. He’s helped ation. The campaign enlists accomplished to write and make documentaries and art In a relatively short span, director Yoni me balance things, putting the work into spoken word artists to craft poems unique films for them. Lappin’s career has extended its creative perspective. You’re a person telling a to the story of individual athletes. The Hudson then extended her creative reach from music videos to commercials story, which can be very personal. Where poems are read by the artists as voiceover reach into music videos. “I loved taking on and shorts. On the latter score, he recently do you draw the line between exploitation on each of the respective films, resulting other people’s concepts, the pace of the completed Model Citizen, a documentary and bringing an important story to light in powerful odes to celebrate female ath- industry, being entrusted with their music. for Vogue about fashion models from Su- that’s worth telling? Steve has helped me letes’ unwavering spirit. Working in music videos, I was able to de- dan. Lappin profiles several models whose work through different issues and been a A centerpiece film in this campaign velop a visual language of my own, which only connection is that they are all from great sounding board.” features famed ballerina Misty Copeland. still comes across in the commercial work South Sudan, a region embroiled in civil As for his becoming part of the story in The camera follows her poetry in motion— I’ve done to date. There’s a common mis- war for more than two decades. “To come Minding the Gap, Liu said it was helpful unfolding to the words of Saul Williams. conception that music videos give you the from such a volatile place and make it in “to have skin in the game as a filmmaker. Hudson’s directorial touch in this poetic ultimate freedom creatively. That’s not the fashion industry is such a contrast,” 20 SHOOT March/April 2018 UP-AND-COMING DIRECTORS Hudson, Yoni Lappin and Stewart Maclennan said Lappin. “I was intrigued by their dif- video credits are NAO’s “Girlfriend,” a “The cutting room became my film and the Middle East. ferent stories and wanted to do justice to dreamy, atmospheric depiction of young school,” said Maclennan. A producer he Among the work building momentum them. They are all unique characters.” love; and Mura Masa and Charli XCX’s “1 knew helped him land his first job in for Maclennan are client-direct films for Slated at press time to soon make its de- Night” which explores the awkward yet editing. “It’s said you write a film three Levi’s and Tretorn. The former introduc- but, Model Citizen is the latest example of exhilarating state of being in love. times—when you write the screenplay, es us to 25-year-old, L.A.-based tap dancer how Lappin’s filmmaking exploits contin- Some 10 months ago, Lappin landed then when you shoot it and finally when Kenji Igus who’s evolved his art beyond ue to diversify. It’s his second short docu- his first representation in the U.S., com- editing. That’s where all the elements his training in classical jazz to now en- mentary, the first being the Nowness- ing aboard the roster of RSA Films for of storytelling come together—visuals, compass hip-hop and rap music. Igus’ tap commissioned Love the Time, a piece commercials and branded content, and sound design, performance, handling dancing to contemporary music brings that revisited his roots in Israel, delving its sister shop Black Dog Films for music digital effects. Everything to tell the story back an iconic American artform, paral- into different subcultures, capturing such videos. He has already been active on the comes together in the editing room.” leling Levi’s, an iconic American brand. protagonists as the Jerusalem Skater Girls spotmaking front via RSA, first taking on a Maclennan went on to serve as both a Titled Rhythm Is My Business, the Levi’s who empower Jewish, Muslim, Christian visually arresting client-direct campaign for postproduction assistant and an appren- interactive short champions the relevance and atheist women in the country as they a Converse/JW Anderson amalgam of foot- tice sound editor on Terminator 3: Rise of of tap dancing to youth culture—and indi- come together and skate in a way that is wear representing contrasts between iconic the Machines, and later an assistant editor rectly the relevance of the Levi’s brand to unforced and instinctive. Converse silhouettes and JW Anderson’s in London on the feature Half Light. that coveted youth demographic. Lappin made his first filmmaking design aesthetic. The spots feature young “My experiences in the editing room Another heritage brand, Tretorn, made mark in music videos, collaborating with creatives discussing their perspectives on eventually gave me the courage to go its initial mark years back as a Swed- friends’ bands. He then worked at Warner personal style and philosophy. behind the camera and make my own ish shoe company in the U.S. Recently Bros. Records for a few years in London, Most recently, Lappin directed an- films,” recalled Maclennan. This was bought by an American conglomerate, connecting with managers and artists, cut- other client-direct project, the “Impos- around the time dance films on YouTube Tretorn sought to reconnect with young ting his teeth on low-budget music videos. sible Happens” commercial for luxury had started to emerge, along with the American consumers, resulting in Ma- The big break thrusting him into the spot- fitness company Equinox via RSA. The increased prominence of short fashion clennan directing The Tretorn Artists Se- light was his coming together with Mura spot features vignettes of eclectic fitness films. And with digital cameras becoming ries, branded content centering on such Masa on “What If I Go,” which brought enthusiasts on their journey to overcome more prevalent, making content became artists as American dancer Erin S. Murray the conventions of Instagram to a music personal challenges, and how their train- a less expensive proposition with Maclen- and cellist Isaiah Gage. video. “What If I Go” was nominated for a ers are the motivational forces that push nan gaining experience and honing his Maclennan’s films have been featured U.K. Music Video Award in 2016. them past what they thought was doable. filmmaking chops in dance and fashion. in GQ, Vimeo Staff Picks, Nowness, Lappin and Mura Masa went on to be- Lappin captures the genuine dynamic be- Maclennan’s work began to find an au- Laughing Squid, and the San Francisco come friends, leading to an enduring col- tween trainers and trainees in a humor- dience and gain traction as he secured pro- Exploratorium Museum. He’s also been laboration which his yielded such work as ous, heartfelt, and human way. duction house representation in the U.S. nominated for multiple awards at the La “Love$ick” which has garnered some 24 and internationally. He came aboard the Jolla and Millan fashion film festivals. Ma- million views since its release and earned Stewart Maclennan roster of CoMPANY Films, the L.A.-based clennan additionally launched 21, a micro a 2017 U.K. MVA nomination for Best Ur- Halfway through a two-year program shop headed by EPs Robin Benson and fashion film series created exclusively for ban Video. Featuring A$AP Rocky, the on producing at the USC School of Cin- Richard Goldstein, for spots and branded Instagram. He’s created commercials, Mura Masa video elegantly portrays the ema-Television, Stewart Maclennan took a content. The director then branched out dance films and branded content for cli- youthful misadventures of three friends detour—not because he didn’t find value with representation in the U.K. via Odelay ents such as LaCoste, AG Jeans, Moods of in London, marking a storytelling depar- in the curriculum but because the cur- Films and in France through Satellite My Norway, Fila, For Love & Lemons, Nasty ture from the hip hop clip norm. riculum had exposed him to another dis- Love. An indie directors agent also took Gal, StyleStalker, Citizens of Humanity, Among Lappin’s other notable music cipline that he valued even more: editing. him on for work in Eastern Europe, Asia and Google.

March/April 2018 SHOOT 21

CoMPANY_QtrPage_Nonbleed.indd 1 3/16/2018 2:03:23 PM LEADING PRODUCERS Fresh Produce: Perspectives On Film, TV Spears, Medavoy, Benson, Biller, Root shed light on varied projects Photo courtesy of Fox Searchlight courtesyPhoto of Fox

By Robert Goldrich Photo by Van Redin/courtesy of National Geographic Van by Photo

From Peter Spears, a first-time producer Spears, Medavoy, Alison Benson, Ken- villa posed a new set of problems. Spears turned Best Picture Oscar nominee for neth Biller and Jane Root. credited fellow EP and the film’s direc- Call Me by Your Name, to a storied vet- tor, Luca Guadagnino, with coming to eran, Mike Medavoy, chairman and CEO Peter Spears the rescue. Guadagnino thankfully knew of Phoenix Pictures, whose filmography Actor Peter Spears made his first foray Lombardy, the town in Italy, all too well in includes producing Zodiac, Shutter Is- into producing—and it was a marathon that it’s his hometown. “Every bit of the land and Black Swan (which earned him run, underscoring the importance of per- film has Luca’s imprint as a filmmaker a Best Picture Oscar nomination in 2011) severance. Some 10 years ago, Spears read and a producer. It was his town, his art- as well as such TV series as Altered Car- Andre Aciman’s novel, “Call Me by Your work, his furniture, his dishes. What we bon (Netflix) and the miniseries The Long Name,” and recalled, “I was so moved didn’t count on was shooting the summer FRoad Home (National Geographic)—that’s by it and kind of jolted into this moment in Italy and getting in May/June the cold- the range of experience on the mini-con- where I felt the need to make this into a est, wettest, stormiest time in 200 years in tinuum reflected in this SHOOT feature movie. I had never felt that before. I went Europe. We were constantly battling rain, on Leading Producers. into it blindly with the feeling that what- flooded rivers, location changes. Every- Also in the mix are: an EP who just ever it takes, I want to do this.” thing you see in that movie that looks and wrapped her second season on an HBO Through many chronicled stops and feels like summer is the wizardry of our series only to then jump onto a movie starts, the right team of “amazing artists” amazing DP (Sayombhu Mukdeeprom) which is set to debut at the Tribeca Film finally came together, said Spears. “This and Luca knowing the town, how to make Festival in April; an EP/showrunner who happened when it was supposed to and it feel like summer while in fact we were directed three first season episodes of the way it was supposed to. Some of the deluged and under water.” From top left, clockwise: A scene an acclaimed limited series and has now earlier incarnations would have been dif- Spears hopes that the film’s four Oscar from Call Me by Your Name; Peter helmed select installments of the show’s ferent movies. I’m so grateful we waited nominations, including a win for James Spears; Alison Benson; a scene next iteration for season two; and a sea- for the time we did.” Ivory for his adapted screenplay, will not from The Long Road Home; Mike soned EP who has teamed with Darren Still, the timing wasn’t ideal on all only prompt people to see the movie but Medavoy; Kenneth Biller; and Aronofsky on an ambitious docuseries. fronts. Stormy weather for a film set in the to read the book on which it is based. “An- Jane Root. Here’s a look at the perspectives of summer of 1983 in a 17th century Italian dre (Aciman) entrusted us with his baby, 22 SHOOT March/April 2018 LEADING PRODUCERS

this book. The Oscars help to protect the several such artists, praising their contri- Benson has been part of Divorce, mon, Taylor Kinney, Renee Zellweger, legacy of the story—both in the movie and butions, including Abraham and com- which stars Parker and Thomas Haden Waleed Zuaiter) and an original song by in the book. My wish is that more people poser Jeff Beal. Church, from its inception, back to when Rufus Wainwright. Pretty Matches is a seek out the book and read it who might That trust is particularly special, said Parker initially envisioned the show to lat- small production company. But we were not have otherwise—and that they have Medavoy, because of the special trust er bringing in Sharon Horgan to help re- able to bring all the elements together by the same experience I had when I read it that The Long Road Home entailed. “We alize it fresh off her success as the creator putting all hands on deck.” 10 years ago.” were telling true stories, got to know the of Catastrophe (Amazon). However, Hor- Blue Night is among a select group families who were impacted; people who gan, with her other commitments, wasn’t of Spotlight Narrative features which Mike Medavoy lost family and friends. Nobody wants to as involved in season two as she had been will premiere at the 2018 Tribeca Film Included in Mike Medavoy’s exten- Festival in April. sive filmography are several seminal war films—Apocalypse Now when he was SVP Kenneth Biller of production at United Artists, Platoon As showrunner, executive producer as co-founder of Orion Pictures, and The and a director (of three episodes) for sea- Thin Red Line at Phoenix Pictures. He son one of Genius—a National Geographic recently returned to the war zone but in series delving into the life of Albert Ein- television with The Long Road Home, a stein and garnering 10 Emmy nomina- National Geographic series which is in tions in the process—Kenneth Biller has this year’s Emmy conversation. Based a lot to live up to serving in the same on Martha Raddatz’s New York Times capacities for season two, which centers best-selling book, The Long Road Home on Pablo Picasso, who as an adult is por- depicts a heroic fight for survival during trayed by Antonio Banderas.

the Iraq War, when the 1st Cavalry Divi- Craig Blankenhorn/courtesy by Photo of HBO Yet the silver lining to having to meet sion from Fort Hook was ambushed on or exceed a lauded show is that some key April 4, 2004, in Sadar City, Baghdad—a Thomas Haden Church (l) and Sarah Jessica Parker in Divorce contributors remain intact from the first day that came to be known in military an- relive that. Nevertheless, they trusted us in season one, according to Benson who season, including the talents of EPs Ron nals as “Black Sunday.” to tell that story with taste and in a way said, “New people coming in can be a bit Howard and Brian Grazer of Imagine En- The eight-episode series takes us to that honored those who served.” of an obstacle in the writing room. But we tertainment, cinematographer Mathias the action on the ground in Iraq as well This brings a larger profound call- got everything to work out, making for a Herndl, AAC, editor James Wilcox, VFX as the homefront back in Texas where ing that transcends the usual myriad great season two.” supervisor Marek Ruth, department head spouses and families await news for 48 creative, financial and logistical respon- Meanwhile during the last three weeks makeup artist Davina Lamont, as well as nightmarish hours. sibilities of a producer. “Doing justice of shooting season two of Divorce, Ben- assorted other artists and actors. Medavoy was drawn to being able to to these stories, these people’s lives,” son and Parker were gearing up for the “I’m fortunate to have these people delve into multiple first-hand perspec- said Medavoy, is the paramount priority feature, Blue Night. “We’re wrapping a back with me,” affirmed Biller. “When tives of a story with the luxury of eight which carries its own pressure. “You feel TV show, going into post while actively you find incredibly talented people, you hours of television as compared to a personally responsible.” prepping the movie,” recalled Benson. are desperate to hang onto them. In this two-hour feature. Other highlights were Medavoy, who was in the U.S. Army Re- “We finished Divorce in early June (2017) golden age of television, there is so much construction of what was billed as the serve for six years, said, “My feeling has and started shooting the movie the first work for high-caliber talent. They get largest operating set in North America always been that one should really sup- week in July. snatched up immediately. We’re fortunate as the crew, led by production designer port national service. It’s important for Blue Night, a French New Wave-in- that they were loyal to the series and be- Seth Reed, fully rebuilt the town of Sadr the country to know what these people— spired drama, centers on a singer in New lieved in it. They could work anywhere City in Fort Hood, Texas; and forging new those who serve and their families—go York who gets a grim diagnosis from a else they wanted. Some turned down collaborative relationships, including through. It’s why we honor them—and doctor, prompting her to put her life and work to wait for season two to happen.” working for the first time with director should honor them in every way.” dreams into perspective. Parker stars in Biller, who directed the finale of season Phil Abraham, who made his initial mark and served as a producer on Blue Night, one, this time around directed the first as an Emmy-winning (Mad Men) and Alison Benson which was written by Laura Eason and two episodes of the second season, team- -nominated (four times for The Sopra- Plate spinning is a circus manipula- directed by Fabien Constant. ing with Herndl to set the look and tone nos) cinematographer before making the tion art in which a person spins plates, “Fabien has tons of experience in the of the Picasso series. transition to directing (a two-time Emmy bowls and other flat objects on poles, nonfiction world, in fashion and beauty,” The inherent challenge of chronicling nominee for Mad Men). Abraham’s direc- without them falling off. That’s the seem- related Benson. “He did a documentary Picasso, observed Biller, is “to visually torial credits span such series as Orange Is ingly ongoing juggling act for producers, (Mademoiselle C) on the French editor of represent the life of the greatest visual The New Black, Halt and Catch Fire, The as reflected in Alison Benson’s recent Vogue. He came to us with this idea for artist of the 20th century. It better be in- Strain and Ray Donovan. schedule which saw her exec producing a feature. It’s a great part for Sarah and teresting to look at.” Medavoy values working with talent season two of Divorce (HBO) while prep- we went to Laura Eason, whom we are In that vein, Biller is grateful to have for the first time, trusting his instincts as ping a feature film, both through Pretty big fans of. We made the film for under a lasting collaboration with Herndl; the to what they can bring to a project. For Matches, the company in which she is $3 million with an unbelievably great cast two worked together on Legends prior to The Long Road Home, he teamed with partnered with Sarah Jessica Parker. (Simon Baker, Jacqueline Bisset, Com- Continued on page 24 March/April 2018 SHOOT 23 LEADING PRODUCERS EPs Reflect On Challenges Of Genius, One Strange Rock Continued from page 23 watch the older Picasso played by Anto- to quite a few different locales to achieve knowledge” but also both “an emotional the first season of Genius. In fact, Biller nio Banderas, there are times we almost the look and light of Mediterranean loca- and practical view of the world.” recommended Herndl to Howard, who never move the camera. The master shots tions.” Among those lensing locales were One Strange Rock examines why life as also struck up a rapport during an initial especially are composed still frames, let- Paris, Malaga (Picasso’s and for that mat- we know it exists on earth, brought into meeting with the DP. As a result, Herndl ting characters walk in and out of frame. ter, Banderas’ birthplace in Spain), Barce- perspective by the only living souls who lensed the Howard-helmed season one Keeping the camera still for the most part lona, Budapest and Malta. “The produc- have left it behind—astronauts. tion was bigger in that sense. We had to With astronaut POVs and insights move a lot more, work with more local proving invaluable, another key find, crews in lots of different cities.” Root recalled, was later coming up with Season two of Genius premieres April the appropriate series host, “somebody 24 on National Geographic. who would be the face of the viewer in the show.” Fitting that bill was actor Will Jane Root Smith who, said Root, “is really all about There’s no place like home. And in this joy,” an ideal voice to talk about “the joys case home is planet Earth, the wonders of of the world.” which are being explored in the National One Strange Rock entailed shooting in Geographic docuseries One Strange Rock 45 countries. The 10-part series from Nu- executive produced by acclaimed film- topia and Protozoa Pictures takes camer- maker Darren Aronofsky (Black Swan, as where they’ve never been before—and

Photo by Dusan Martincek/courtesy by Photo of National Geographic mother!, Requiem for a Dream) and pro- beyond filming on six continents, there’s ducer Jane Root (America: The Story the lensing perspective from outer space Antonio Banderas as Pablo Picasso in season 2 of Genius of US, The ‘80s: The Decade That Made on the International Space Station. opening episode of Genius and recently allows for movement within the frame Us, and the News & Documentary Emmy Root—who is founder of Nutopia—de- won the ASC Award for that effort. Fur- which is very energetic. That and the Award-nominated How We Got to Now), scribed Aronofsky as “our muse. We thermore, Biller noted that filmmaker color palette are the two biggest differ- former president of Discovery Channel talked a lot about all aspects of the show, Howard as a series EP “made himself ences between seasons one and two. The U.S. During her Discovery tenure, the how things look, the structure of how very available to me and very much a first season with Einstein, a middle Euro- mega documentary series Planet Earth things should work—what’s the gram- part of the discussion about Picasso. I pean show, we used a cooler color palette. became a worldwide phenomenon. Prior mar and how does it all fit together? He had many long conversations with Ron For Picasso, in a Mediterranean setting— to Discovery, Root was with BBC2. helped us work out the template for the about how I wanted to approach this sea- Mediterranean lighting played a key part Root was approached by a National whole project.” son visually—how we would continue to in Picasso’s work—we used much warmer Geographic exec some three years ago Root hopes One Strange Rock—the first make the same show but have season two tones of blues, golds and reds.” about producing an ambitious project episode of which debuted March 26 on become its own thing. He was very much As an EP and showrunner, Biller had to centered on the marvels of Earth as seen National Geographic—turns out to be a a presence in all the thought that went deal with more geographic-related logis- from an atypical orientation. She then got series which can be enjoyed on different into this chapter of the series.” tics in season two as compared to the first the ball rolling by seeking out scientists levels, educating as well as entertaining. Among the distinctions that made season, which was shot largely in Prague. and varied experts to gain their input and “It’s not just a science show. It’s a show season two “its own thing,” shared Biller, Picasso was a creature of the Mediterra- feedback. Then came the idea of looking that engages you. It’s a show you can was a decision stemming from “making a nean but because of the schedule for Na- to scientists with, said Root, “a different watch with the sound down and still en- show about a painter and how that affects tional Geographic, “We were not shooting attitude” about Earth, namely astronauts joy. It can be watched all kinds of different your framing.” He explained, “When you at a friendly time of year. So we had to go who have not only “a ton of info and ways. It’s a science show and more.”

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24 SHOOT March/April 2018 CINEMATOGRAPHERS & CAMERAS Photo courtesyPhoto of Netflix Adriano Goldman, ASC, ABC Alan Jacobsen Erik Messerschmidt The Crown Insights Into The Crown, Strong Island, Mindhunter, Spots DPs Adriano Goldman, Alan Jacobsen, Erik Messerschmidt discuss their work, collaborators

By Robert Goldrich about The Crown being fitted with the death of her father, King George VI. As that is so holy in a sense.” One DP just won his first career ASC crown jewel for cinematographers on the decades pass, personal intrigue, ro- There was also a major change in the Award—on the strength of his work on the awards show circuit, the ASC Award, mance, and political rivalries are revealed originally intended approach on how to The Crown (Netflix). besting such esteemed nominees as Gon- which played a major role in events that best lens the actors. At first, the thought Another made key contributions to the zalo Amat for The Man in the High Castle, shaped the latter part of the 20th century. was to shoot from a distance, in a docu- heartfelt Strong Island (Netflix), which Alasdair Walker for Outlander, and Rob- During the first season of The Crown, mentary fashion, as “if we were hidden was nominated for this year’s Best Docu- ert McLachlin, ASC, CSC, and Gregory Goldman shot episodes 1 and 2 for direc- in chambers at Buckingham Palace,” said mentary Feature Oscar. Middleton, ASC, CSC, for their respective tor/series EP Daldry, episodes 3 and 5 Goldman. “But ultimately the decision And a third DP has spent a recent episodes of Game of Thrones. (“Smoke and Mirrors) for director Philip was to do the opposite, to be physically stretch focusing on spots after getting a Goldman said that the awards showing Martin, and episodes 7 and 9 for direc- close to the actors—and the characters career break from David Fincher on the and his positive experience on The Crown tor Benjamin Caron. Though it was the they were portraying. We wanted the au- TV series Mindhunter (Netflix). justified his proactive pursuit of the gig. number 5 episode, “Smoke and Mirrors” dience to feel they could almost read the Here are insights from DPs Adriano He took the initiative by approaching di- was the very first episode shot. “I prepped characters’ thoughts. We wanted the audi- Goldman, ASC, ABC, Alan Jacobsen and rector Stephen Daldry for whom he had deeply for episode 5, especially given it ence to see every pore, to feel the texture Erik Messerschmidt. lensed the feature Trash back in 2013. was my first time working with Philip of the Queen’s skin, to feel the costumes, Trash told a story set in Brazil where Martin,” recalled Goldman. “I had to the fabrics...Another challenge was kind Adriano Goldman, ASC, ABC three kids make a discovery in a garbage learn his style and we had to establish the of a tricky combination. So much about For Adriano Goldman, ASC, ABC, dump only to soon find themselves run- overall look of the series with Peter and the Queen’s world is about protocol and winning the ASC Award last month for ning from the cops and trying to right a Stephen’s approval. A less-is-more kind formality. Yet Stephen wanted to show the “Smoke and Mirrors” episode of The terrible wrong. of coverage was our goal. We didn’t need this world in an organic, believable way. Crown (Netflix) was “a dream come true.” “When Stephen came back to Rio for to over-cover everything. There was so He never wanted a ‘Cinderella’ look. He described being invited two years ago the Trash premiere, The Crown was in much going on—the classy elegance, the That’s why being close to the characters to become an American Society of Cine- the air,” recalled Goldman. “I had heard Duke of Windsor in Paris watching the made sense. We wanted to create a feel- matographers member as “a high honor.” about his involvement and that [show- ceremony with his friends, jumping from ing where these characters are accessible, And now he affirmed that to be recog- runner/creator/writer] Peter Morgan was inside the cathedral for the coronation to and the tone is more intimate.” nized by his colleagues at “that special prepping for the series. I expressed my backstage where the BBC crew is at work. Goldman said he’s proud of the ap- club” with his first ASC Award nomina- interest and Stephen said, ‘If you want to There was so much stuff to intercut. You proach to—and the overall look of—The tion and win “means everything to me.” do it, it’s yours.’ I was absolutely thrilled, feel the tension in the episode.” Crown. “We’re working for the actors. “Smoke and Mirrors,” episode 5 of The recreating the period, the history behind Among the prime challenges, contin- Claire and I became close friends. What Crown, earned nominations at all the all this, the challenge of delivering some- ued Goldman, “was to shoot our own ar- she does is amazing. The realism that major competitions for best cinematog- thing that would eventually look different chival footage, what amounted to fake ar- Peter Morgan’s writing delivers and her raphy—from Camerimage to the BAFTA from other period dramas in Britain.” chival footage, re-creating what the BBC performance, all the performances, made Awards, the primetime Emmys, and the Based on Morgan’s lauded play “The TV crew captured in the cathedral for this job a joy. There’s a real freshness to British Society of Cinematographers Audience,” The Crown chronicles the the coronation. That’s the first time the this show. More than anything it all stems (BSC) Awards. His sole win this awards life of Queen Elizabeth II (portrayed by BBC was permitted access to the corona- from the dialogue, the sophistication of season came from the ASC. Claire Foy) from the 1940s to modern tion, which was shown live on television. the writing, and Claire’s performance.” “Just getting nominated across the times. The series begins with an inside “Our doing justice to the history and that At first, Goldman thought he would board was gratifying,” said Goldman. look at the early reign of the queen, who broadcast,” said Goldman, “translated to deploy the ARRI Alexa on The Crown But there was something quite special assumed the throne at age 25 after the a more humane approach to something Continued on page 26 March/April 2018 SHOOT 25 CINEMATOGRAPHERS & CAMERAS Alan Jacobsen Reflects On Documentary Strong Island; Continued from page 25 Strong Island investigates the kill- enced, had seen through his eyes. He was Yance Ford manipulates by hand. Jacob- but those plans changed with Netflix’s ing of Ford’s brother, William, in 1992 confronting what Jacobsen described as sen also shot an interview and a smatter- insistence on a 4K workflow from begin- in Central Islip, NY. A 22-year-old black “antagonists of the past”—people, systems ing of scenes with a Sony F3 camera. ning to end. At that time, this narrowed man, William Ford, was shot and killed and history that did not want to be con- his prime camera choices to include the by a 19-year-old white man, a mechanic fronted. Ford and Jacobsen were often Erik Messerschmidt Sony F55 and F65, and RED cameras. named Mark Reilly, after a verbal alterca- alone filming for long periods of time, Cinematographer Erik Messerschmidt Goldman gravitated to the Sony F55 tion. An all-white grand jury voted not with the camera showing Ford when he has spent the past year focused on com- which he said, “I have grown to really to indict Reilly and the investigation has was in anguish and suffering. It’s a ten- mercials but his career progression is the like. Its sensor is gentle, the overall look remained sealed. sion that was important to the truth of reverse of what is typical. Instead of spots is what we wanted, the camera is a hun- This story of loss, grief, bias and injus- the film, living his experience, feeling the serving as a springboard to TV series and dred percent reliable. We have not had tice struck a responsive emotional chord frustration involved in not getting to see theatrical features, it was Messerschmidt’s one single technical problem through- with audiences while attaining critical the whole picture, to have facts withheld work on the TV series Mindhunter (Net- out two seasons.” acclaim, including a Special Jury Prize or twisted to make the victim seem like flix) which established him as a DP, lead- Also key was pairing the F55 with vin- at the 2017 Sundance Film Festival. Ford the guilty party. ing to spotmaking opportunities. tage Cooke Panchro lenses and a light made history with the Oscar nod, becom- Jacobsen found most helpful the use of Messerschmidt’s commercial lensing diffusion filter called Glimmerglass. “The ing the first transgender filmmaker to a still photo tripod head, the Gitzo 405, exploits have included Taco Bell’s “Web of combination of the sensor and those receive an Academy Award nomination. Unlike a fluid head, the Gitzo 405 cannot Fries” cinema, web and TV fare directed vintage lenses,” said Goldman, “really “When I first met Yance, we hit it right smoothly pan or tilt, making for what at by Joseph Kosinski of RESET, Buick and almost immediately delivered the kind of off,” recalled Jacobsen. “He wanted to times can be a non-accommodating, un- other automotive ads from director Kevin romantic period film we envisioned.” create an immersive experience for his corrected frame. This made it easier for Berlandi, and a pharmaceutical spot di- audience. He was dealing with heavy Jacobsen to resist the temptation to cor- rected by Mark Pellington of Washington Alan Jacobsen ideas and issues but did not want to create rect a frame. At times, an empty frame Square Films. Messerschmidt also shot Upon the suggestion of Oscar nomi- a film for straight out advocacy. He want- would appear with action occasionally for Pellington the Debbie Lovato music nated filmmaker Marshall Curry, director ed to use visuals in a powerful way to give moving into it. This unpredictability add- video “Tell Me You Love Me.” Yance Ford reached out to cinematogra- the audience space to bring their own ed a feeling of suspense. Messerschmidt had been a gaffer who pher Alan Jacobsen, leading to their close ideas and to experience the story. This On the flip side, with a camera that worked extensively on commercials that collaboration on Strong Island (Netflix), makes for a much more powerful way for was often static, a scene can become all were lensed by such notables as Claudio nominated for this year’s Best Documen- an audience to almost be a participant in the more impactful when there’s any Miranda, ASC, Tami Reiker, ASC and Jeff tary Feature Oscar. Jacobsen had earlier the film, engaging people in a way unlike movement; Jacobsen and Ford tapped Cronenweth, ASC. lensed two documentaries for Curry: Rac- a typical who, what, where and when into that dynamic at key junctures. The On the feature front, Messerschmidt ing Dreams and Point and Shoot—each documentary. Yance made it clear this DP cited a turning point where the mom served as a gaffer on the David Fincher- received the Grand Jury Prize for Best wasn’t to be an investigative piece of what Barbara talks about her son being killed directed, Cronenweth-shot Gone Girl, Documentary at the Tribeca Film Festi- went wrong but rather why it happened and finds out that the justice system has a project which proved pivotal. “David val, in 2009 and 2014, respectively. and the systemic problems behind what let them down. “Barbara talks about her knew I had a still photography back- “Marshall came to know me as a cin- went down that night.” realization that what she taught her chil- ground and I ended up doing promotion- ematographer who went deep with a Part of sharing the experience en- dren—to judge people by their character, al still work with him on Gone Girl,” relat- director, deep into a story, committed to tailed deploying a lingering camera that not the color of their skin—was a mistake. ed Messerschmidt. “David too me under telling stories in the most cinematic way does not pan or tilt, meaning there’s ac- Barbara admitted to herself that she did this wing and moved me up to shoot his possible,” said Jacobsen. “Sometimes tion that viewers cannot follow. There’s a disservice to William with this ideal series Mindhunter.” (The alluded to still documentaries don’t get much credit for empty space along with unclear or par- which may have contributed to her son photography chops date back to when cinematic technique. Marshall saw that tial glimpses. Viewers are forced to look being killed. When she shares that with Messerschmidt worked for still shooter was an interest of mine and hearing what very carefully, to glean what they can, us, the camera starts to move, almost im- Gregory Crewdson.) Yance wanted to do with a cinematic ex- to not look away from painful details. In perceptibly at first.” Season one of Mindhunter had Mess- perience, he recommended me.” ways it was what Yance Ford had experi- Jacobsen built a motorized motion erschmidt lensing multiple episodes for control tracking system that would dolly directors Fincher, Andrew Douglas, Asif the camera ever so slowly. “There was no Kapadia, and Tobias Lindholm. The way to push the dolly slowly enough to thriller series chronicles an FBI agent’s get the effect we wanted. We moved about quest to track down serial killers in the The Best Place To Put Your Work To Work To Find You New Work. five feet over three minutes, giving the late 1970s. “David changed my life in a audience the feeling that things are shift- major way,” said Messerschmidt. “I owe ing but we don’t know why.” him a tremendous amount in helping me Jacobsen shot Strong Island with most- have a career as a cinematographer.” ly Canon cameras, including the Canon Mindhunter sparked interest in Mess- My.SHOOTonline.com 5D Mark III for very low-light nighttime erschmidt from the commercialmak- exteriors, the Canon C300 for many of ing community, yielding perhaps most the interviews, the C300 Mark III at 4K notably the aforementioned Taco Bell for reframes on the photographs that campaign for Deutsch, the centerpiece 26 SHOOT March/April 2018 CINEMATOGRAPHERS & CAMERAS Erik Messerschmidt Lenses Mindhunter, Spots of which was a tongue-in-cheek trailer Kosinski-directed Granite Mountain. sor. Messerschmidt thinks of himself as it’s maintaining the delicate balance of for a movie that doesn’t exist. The piece At press time, the L.A.-based Messer- technologically agnostic. For instance, he enabling directors of different episodes parodies the suspense feature genre as a schmidt was returning to Pittsburgh to went with the ARRI Alexa for Taco Bell, to tell stories their way while maintain- means of introducing Taco Bell’s #nacho- embark on season two of Mindhunter. and utilized Alexa and RED for his col- ing the consistency of the overall look fries. Josh Duhamel plays a father deter- Once that’s wrapped in the fall, he laborations with director Pellington. Ear- and feel of the series. In the case of Mind- mined to cut through a “Web of Fries” to plans to return to commercials. Messer- lier Messerschmidt shot 35mm film for hunter, Fincher’s directing of the initial find the truth about the new menu item. schmidt hopes to ultimately be active in the Jeremiah Zagar-directed In A Dream, installments helped set the visual param- “Web of Fries” marked a reunion for TV, spots and features. which made its way to the feature docu- eters which other directors on the show Messerschmidt with director Kosinski. On Mindhunter, Messerschmidt de- mentary competition at Camerimage. were conscious of. Messerschmidt said They had worked together on prior proj- ployed the RED 6K with Dragon sensor As for the biggest creative challenge that as a DP he must make sure all the ects, including when Messerschmidt for season one. For season two, he’s mov- that Mindhunter has posed to him as a work—from varied directors—feels cohe- served as a gaffer and 2nd unit DP on the ing over to RED 8K with the Helium sen- cinematographer, Messerschmidt said sive in the big series context.

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Derby’s Josh Hayward Explores the Poetry and Brutality of Combat Sport Corbin Richardson Directs “A Story Of Passion” For Mazda Escape Velocity in “Muay Thai” Muay Thai, a short film from Derby director Josh Hayward, is currently Content Director Corbin Richardson chronicled the art and science behind engineering enjoying its world premiere on the global video channel Nowness. A surreal exploration the latest model Mazda for agency Garage Team Mazda. The two-minute “passion piece” of the intense form of martial art that has become an international phenomenon. was part of a larger campaign directed by Richardson for the automaker. Kinotehnik to Launch Practilite 802 at NAB 2018 At NAB 2018, Kinotehnik, Susan Credle of FCB to Chair the 2018 AICP Next Awards Judging Panel Northern European manufacturer of innovative cinematography and lighting accesso- Matt Miller, President and CEO of AICP, announced that Susan Credle, Global Chief Crea- ries, will introduce Practilite 802, its first bi-color, power-panel LED lighting instrument. tive Officer of FCB, will serve as the 2018 AICP Next Awards Judging Chair, and Master of Umedia Applies Finishing Touch to SXSW Favorite “Prospect” Post- Ceremonies at the AICP Next Awards presentation on June 12, 2018. production finishing for Prospect, the acclaimed feature debut from directors Zeek Earl and charlieuniformtango Brings Home 9 ADDYS charlieuniformtango brought Christopher Caldwell, was completed at Umedia in Vancouver. The film, which is co-produced home 4 Gold, a Silver, and 4 Bronze ADDYS from last night’s 56th Dallas ADDYS by Depth of Field, The Realm and Ground Control and had its world premiere at SXSW. award ceremony held at The Bomb Factory in Dallas. Registration Now Open for SIGGRAPH 2018 in Vancouver: Registration is Fried Okra Entertainment Promotes Consent on Spring Break Production now open for SIGGRAPH 2018, the world’s leading annual interdisciplinary educational company Fried Okra Entertainment has created a series of social media videos aimed at event showcasing the latest in computer graphics and interactive techniques. The 45th the college spring break crowd — specifically, at the guys in the mix. SIGGRAPH conference will take place 12–16 August 2018. Carbon Brings Paper and Packaging Animated Characters To Life Carbon Finish Post Utilizes DaVinci Resolve Studio For National Television Com- animators brought the new cornerstone paper and packaging characters for the national mercial Blackmagic Design announced that Colorist Rob Bessette from Boston- marketing campaign Paper & Packaging – How Life Unfolds to life based Finish Post used DaVinci Resolve Studio and a DaVinci Resolve Advanced Panel Technicolor PostWorks Helps Send 10 Films To SXSW Continuing its support to grade Progressive’s latest commercial titled, “My Year of Me.” for innovative and emerging filmmakers, Technicolor PostWorks New York provided post- Mark Mckenzie Scores Dos Corazones Film’ “Max & Me” Score Award- production services for 10 films screening at this month’s SXSW Film Festival in Austin, Texas. winning film composer Mark McKenzie reunites with the Mexico-based production com- Mob Scene Names Brett Abbey as CFO Mob Scene, one of Hollywood’s lead- pany Dos Corazones Films for the animated feature, MAX AND ME. Previously, McKenzie ing entertainment marketing agencies for major motion picture studios, television scored for Dos Corazones’ THE GREATEST MIRACLE which was awarded “Best Indie Film networks, and production companies, has named Brett Abbey as its new CFO. Score” from the Hollywood Music in Media. Felix Fissel Joins VFXnow as VP of Global Operations GPL Technologies has Survivors of Sexual Exploitation Address The Reality of Being a Woman hired Felix Fissel to lead its VFXnow unit as Vice President of Global Operations. Fissel, in Poverty Through Film In the midst of celebrity outcry over sexual misconduct an IT specialist with deep experience in the visual effects industry, will oversee VFXnow in Hollywood, one film has emerged to address the conditions faced by the silent ma- operations in Los Angeles, New York, and Vancouver. jority. ‘Hold Me Down’ is based on the experiences of Unique Adams, a single mother Photographer/Director Dick Patrick Announced “Patsy” Well-known Dallas from the South Bronx, New York. based photographer, Dick Patrick, introduced a new body of Whitehouse Post LA Welcomes Editor Matthew Toot Your Own Horn! work titled “Patsy” at an event for clients, family and friends. Hilber Int’l editorial company Whitehouse Post welcomed Acclaimed Director Paul Goldman Switches To award-winning commercial editor Matthew Hilber to their roster. The Directors Network Award-winning commercial Take1 Insurance and L.A. Xcess Combine To Create director Paul Goldman has signed with the Directors Powerful New Insurance Force In The Entertain- Network, the premier talent agency for freelance directors, publicity wire ment Indy U.S. Risk Insurance Group LLC, the nation’s director/DPs and cinematographers. fifth largest Property & Casualty wholesaler and parent of pr.SHOOTonline.c “Morning Ready” Continues Stephen Arnold Mu- leading entertainment insurance solutions provider Take1 sic’s Success In Morning News Promotion Stephen Insurance, announced it has acquired L.A. Xcess Insurance Brokers, Inc. Arnold Music announced the launch of Morning Ready. Morning Ready, the latest in Director Simon Eustace Lands at MUGSY Director Simon Eustace has joined this popular series, provides local stations with a cost-effective marketing toolkit to MUGSY for exclusive U.S. representation. This will be the first U.S. representation for the maximize their morning promotions. London-based visual storytelling and dialogue director. Jeff White Named Creative Director Of Industrial Light & Magic Vancou- CARTONI To Showcase New Camera Support Products at NAB CARTONI, ver Academy Award-winning Visual Effects Supervisor Jeff White has taken the role of Italian leader in professional camera support, will introduce several innovative additions to Creative Director of Industrial Light & Magic’s (ILM) Vancouver, B.C. studio. its product line at NAB 2018. 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To inspire people launched its latest limited-edition road car, the 488 Pista, at the Geneva Auto Show with to seize the moment, BMW Motorrad USA and M&C Saatchi LA have captured the a film, directed by Lino Russell, that gives viewers a taste of what it’s like to sit behind the freedom and joy of the open road in the short film The Someday Ride. wheel of a car that can do zero to 60 in 2.85 seconds. Cut by Union’s Marco Perez, “Night Dancing” Wins Best Editing, Best For the full stories [and many more], contacts info and videos with credits, Director, and The Audience Award, “Night Dancing,” the latest collaboration visit SHOOT® Publicity Wire (spw.SHOOTonline.com). SPW is the best place to between partner/editor Marco Perez of bicoastal Union and director Barney Cokeliss announce your news or video release to amp up the “buzz” among the entertain- (repped by Dark Energy/London and Steam Films/Toronto), won the Best Editing Award ment & advertising industries motion picture segments’ movers and shakers from at the 5th Annual Utah Dance Film Festival. Hollywood to Bollywood and from Madison Avenue to Cannes and beyond. To get more info on how to “Toot Your Own Horn” via SPW visit pr.SHOOTonline.com

28 SHOOT March/April 2018 DIRECTORS Alison Klayman Reflects On Documentaries, Branded Fare Continued from page 15 not want to talk about. But we worked dezhda Popova, a.k.a. Nadia, who became Features take many years in development directed for the PBS series Frontline as hard to find people who were willing to a World War II hero as a member of a So- and even then don’t come to fruition. For well as the doc short The 100 Years Show. appear on camera. We talked to more viet all-female bombing regiment. Klay- me, I want to be able to continually hone The latter introduces us to Carmen Her- than a hundred people for our research, man teamed with animator Dustin Grella my craft, build a bigger toolbox in terms rera, a pioneering abstract painter who for background, in some cases for cast- to tell the story of the Night Witches. of what I can do and how I can apply it gained long overdue recognition as she ing, in others for our own edification. We Another dynamic informing Klayman’s to other projects. It’s refreshing to work approaches her 100th birthday. found some great stories and then worked documentaries is her ad work. “Branded on jobs that have shorter timelines. I’m From her feature and short documen- to find the best way to show them.” content and commercials are really a gift very much drawn to the creativity in com- tary fare, Klayman has diversified via Opening titles were done by a graphics in my life as a filmmaker,” she said. “I get mercials and branded content. It’s still all Washington Square Films into spots and team at London studio Blue Spill which to stay busy, to learn from these projects. about communicating.” branded work for the likes of lululemon helped develop a look that helped define and Hewlett Packard, among others. the Adderall aesthetic. “You can visualize Klayman’s penchant for authentic the aesthetic for LSD and marijuana. We Flash Back storytelling is fostered by her back- had to come up with a feel or aesthetic for March 23, 2013 Commercial production company Original has added ground as an accredited journalist in the Adderall stimulant,” noted Klayman. David Wild and James Moll to its directorial roster. Wild brings more than 20 China who produced radio and TV fea- “Every drug has its own particular cul- years of experience in spots and documentaries, the former including recent ture stories for such programs as NPR’s tural context and story.” work for AT&T, Pert, Toyota and Brut. Moll is an Academy Award-winning All Things Considered. Additionally, the appearance of 3D and two-time Emmy-winning documentary filmmaker who is entering the people in environs was deployed to, for commercial field for the first time. Prior to joining Original, Wild was repped Cinematic value example, tell the story of a Goldman by Dallas-based Directorz. Moll is the director of more than a dozen documen- Klayman also brings filmic sensibilities Sachs analyst suffering from addiction taries including Foo Fighters: Back and Forth, which brought him a Grammy to her work. “Adderall is not inherently a but who wanted to remain anonymous. Award in 2012. He won an Academy Award in 1999 for Best Documentary cinematic story. Part of my job is getting Klayman has demonstrated an affinity Feature for The Last Days, executive produced by Steven Spielberg, about the the best stories on screen and making for incorporating animation and design extermination of Hungarian Jews during World War II. He is also the recipi- them cinematic. Using creative graph- into her documentary endeavors. For ex- ent of two Emmy Awards for Inheritance and Survivors of the Holocaust.... ics and animation was helpful. At first, I ample, she turned out a New York Times Jonathan Levine, the director behind such films as 50/50 and the recent Warm turned to them because we thought that Magazine animated Op-Doc, The Night Bodies, has joined the roster of Caviar, Los Angeles. Known for his directing these are personal stories that people may Witch, which shed light on the life of Na- and screenwriting on the big screen, Levine comes aboard Caviar after helm- ing his first commercial project—for the debut of Li Ning, basketball super- star Dwayne Wade’s new line of shoes, out of Los Angeles-based ad agency Zambezi. In 2008, Levine won the Sundance Film Fest’s Audience Award for Director Rebecca Miller his first film, The Wackness, for which he directed and wrote the screenplay.....

Continued from page 16 Arthur Miller: Writer sheds light on a March 28, 2008 San Francisco ad agency Cutwater has brought Walter lives before you were born, their romantic singular life marked by literary work that Smith on board as its president. He has spent the past three years as execu- life, how people have changed over the continues to stir the collective social con- tive managing director of TBWA\G1-Europe in Paris. Smith worked with Chiat\ years. It’s kind of a forensic exercise in a science, while still acknowledging per- Day’s San Francisco and Los Angeles offices in the 1980s. In the ‘90s, he was way, piecing together a mystery.” sonal human frailty, the truth of one’s life with Hal Riney & Partners, San Francisco. He joined TBWA\Chiat\Day LA in the And sometimes that mystery and and one’s capacity to cope with adversity. early 2000s....Director Michael Chavas has joined the roster of Subliminal for mixed emotions get spelled out by the The documentary is a portrait—and trib- exclusive U.S. spot representation. He comes over from Backyard in Venice, subject himself. In the documentary, for ute to—one artist by another. Calif....Looking Glass Films in Hollywood, Calif., has signed director Chad instance, Arthur Miller discusses father- Asked about the highlights of her Einbinder for commercial representation in the U.S. Last year, his comedy hood. “I enjoyed being a father. I also own career as an artist, Rebecca Miller work earned him inclusion in SHOOT’s New Directors Showcase...Bicoastal enjoyed escaping being a father. I was al- doesn’t cite any of the aforementioned production house The Joneses has added director Allen Martinez to its roster. ways in and out of my skin because I just awards her films have garnered. Instead Martinez launched his career with A Band Apart, then moved over to Tate & couldn’t be a father 24 hours a day and she shared, “Working with Greta Gerwig Partners, and most recently with Motel Films in Hollywood....Composer Gabe still do what I was thinking I had to do.” and Julianne Moore was a real treat. So Sokoloff has joined Wojahn Bros. Music in Santa Monica, Calif. At one point, there’s also a sense of was the high I felt from the experience loss—on different levels—for an interview of making my first film, Angela. Being that didn’t come to pass. The documen- able to work with my husband [Daniel For Event Dates & Deadlines tary touches upon the institutionalization Day-Lewis] on The Ballad of Jack and of Rebecca’s younger brother, Daniel, Rose was great. The highs aren’t what See Industry Events Calendar who was born in 1966 with Down syn- you would think. It’s not the prizes. It has drome. She notes in the movie that her more to do with the moments where you at IndustryEvents.SHOOTonline.com and father offered to do an interview about are inside the process. That is far more Awards Shows Timelines Organizer Daniel. However, Arthur Miller passed fun than anything else. Going way deep away in 2005, at the age of 89, before that inside the stories and characters where at Timelines.shootonline.com interview was realized. no one else has gone.” March/April 2018 SHOOT 29 DIRECTORS

Rudy Valdez Finds A Home New York-based production company Sibling Rivalry has signed commercial, documentary and short narrative filmmakerSandra Continued from page 17 provided. Sam told me, ‘We believe in you. Winther. With a style that melds documentary and narrative husband Sam Bisbee and filmmaker We believe in the story and want you to techniques and an emphasis on capturing the stories and pulse of Lance Acord, to form Park Pictures Fea- make the film you want to make.” vibrant youth, culture and subcultures, the Copenhagen-born, New York-based editor-turned-director has helmed an array of projects tures, noted that The Sentence has whet- Valdez is a self-taught filmmaker. He that reflect her approach for the likes ofNike, adidas, Versace, ted the company’s appetite for the docu- got involved in acting, doing theater Hugo Boss, New Balance, and i-D. One of her most recent efforts mentary discipline. in high school and college. But he was for i-D, sponsored by New Balance, was a three-part series focused Park Pictures Features plans on doing turned off by the audition process and on athletic subcultures in London, New York and Tokyo....Finnish more documentaries, with Kelman Bis- “having things projected on you.” director/photographer Viivi Huuska has joined production house bee describing The Sentence as being “a He related, “Like most failed actors, Diktator. Huuska has worked with prominent film producers, highlight of my career.” my answer was to write a one-man show editorial magazines, fashion designers and leading Finnish record companies and She is also bullish on Valdez’s filmmak- so my family could see me.” The show music artists. After firmly establishing herself in the Finnish market, she is ready ing future spanning long and short form found an audience as he took it on tour to continue developing her work on a global scale. Diktator’s L.A. office is under fare. On the latter score, Kelman Bisbee for a year and a half. the aegis of EP Gustavo Leon....Amazon Studios has greenlit Undone, a direct-to- said that Valdez “will have a commer- Needing to get a job, he began to coach series animated show co-created by Raphael Bob-Waksberg (BoJack Horseman) cialmaking career with us.” He will be basketball, a summer camp position lead- and recent Writers Guild Award winner Kate Purdy (BoJack Horseman). The series handled for spots and branded content ing to a teaching gig where he met a is in pre-production and expected to premiere in 2019 on Prime Video in over 200 by Park Pictures in which Kelman Bisbee couple in the film biz. They gave him ac- countries and territories exclusively for Prime Members. Undone is a half-hour and Acord are partnered. cess to a film set to observe and he began animated dramedy that explores the elastic nature of reality through its central to spend his free time working for them, character, Alma. After getting into a near fatal car accident, Alma discovers she has The path to filmmaking serving as a production assistant, editing a new relationship with time and uses this ability to find out the truth about her The Sentence chronicles a long, ar- now and then. father’s death. Undone will be produced by Michael Eisner’s Tornante Company duous journey, a story which got told Valdez began taking photos of light- with Noel Bright, Steven A. Cohen, and Tommy Pallotta executive producing thanks to the journey taken by Valdez to ing setups, recreating what he saw in along with Bob-Waksberg and Purdy. Dutch artist Hisko Hulsing will oversee the become a filmmaker. production, staging setups in his bed- production design and direct a team of animators working in the Netherlands.... In fact, Bisbee and Kelman Bisbee room. “I did this to catch up on the tech knew Valdez long before he got into di- side and with cameras. What saved me is recting. It dates back to when Valdez was that I had a strong base of story because their daughter’s pre-school teacher—and of my acting and writing background. well before Shank went to prison. Elements were coming together for me “Back then, Sam was a singer/song- to tell stories as a filmmaker.” writer,” recalled Valdez. “I would go with Valdez began working for the Sun- my girlfriend at the time, now my wife, dance Channel, eventually leading to The Directors Network (TDN), a talent agency for commercial to hear him perform. We loved his music, his shooting for a documentary series freelance directors, directors of photography, and director/DPs, has went to his shows all the time. We be- there, Brick City, where he learned an signed award-winning director Paul Goldman to its talent roster. came friends with Sam and Jackie, and important lesson. Goldman, who is based in NYC, has just returned from helming the when my sister went to prison, I felt close “I was working the camera as one of latest VW campaign now airing in Asia. The six-day shoot, which enough to talk to them. They put me in our main characters had one of the worst spanned across China and Taiwan, yielded three spots to advertise touch with different people who might days of her life,” Valdez recalled. new consumer technology available on the Asian continent. His be able to help." He went on to share, “She was finding ad credits span national and international brands like Kraft, Fiat, PepsiCo and Valdez continued, "They gave me out terrible news and I was there cap- GE, earning Clios, Cannes Lions, and many other accolades along the way....Los strong support emotionally and intel- turing it. That night, part of me wanted Angeles-based cinematographer Patrick Simpson has also recently signed with lectually. And then when the filming to quit. I get to turn off the camera and TDN. He is known for collaborating with commercial director Melodie McDaniel, process began, I would constantly send come home. But she continues to hurt. and has worked with clients as diverse as Bank of America, Disney, and Volvo, them scenes. They gave me feedback. I had to reconcile that for myself. I don’t among others. He lensed the worldwide Neutrogena “Beautiful” campaign, which They knew the footage more intimately know if others were feeling the same but premiered in the U.S. during the Oscars, and the documentary filmCorman’s World, than anyone I worked with over the years. I needed to figure things out. I came to which was an official selection at Sundance and Cannes....Production designer I trusted them and their feedback. They feel that if I am to continue doing this, Melanie Mandl has joined Innovative Artists for representation in commercials. were a huge help as I was sort of making then I need to honor the people who are She has worked on spots for Jet.com, BMW, Bud Light and Converse, among this film on my own. When Cindy was willing to be vulnerable, that I need to others....Also coming aboard the roster of Innovative Artists--for representation granted clemency, I was approached by help give them a voice." in spots and features-- is costume designer Alana Morshead. She is best known others. But I didn’t want to go anywhere Valdez then paused for a moment and for her feature credits Newness, The Hero and the upcoming Zoe....Below-the-line but Park with Sam and Jackie. Park was then affirmed, "That’s the reason I got Orlando Agency now represents DPs Jeff Barklage and David Kessler exclusively for home to me. In fact, Sam was able to go into filmmaking to begin with—to have commercials. Barklage’s ad credits include Coca Cola, Oil of Olay, Folgers, Subway, Tide and Bud Light. His work includes genres such as food-tabletop, liquids and back to his music roots and score The a voice. And part of being a filmmaker packaged goods. Kessler’s commercials include Canon, Sears, Kellogg’s, Goodyear Sentence. I truly believe this film is what means that it’s especially important to Tires, McDonald’s, Miller Beer, Hoover, Zocor and Under Armour.... it is because of Park Pictures, the trust give others a voice who don’t usually they had in me, the encouragement they have one. That’s where my talents lie.” 30 SHOOT March/April 2018