Hasta La Creative!

Do you remember “Truth in advertising”? This series is kicking that off its inside-joke throne with style. An updated look at the world of making commercials, warts and all.

Community Films’ directorial collective JEAN and director Pam Thomas have joined forces to create “Commercials”, a comedic web series about the humorous, ego crushing, overanalyzed silliness that plagues the world of commercial film making and everyone involved.

 

“As Commercial directors and former advertising creatives, we’ve experienced hundreds of completely ridiculous moments during productions where we looked at each other and said, ‘this needs to be a show,’” says Natalie Prisco of JEAN.

 

Seizing on the seemingly important, but altogether ridiculous scenarios that inherently go along with making commercials, “Commercials” peels back the curtain on an industry that everyone is familiar with, but very few know much about.

 

“The world of commercial making is such a unique industry that feels so ripe for satire,” says Eric Eckelman of JEAN

 

Told from the unique point of view of an eccentric group of egomaniacal, yet wildly insecure commercial directors and their production company, Bird Films, “Commercials” satirizes the world of production as The Office did the world of 9-5ers.

 

Each episode gives a glimpse into the various aspects of commercial making and stages of production, leaving nobody unskewered in the process.

 

“We’d love Commercials to give viewers a sneak peek into what we love so much about our business and hope they find it as hilarious and fun as we do,” says Pam Thomas.

 

“We’re thrilled we finally decided to make that show,” adds Armand Prisco of Jean.

Episode 101: ‘ETHNICALLY AMBIGUOUS’

Nate, Maggie and the agency team try to figure out how to navigate an unexpected client request. This one feels as real as it gets, this happens. A lot.

Episode 102: ‘REALLY GREAT MEETING’

Nate and Jay may or may not have totally nailed their Snackyz presentation. Or maybe not. Maybe.

Episode 103: ‘MANTRUM’

TRUE STORY – the last time I heard a story about a director locked in a car delaying the shoot, he was also eating bowls of cereal in there.
Nate uses the oldest trick in the book to lure the out of his mind director Axel Roundhouse back to set.

Episode 104: ‘FULL CLOCKS’

Directing team Tom and Dave learn the art of the full clock.

Episode 105: ‘GUYS AND DOLLS’

A seemingly mundane Pre-Production meeting goes off the rails.

About JEAN

JEAN, pronounced like the pants that are made of denim, is comprised of Eric Eckelman, Armand Prisco and Natalie Prisco. Known for their comedy chops, and pulling believably odd performances out of their actors, they have created comedy-driven work for Lifetime, Delta, Pizza Hut, AT&T, Honda, TBS and Visa. Armand & Nat got their start working as a creative team at McCann before they went over to write and direct for MTV. There, they met Eric who was also a writer and director for the acclaimed network.

 

About Pam Thomas

Pam Thomas began her career at MTV, back when it was cool, in the late 1980s, writing and directing promos in the On-Air Promotions Department. Pam has worked with dozens of brands and agencies to produce a huge body of work, including spots for Gatorade, Nike, Visa, AMEX, Payless, Lexus, Wal-Mart, Dove, Verizon, Cheerios, Pantene and Cotton featuring celebrities Zooey Deschanel, Kate Bosworth, Emmy Rossum, and Hayden Panetierre. Pam’s style of work portrays an essence of glamour, fashion and creativity. Her sense of humor and knack for getting great performances, is evident in her TV work on Sex and the City and Desperate Housewives and more recently on the Netflix series Atypical with Jennifer Jason Leigh and Michael Rappaport.

 

 

COMMERCIALS CREDITS

 

ETHNICALLY AMBIGUOUS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang          

Maggie Cheng: Ana Parsons    

Ashley: Ali Hillis         

DK: DK Uzoukwu                   

Agency Producer: Brent Popolizio    

Head Client” Rebecca Tilney              

AD: Sam Carsons        

EA Woman: Rachel Varela

 

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz    

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni 

DIT: Lee Summer          

Gaffer: Tim Stratton 

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

 

 

 

REALLY GREAT MEETING

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                       

Jay Beck: Bo Barrett                

Agency Producer: Katie Von Til         

Creative #1: Rich Pierre Louis          

Creative #2: Dalton Leeb        

 

 

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni   

DIT: Lee Summer  

Gaffer: Tim Stratton  

Key Grip: Marco Pearson

Sound Mixer: Scott Farr   

Boom: Jason Brooks

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

           

 

 

MANTRUM

Directed by Pam Thomas

Written by Lloyd Stein

Story by Lloyd Stein

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                       

Tom: Adam Silver                   

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

  

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson  

First AC / A Camera: Diona Mavis  

First AC / B Camera: Jason Kinney

Second AC: Austin Pedroni   

DIT: Lee Summer          

Gaffer:Tim Stratton

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

 

 

 

FULL CLOCKS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                       

Tom: Adam Silver      

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

 

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz    

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson

First AC / A Camera: Diona Mavis

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni  

DIT: Lee Summer          

Gaffer: Tim Stratton  

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

 

 

 

GUYS AND DOLLS

Directed by JEAN

Written by Natalie Prisco

Story by JEAN

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                     

Maggie Cheng: Ana Parsons   

Male Client #1: David Lowe

Male Client #2: Ted Canon     

Female Client #1: Jayne Entwistle  

Female Client #2: Io Bottom

   

Editor: Angela Cheng

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor

Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson   

First AC / A Camera: Diona Mavis   

First AC / B Camera: Jason Kinney   

Second AC: Austin Pedroni  

DIT: Lee Summer          

Gaffer: Tim Stratton   

Key Grip: Marco Pearson

Sound Mixer: Scott Farr  

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

           

 

           

BREAK ROOM

Directed by Pam Thomas

Written by Pam Thomas and Lloyd Stein

Story by Pam Thomas

Created by JEAN and Pam Thomas

Production Company: Community Films

Executive Producer: Lizzie Schwartz

Executive Producer: Carl Swan

Producer: Tony Cantale

Director of Photography: Neil Shapiro

 

CAST

Nate Young: Nate Lang                       

Tom: Adam Silver       

Dave: Ken C Peterson             

Agency Producer: Olivia Herman

AD: Sam Carsons        

Actor #1: Christal Deloney      

Actor #2: Casey Alexander

Editor: Angela Cheng

 

Production Designer: Jace Ford

Original Score: Jay Lifton

Casting Director: Chad McKnight

Casting Assistant: Rachel Varela

Re-Recording Engineer: Robin Buyer for Pulse Music

Colorist: Quinn Alvarez

First AD: Julianne Maiello

Second AD: Aban Sonia

Script Supervisor: Lucia Pier

Production Supervisor: Andrea Tello  

Production Coordinator: Kathy Burnham

Art Director: Chad Bailey

Leadman: John Horlick           

Set Decorator: Marisa Collins

Prop Master: Greg Schultz      

Set Dresser: Marty McCue

Costume Designer: Julie Vogel

Key Costumer: Kristin Hazen

Costumer: Ariel Kostrzewski

Key Make Up: Brenna Bash

Make Up Assistant: Laura Connelly            

Camera Operator: Bill Robinson 

First AC / A Camera: Diona Mavis 

First AC / B Camera: Jason Kinney  

Second AC: Austin Pedroni

DIT: Lee Summer          

Gaffer: Tim Stratton   

Key Grip: Marco Pearson

Sound Mixer: Scott Farr 

Boom: Jason Brooks                

VTR: Mike Waters

Key PA: Francisco Hernandez

Production Assistant: Scott Belsky

Production Assistant: Patrick McElroy

Production Assistant: Scott Kukla

Production Assistant: Phoebe MacCurrach

Production Assistant: Jeremy Meizlish 

Production Assistant: Tony Paoli

Production Assistant: Ted Sheahan

 

Special Thanks

House Casting

Cosmo Street Editorial

Pulse Music

Apache

“Sometimes, you just have to stand up there and lie. Make the audience or the reporter believe that everything is okay. How many times have you heard a CEO stand up and say “No, I’m not leaving the company” and then – days later – he’s gone. Reporters understand that you “had” to do it and they won’t hold it against you in your next job when you deal with them again.”

— Edelman Senior Training Executive 

 

It was fascinating to watch faux woke joke and quintessential cliche of a PR agency in the worst possible sense Edelman struggle to turn its cowardice and hypocrisy into a win this week. Particularly and especially since they failed.

 

Surely you know of what I speak: The latest big agency tone-deaf marketing disaster story broken suspiciously simultaneously in the ethically struggling, run-by-a-creep New York Times and Adweek, with Edelman abruptly pulling the ripcord on its ill-advised-from-a-PR-standpoint deal with private prisons company The GEO Group, which was being targeted and scapegoated for the perceived sins of the Trump administration’s separation of illegal immigrants’ children from their parents and their “parents” at the Mexican border, even as one-quarter of the “parents” turn out to be probable human traffickers.

 

Considering how impeding humanity’s emotional, intellectual and empathetic evolution looks to be Edelman’s groove thang, it seems a bit weird that this is where their suddenly enlightened employees would draw the line, but hey—we’ll take what we can get when it comes to disgruntled underlings sticking a plank in the spokes of one of the world’s largest and most despicable propaganda cabals of corporate conniving and cancerous communications conspiracies.

Trust me. I know of what I speak. I’ve had unpleasant, unethical dealings with the too-smooth-by-half leader of the eponymous agency, and dealt with its consistently dishonest spawn on numerous fronts over the years. Like a virgin schoolmarm with Long Dong Silver, my first Edelman experience was the worst and most painful, but almost all of them share sinister similarities that suggest an ingrained communications strategy rooted in fundamental dishonesty and self-generated fake hype.

 

When I worked at MediaPost covering Edelman’s “Wal-Marting Across America” scam in 2006, CEO and Prez Richard Edelman himself personally called me and “swore upon his professional honor” [off-the-record, of course] that they had no idea the people driving the RV and staying at Wal-Marts and blogging about how great it was were actually a Washington Post photographer doing double-duty, and a woman who had a family member who was an Edelman executive.

 

When I later discovered that the organization financing the trip, “Working Families for Wal-Mart,” was a shell company SET UP BY EDELMAN ITSELF, Dick Edelman would not take my calls but instead wrote a mea culpa for his personal blog. As did Edelman’s WoM specialist Steve “Rubber” Rubel, who likewise pled total ignorance that the whole thing was orchestrated by Edelman. Dick Edelman did speak to me later, on-the-record, to apologize. But only after he got caught.

 

Since you gotta figure Edelman the agency and presumably its CEO Dick Edelman were cool with PITCHING the GEO account, it doesn’t really sound like too much has changed in the 13 years since Dick Edelman lied to my face. They’ll try to get away with as much as they possibly can, and, if caught, eject and try to spin the hand-in-the-cookie-jar moment into a happy mistake we all learned from. 

 

But who is learning what, exactly? My repeated experience with PR people who work or have worked at Edelman is that the “off-the-record lie” is a go-to communications propaganda strategy. People who work or have worked at that firm have crossed my path and deployed that tactic again and again throughout my career.

 

”The fish stinks from the head down,” as my grandmother used to say.

 

But hey, don’t let me come off as the bitter bastard burning—Edelman’s got a looooong rap sheet that showcases their business as the type of place that would gladly take ten bucks to put your mother’s corpse on strong twine and make it dance like a puppet. Or at least Robin Williams’.

 

Remember when Edelman lost a slew of executives who got sick of working for a place that played the climate debate from both sides for maximum profit?

 

How about when a bunch of make-your-kids-fat corporations and associations formed the Law of Inversion named “American Council for Fitness & Nutrition”--a clown world creation with the subversive actual intent of stifling regulatory action intended to confront and combat the nation’s obesity epidemic. Who did ACFN members Kraft Foods, Chocolate Manufacturers Association, Sugar Association, National Council of Chain Restaurants, Association of National Advertisers, and so on, literally ad nauseam…who did this crew choose to flip the fake news script from healthy to hellish? Edelman!

 

And who did the shady Red Cross turn to when it backstabbed 9/11 families by keeping nearly half of the half-billion dollars it raised for the so-called “Liberty Fund” after the Sept. 11th attacks? Edelman!

 

And what about your dead mom’s malevolent marionette sendoff? In 2014, Edelman advised clients to “Seize the day,” and capitalize upon tortured comic genius Robin Williams’ tragic suicide with a “visible and aggressive approach” to create content tied to Williams’ death.

 

You would think that pointing out this type of despicable soulless anything-for-a-buck hypocrisy would be like shooting fish in a barrel or hanging Harvey Weinstein in a whorehouse. But apparently not, which is why I ended up writing it here. Last week, the half-smart/half-hopeless closed Facebook PR/Media group to which I may not still belong after this gets published had a bunch of lemming-like lapdogs licking Edelman’s hand after its not-so-brave slapdown of the GEO Group (there were, to be fair, a few iconoclasts pushing back).

 

Quite a belated stand to take, too, since all reporting stated Edelman so impressed the client they didn’t even have to pitch against anybody else. But then they quit and apparently gave the story to the Times and “AdWeek,” because fucking over your client two times is twice as satisfying as paying the sister of an employee to shill for Wal*Mart.

 

Ah well. Professional denialism continues even though the fatal iceberg hit has already occurred. There are already two large agencies dealing with a kind of primal moral awakening among their younger employees That we know of. Like bugs in the walls of a decaying building, if we see two, there are probably 22. At least.

Still, the mentality of too many remains that Leo and the Titanic might be going down, but maybe if we all wish really hard, our whores will turn into heroes…even as all indicators IRL are flashing bright red that the opposite is true.

 

Me? I know a Dick move when I see one.

SKYN® Celebrates Moon Landing’s 50^thAnniversary with Campaign Reminding Us to Explore Ourselves

 

Decades after we first set foot on the moon, the idea of self-exploration is still considered taboo and sex toys remain illegal in many places, a perception SKYN® hopes to change. To accompany the take-off, SKYN® is launching a campaign with a film that pays tribute to exploration, using historical footage from NASA, and asks: “We were never afraid of exploring planets located millions of miles from us… so why then are we so afraid to explore our own bodies?”

 

The film will be accompanied by an outdoor campaign featuring the tagline “Exploring space is wonderful. Exploring ourselves should be too”, with billboard trucks circling the headquarters of NASA in Washington, D.C. and SpaceX in L.A.

SKYN® recently ventured into new territory itself. Earlier this year the brand introduced its own ED pill that can be ordered online and which comes in special packaging, a designer case that always stands on its own. By normalizing ED and the notion of self-exploration, the popular brand hopes to carry out its mission to erase stigmas and make us more comfortable with ourselves.

The rockets are all very phallic, and so are some of the glorious space images, which is fun. Art direction is really quite nice here, but I find the connection between exploring space and exploring myself a little thin. 

Sid Lee:

Title: Explore Yourself

Advertising Agency:  Sid Lee Paris 

President: Johan Delpuech

Executive Creative Director:  Sylvain Thirache

Creative Directors: Céline et Clément Mornet Landa ?

Art Director: Ludovic Gontrand 

Copywriter: Max Harrington

Head of Production: Thomas Laget?

Producer: Francois Breteche

Video Editor: Yoann Plard 

Head of Strategy: Bruno Lee

Strategic Planner: Patrice Zamy

Managing Director: Mehdi Benali 

Account Director: Héloïse Marchal?

Account Manager: Trisha Mitra

 

Lifestyles – SKYN®?

President & General Manager: Jeyan Heper

Global Marketing Strategy Director: Marta Toth 

Global Brand Marketing Manager: Nicolas Woussen

Do a lot of dancing, sprinkle in some meme effects like the “deal with it glasses”, throw a good sound track and color sparkles on top – this is the mix that Macy’s hopes will entice generation Z to gear up before they go back to school. Directed by Maxime Bruneel.

 

According to 1stAveMachine Partner and Executive Producer Sam Penfield, “Maxime is not an obvious choice for a kid’s back to school spot as his style is a bit edgier and street but Major Behavior immediately focused on his work. The agency wanted to make something that would resonate with young people and knew that the authenticity of Maxime’s work was key. The collaboration was delightful and we absolutely love the resulting film.”

Client: Macy’s

Campaign Name: Macy’s Back to School

 

Agency: Major Behavior

Founder/Creative Director: Ken Erke

Agency Producer: Maria Xerogianes

 

Production Company: 1stAveMachine

Partner/Executive Producer: Sam Penfield

Executive Producer: Peter Repplier

Executive Producer: Lisanne McDonald

Executive Producer: Michaela McKee

Director: Maxime Bruneel

Director of Photography: Luis Arteaga

Producer: Jason Taragan

 

Service Production Company: Capital Media

CMC | EP / Managing Partner: Christian Allen

CMC | HOP / Partner: Keely Stothers

Executive Producer: Krista Thompson

Production Supervisor: Andy Shaw

Production Coordinator: Laura Byrnes

Talent Coordinator: Alice Ride

1st Assistant Director: Stuart Andrews

Gaffer: Torbin Doege

Key Grip: Mark Yates

Production Designer: Katharine Reynolds

Wardrobe Stylist: Leila Bani

Hair & Makeup: Trudi Egerton-Ball & Shannie Reynolds

VTR: Dale Anaka

Script Supervisor: Danielle Piche

Choreographer: Natasha Gorrie