Oscar-winning creative studio Framestore has bolstered its Los Angeles team by appointing Michael Scarcella as head of operations, Dan Roberts and Pete King as executive producers, and Carla Attanasio as sr. VFX producer.
Reporting directly to Los Angeles managing director Duncan Burbidge, Scarcella will be responsible for overseeing teams across client services, facilities, engineering, scheduling, pipeline and support to ensure smooth operation across functions of the business. Prior to joining Framestore Scarcella spent seven years at The Mill, first in New York and then in Los Angeles as head of operations. Previously, he worked for the Olympic Broadcast Service assisting in the production of content for the London Olympic Games.
Roberts joins Framestore after more than 20 years at The Mill in New York and Los Angeles, most recently as executive producer. He has overseen an expansive portfolio of celebrated projects, including Nike’s award-winning “Write the Future” and multiple Old Spice campaigns. Roberts’ well-regarded reputation for effective project management, expertise in production processes and enthusiasm for identifying and nurturing next generation talent will build on the team’s strong foundation.
King also joins Framestore as executive producer from The Mill in Los Angeles after two decades in the industry. He brings experience creating world-class content for global automotive brands, notably overseeing the launch of “The Mill Blackbird”–the first all electric, fully adjustable car rig for CGI automotive content. While at Big Block, King produced the BMW M5 viral sensation “Bullet” as well as the Emmy-nominated opening title sequence for Cosmos: A Spacetime Odyssey. He has collaborated on household brands alongside agencies including Team One, Mullen, David&Goliath, Digitas, and Doner.
Attanasio comes from Digital Domain where she was a sr. VFX producer working on game cinematics and trailers for titles such as Destiny, Assassin’s Creed and Call of Duty. She also oversaw the creation of content for Walmart’s interactive KIDHQ website. Over the last two decades, she has worked on content for brands including BMW, Cadillac, Electronic Arts, the NFL, Intel, Target and Visa.
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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