Labs, the high-end digital production division within Framestore, has brought Adam Jenkins on board as executive producer for North America. He will be based out of Framestore’s New York office as he furthers the presence of Labs in the U.S. Jenkins will work directly with clients to create artfully designed and developed interactive experiences for brands and their agency partners.
Jenkins is no stranger to Labs, having previously worked with the team on the client side as the EP at Bloomberg, overseeing Morgan Stanley’s "Digital Signage" project–an innovative new content system for the LED displays at their Times Square headquarters. The project is shortlisted at the AICP Next Awards, D&AD and One Show Awards, for its pioneering use of technology and cinematic visualization.
“Working with Framestore on the client-side for the Morgan Stanley project, I saw how Labs worked, I saw what they created, and how the team operated in making everything from the ground up. I knew I was watching the future, and I’m thrilled to be a part of the Labs division in the next phase of its business,” said Jenkins.
Said Jonny Dixon, global exec producer at Labs, “It was important to me to find someone who fully understands the Labs process: someone who can efficiently seek out the right clients and projects and bring in the job, whilst continuing to push our creativity and scope. Having worked with Adam already across the past year, it was evident that he had the right skill-set and enthusiasm for the job; he already felt like a part of Labs.”
Jenkins started his career in New Zealand, working his way up the ranks at some of the largest advertising production companies in the Southern Hemisphere. He then moved to London, where in his first year he was nominated by D&AD as Best Editor and won the Silver Lion at Cannes for his work for QTV. Within three years Jenkins moved to New York, where he saw the trend for advertising agencies setting up in-house production and postproduction arms, and decided to form FeedTheWalrus (FTW) alongside a former colleague. He then moved to R/GA to work within the agency’s in-house production company, working cross-platform for clients including Samsung, Nike and Beats, and amassing a raft of industry awards along the way.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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