Madison + Vine, a bicoastal content studio, has hired Richard Robinson as its first executive producer. Robinson will be responsible for growing the two-year-old company’s roster of directors, as well as building its agency relationships. Robinson joins from L.A. production company D1STR1CT, part of international production company Casta Diva Pictures, with offices around the world. Robinson was executive producer and managing partner at D1STR1CT, working with brands including Nike, P&G, Samsung, Fiat and Lexus.
Born and raised in Italy, Robinson moved to L.A. in 2006 and attended the Los Angeles Film School where he began working on indie feature films as an assistant director. He later worked on more than 30 feature films, including the Oscar-winning The Artist for which he was part of the assistant directors’ support team under director Michel Hazanavicius. The Artist earned Hazanavicius and his team the DGA Award in 2012.
Eventually, Robinson shifted his focus to commercial production and began working with various production companies such as Epoch Films, Anonymous Content, Biscuit Filmworks and Caviar.
“The coolest thing about Madison + Vine is it’s a production company with a vibe that’s more like Silicon Valley, where everyone has a seat at the table to come up with creative solutions for our brands and agency partners,” said Robinson. “I look forward to growing our pool of talent and working with like-minded agencies.”
The appointment follows significant momentum for Madison + Vine. The studio has quickly garnered success producing work with agencies across the country and acting as a creative partner studio for clients including Taco Bell, Samsung, Staples and Lady Gaga. Its mission of bringing Madison Ave + Hollywood together is reflected by its expansion to NYC, meaningful collaborations with emerging filmmaker talent, and recent projects that have successfully cultivated brand love.
James Shani, CEO and founder of Madison + Vine, said of Robinson, ““Richard has worked with some of the top directors and agencies in the business. He’s a talent magnet with a uniquely global perspective that will drive our expansion as we broaden our scope beyond the U.S.”
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 โ quite literally โ into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat โ who won best screenplay at this year's Cannes Film Festival โ 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 โ 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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