Hasta La Creative!

LOS ANGELES — Dustin Lance Black soared to international fame in 2009 when he won an Academy Award for his screenplay for the film Milk and inspired millions with his stirring acceptance speech invoking LGBT rights. He went on to become a leading spokesperson for the LGBT community through his play 8, about the fight against California’s anti-same-sex marriage proposition, and as one of the founding board members of the American Foundation for Equal Rights, whose efforts led to the U.S. Supreme Court’s decision striking down the discriminatory proposition. That ruling is viewed as an important precursor to last month’s U.S. Supreme Court decision making same-sex marriage legal nationwide.

With marriage equality now the law of the land, Black is refocusing his energies on his filmmaking career, without, however, lessening his commitment to equality and activism. Currently working on a mini-series for ABC about the early gay rights movement, he also finds himself suddenly in high demand as a commercial director through Los Angeles-based Bully Pictures. Black recently directed projects for Tylenol through JWT New York and Coca-Cola through Pereira & O’Dell that evoke powerful stories about acceptance, tolerance and equal rights.

For Tylenol, Black directed a commercial featuring a variety of non-traditional couples, one a male couple with a newborn child. “Family isn’t defined by who you love,” concludes the voice-over, “but how.”

“I respond to stories that are impactful, that can help people out,” says Black. “With Tylenol, I thought it furthered the conversation. It’s not just about LGBT families, it’s about a whole slew of families who might be treated differently because they don’t fit a certain mode. To have LGBT families included with mixed-race families and adoptive families also built on love…it’s inclusive and accepting in a way that could be very helpful to a lot of parents and kids out there. I thought, that’s worth making time for.”

More ambitious is Black’s work for Coca-Cola, which includes a series of three short films for Latin American markets. Conceived by Pereira & O’Dell, the films center on teenagers facing “crossroads moments” where friendship triumphs over cruelty. The first two films deal with spiteful rumors, broken romances and misunderstandings that are often deeply hurtful to young people. The third film, The Text, centers on the friendship between two Brazilian boys and what happens when one learns that the other is gay.

“I direct these spots because I feel that they can have an impact,” says Black. “Yes, they are selling a product, but you can sell a product while influencing society in positive ways. These are ads that are doing that.”
Black sees little difference between his work as a filmmaker and as an activist. “To me, it’s one and the same,” he explains. “Whether you are filing a Supreme Court case or making a film, it’s all about storytelling. If you want to win in court, you need to tell your story well and in an emotionally compelling manner. When you make a film, you do the same thing.”

Black’s work for Tylenol and Coke are garnering wide media attention and stirring debate. Bully Pictures executive producer Jason Forest is not surprised. He says that Black delivers something often lacking in advertising: truthfulness. “He’s making his mark in the commercial world by telling stories that touch upon the LGBT community culture with authenticity,” Forest says. “He’s dispelling the clichés and the stereotypes and replacing them with honesty. He is just a fantastic storyteller, and I have had the wonderful pleasure all these years as a friend and commercial collaborator to watch him develop into a brilliant director.”

“I’m turning a mirror on the societies where these ads appear to show them what is already there but isn’t often discussed or embraced in an open manner,” says Black. “I’m reflecting back the best of what we are.”

About Bully Pictures:
Bully Pictures is a full-service commercial broadcast, web viral, branded content production company located in Santa Monica, California. The company’s roster includes Javier Aguilera, Dustin Lance Black, Fredrik Callinggard, Peter Care, Anne Fletcher, Gaute Hesthagen, Dave Klaiber, Jonathan Nyquist, Justin Simien, Johan Stahl, Taylor Steele, Morten Tyldum and Tripp & Tyler. For more information, write info@bullypictures.com

http://www.bullypictures.com/

In this newly created role, Kaufman will be developing new and existing client relationships in this territory.

She will report to Jason Harrison, who in April was named worldwide CEO of Gain Theory.

‘I am excited to have Karen on board.’ said Harrison ‘Her appointment shows a commitment to building Gain Theory in NA & LATAM. Karen has unique, multi-lateral experience in the consumer insights, research, data and analytics domains, across multiple advertiser categories including Telecom, CPG, Retail, Entertainment and Financial Services. This unique experience coupled with an understanding of multiple analytical domains will help clients solve their most complex and vexing marketing effectiveness challenges.’

Having worked within WPP for 16 years – with the likes of Ogilvy & Mather, Maxus and Mindshare – Kaufman has acted as a consultant advisor to some of the biggest advertisers in the world. Her heavyweight experience has seen her create custom analytical approaches to complex marketing challenges, connecting analytics and insights to execution and taking clients through the journey from challenge to solution.

Karen joins from GroupM Consulting Practice which saw her partner closely with a leading CPG client, to develop strategies that drive long-term profitable growth.

A deft new player in the ad production space, Bossa was also honored with an impressive seven Shortlist nominations for their work on the Coke Zero campaign and the innovative “The Walking Dead Chop Shop App” for long-time client Hyundai. The interactive game allowed users to deck out vehicles in preparation for the zombie apocalypse.

About Bossa:

Bossa is an integrated production company, working closely with clients and partners to solve problems, fine tune strategies and make the unimaginable real. Unapologetically curious and creative, we are constantly coming up with new ways to push the boundaries of digital storytelling. With an eye for design, a mind for innovation and a hand in R&D and prototyping, we create engaging integrated campaigns. We like to make things that have never been done before. That’s right. We go there.

Our talented team speaks many languages: creative, design, technology, coding, even fine arts and architecture. We do not speak Klingon, Dothraki, or Parseltongue…yet.

And if you’re wondering what Bossa means – it’s “swag” in Portuguese. And with us as your creative production partner, that’s exactly what you’ll get.

We understand that the exec is a member of Google’s UK team.

A spokesperson for Google’s UK Press Office told Adland, “We are not releasing the name and any other details out of respect for the family. We hope you will join us in trying to help in this hard time.”

Tragic news, we are deeply sorry to hear of it. Any loss like this is, as always, a blow for the creative community.

Our thoughts are with the family and friends at this time.

A bicoastal director who divides his time between New York and Los Angeles, Fleisig’s eye for the farce in the human endeavor has been met with a distinguished career in the ad world. Fleisig brings to his work an offbeat brand of humor inspired by life’s imperfect moments, culminating in a body of conceptual spots with a broad and always entertaining appeal.

His coveted ability to deftly establish the voice of brand has led to longstanding relationships with many major clients, with Fleisig helming global spots for the likes of VW, Carlsberg, Verizon, McDonald’s, Staples, ESPN, Axe, Wendy’s, Dell, Budweiser, Sprite, Sony, AT&T, Ford, and Chrysler, to name a few. In 2008, Fleisig launched the wildly popular Progressive Insurance campaign featuring Flo, the upbeat store employee character brilliantly portrayed by actress Stephanie Courtney. To date, he has shot over 75 ads featuring the now-iconic brand spokeswoman.

Fleisig’s work has won him Cannes Lions, D&AD Pencils, AICP/MoMA honors, and an Emmy, and has been covered by top media outlets such as AdWeek, Creativity, The New York Times, Communication Arts, and more.

In 2015, Fleisig directed his first short film, Love & A Lug Wrench, a black comedy about love gone terribly wrong. The film, which features outstanding performances from Ben Wilson and Abby Miller (Aquarius, Justified, Mad Men), was recently invited to screen at the Palm Springs International Film Festival, the Soho Film festival and the LA Comedy Film Festival.

Jeffrey Fleisig now embarks on the next phase of his career at Assembly, where he joins a family of established storytellers unified by a taste for fresh and inspired ideas. Welcoming him to the roster is Assembly founder Michael Salzer, Executive Producer Gloria Colangelo, and the company’s newly appointed Executive Producer/Head of Sales, Becky Donahue.

“Jeffrey brings such a unique perspective to everything he does. He has this rare, almost instinctual way of adding something completely unexpected and surprising to the story.” says Becky Donahue. “We are so thrilled to have Jeffrey join us at such an exciting time for the company.”

On joining the ranks at Assembly, Fleisig remarks, “The chance to work alongside career pros Michael, Gloria, and Becky, who bring their collective talents, experience, and industry relationships to a changing business, is everything a director could ask for. Assembly’s a new story, and to be on the team creating the forward narrative is super exciting.”

“I couldn’t be more excited about the opportunity to work with Lino,” said Accomplice Media Executive Producer Jeff Snyder. “He is so talented and versatile, whether it’s the breathtaking visuals and energy in his Ferrari Fear spot, or the elements of family life in BMW Don’t Stop, or the integration of lifestyle with beautiful car shots in his Alfa Romeo Forget spot.”

Russell became acquainted with Accomplice Media through the directing duo John Doe, who are also on the company’s roster. “Accomplice is a great fit,” Russell says. “They have a strong track record in automotive, but they’re not limited to that. They also have a great, diverse roster.”

“I see a growing sophistication to Lino’s work where he’ll be even more appealing to our market,” noted Executive Producer Mel Gragido. “Kia’s Coming Soon and Toyota’s Teenager are great examples. Like Jeff, I am very excited to welcome Lino into the company.”

Russell’s recent work includes a spot for the Ferrari 488 which skillfully weaves performance driving footage with abstract macro-photography. He also directed a campaign launching the Chevy Cruze in China that includes dramatic scenes of a paraglider leaping from a mountain cliff and street performers in nighttime urban environments.

“Car shoots are very technical affairs, but my job is to make it look easy,” Russell says. “Because technology is central to my work, I am involved in all the new developments in equipment and post. I also own my fair share of gear. However, I never use tech as a gimmick. On the contrary, through solid prep and research, I make technical limitations less opposing. Ideally, I let them disappear so I can focus on more important things that make the spot stand out. The narrative and performances are brought into more focus and able to connect with the viewer.”

Russell studied filmmaking at Columbia College in Hollywood and the London Film School. As a student in London, he won a Kodak Student Commercial Award and used it as a springboard to launch his directing career in commercials, music videos and corporate media. He has since won Gold Awards at the New York Festivals World’s Best Advertising, the WorldMedia Festival and the U.S. International Film & Video Festival.

Russell, who has shot in the U.S. on several occasions for European car campaigns, looks forward to working directly with U.S. agencies. “I have always admired U.S. advertising for being so precise and to the point,” he says. “I want to continue to explore new ways to tackle car spots. I am drawn toward car advertising that develops from a very iconic product presentation into something emotional and humanly relatable. I’d also like to branch out into more lifestyle work that focuses on the visual expression of emotion and mood.“

For more information about Accomplice Media, visit http://www.accomplice-media.com/

Michell comes to STORY following a long run with Twist, Minneapolis, a company he co-founded. There, he developed a strong national and regional client base. He directed more than a dozen commercials for 3M through Grey, NY, many combining performance, product and humor. One recent spot features a Post-It note sticky enough to hold a terrier off the ground.

“The art direction and choreography of each spot is defined to fit the function and design of the product,” Michell says. “In the process, we developed a graphic and playful style that highlight the individual products and create a cohesive design for the variety of 3M brands.”

In a spot for the Minneapolis/St. Paul International Film Festival, a boy turns his apartment into a make-shift movie theater: he adjusts a window to provide a “letterbox” view of the apartment of a quarrelling French couple across the way.

STORY executive producer Mark Androw notes that Michell’s work exhibits a clean aesthetic, meticulous composition, strong use of light and color, and elegant camerawork. “Rich is a gifted craftsman,” Androw says. “His work stands out for its beauty and elegant execution. He also has a great sense of humor.”

Trained as a fine artist, Michell began his career as a camera operator and cinematographer. He broke into directing through tabletop work, but soon expanded into performance-driven storytelling. His work has been featured in such publications as How, Creativity, Shoot, and AdWeek.

In discussing his move to STORY, Michell called it an opportunity to expand his horizons. “STORY is well represented around the country,” he says. “That was important to me.” He adds that he is especially interested in increased access to the Chicago advertising market. “Many of the best restaurant and packaged goods accounts are based there,” he says.
STORY is represented on the East Coast by SuperPowers (646) 633-4578; in the Midwest by Melissa Thornley (312) 752-5369, in the Southeast by Miller + Associates, (954) 563-6004; in the Southwest by Gossip!, (214) 288-2813 and on the West Coast by Yvette Lubinsky (310) 827-2626 .

For more information, visit http://www.storyco.tv/

Kahn’s reel is compelling across genres. His work has had widespread cultural appeal with awards such as Grammy Best Video, MTV VMA Best Director, Music Video London Icon Award, MVPA Director of the Year, and Clio for Visual Effects on Fox Sports.

His videos have been commissioned by some of the biggest artists in the music business: Taylor Swift, U2, Lady Gaga, Gwen Stefani, Eminem, Wu-Tang Clan, Katy Perry, Britney Spears, Mariah Carey, Aerosmith, Moby, Justin Timberlake, George Michael, Janet Jackson, Black Eyed Peas and Beyonce.

Kahn just wrapped a global campaign for Maybelline in New York. Recent work includes an Old Navy campaign through CP+B, Miami that scored a million views in its first week online, and “Power/Rangers,” his dark, bootleg fan film release this year clocked 13 million views in 2 days.

“I love speaking in 30 second verse,” Kahn explains. “Power/Rangers would never have been made had I not been making spots for the past 15 years. People are amazed at the level of detail in the film, but it’s standard practice in commercials. All I’ve done is extend that process over 14 minutes of time.”

“Bad Blood,” Kahn’s latest music video for Taylor Swift just premiered at the Billboard Music Awards and marks the first project under the Supply&Demand banner. The video follows Kahn’s “Blank Space” clip for Swift, a tongue-in-cheek video that has attracted 850 million visits online:

“Joseph is a huge brand in the music video world and we see enormous potential with him in the commercial world,” outlines Founder/Managing Partner Tim Case. “He’s an incredible creative asset. He loves to work, continues to cultivate a fantastic music video career and his energy is tremendous. We look forward to embracing his talent and elevating his commercial career.”

Kahn articulates S&D’s value proposition: “They have the core business in hand,” he outlines. “There was an immediate connection between us all that didn’t exist anywhere else. We were off doing high quality work on different fastball teams, and now we’ve come together it makes the combination that much stronger.”

“Joseph is adept at finding creative solutions while remaining very collaborative,” overviews Jeff Scruton, Exec. Producer / Managing Director. “Those two attributes are invaluable. His ability to shift gears and genres is testament to his film making talents. Joseph brings pop culture into S&D along with his global brand from the music video world.”

“Joseph’s work speaks for itself,” wraps Charles Salice, President / Managing Partner. “We look forward to bringing him opportunities that befit his unquestionable talent.”

“Tröll is positioned to address the recent trend towards all-in commercial production, and with distinct creative talent such as the Snorri Bros, we can take any project from inception to completion,” said Steinzeig.

The team has worked with the Snorri Bros (Eidur and Einar Snorri) for years on various projects for brands that include Hummer, Palm and Texas Health Resources, and always succeeded in finding the perfect mix of practical production-driven storytelling and visual effects. “The Snorri Bros develop such innovative approaches to making the real look fantastical, which defines their distinct live action style,” explained Michaels. “They are a perfect fit for our roster, and together with Brickyard VFX, it’s a nice balance that speaks to the flexibility and range of talents that Tröll offers.”

Day-to-day operations will be led by Steinzeig, who has two decades of experience in both domestic and international commercial markets, and partner Steve Michaels, who brings a long tenure of managing successful visual effects studios from Method Studios to Brickyard. Tröll’s skilled directors will offer live action expertise for clients of all sizes, and Tröll will exploit Brickyard’s bicoastal resources in both Los Angeles and Boston to scale for any sized project.

For more information please visit http://trollpictures.tv

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