Grateful to be back home in the United States and on the job after a visa security clearance ordeal which left him and his family in limbo overseas for five-plus months, Ahmet Ahmet, a creative director with bicoastal Imaginary Forces, is still seeking a personal sense of closure to the situation. But such a resolution may never be attained or at the very least seems like it will be a long time coming.
As earlier reported (SHOOT, 1/26), Ahmet–along with his wife and daughter–went to London last August to visit his seriously ill mother (who has since passed away) for what was to have been a two-week stay. But when he went to the U.S. Embassy to get his visa approved for a return to Southern California, Ahmet was informed he needed a security clearance.
Obtaining that clearance became a personal and professional nightmare for Ahmet. If not for the support of Imaginary Forces, which paid his salary as well as his family’s housing costs in the U.K. during a protracted period, Ahmet said he would have most likely had to seek employment in Europe and abandon his stateside life and career.
Meanwhile Imaginary Forces had to turn away business with Ahmet overseas in that he is a key creative contributor to the firm.
In the U.K. Ahmet had to deal with a dying mother, he and his wife having to home school their daughter who could not return to her middle school in Los Angeles and the compromising of his reputation by an ongoing investigation. To this day, he cannot get an answer as to why he and his family were detained. He had no opportunity to answer any investigative charge, question or concern, adding to his feeling of helplessness over the situation. Even the public officials who intervened on his behalf–Rep. Jane Harman (D-Venice, Calif.) and U.K. Parliament member Kate Hoey of the British Labor Party–weren’t able to ascertain what the problem was that prevented Ahmet and his family from returning stateside. The only vague explanation offered is that his surname matches those of individuals who are ineligible to enter the United States. However the name Ahmet is fairly common internationally.
Additionally heading into his family trip in summer of ’06, Ahmet thought he would be able to return to the United States in a timely manner based on his experience visiting London in ’04; at that time he was subject to a security clearance that took four months to get. He had reasoned that this time around there would not be an inordinate waiting period since he had a record of having successfully attained a security clearance.
Ahmet’s case raises questions about equitably maintaining the delicate balance of civil liberties and national security. As a law abiding person and an established professional, Ahmet said he had a clear right to come back to the United States and resume his livelihood in a timely manner.
Some six years ago Ahmet was granted a visa to come stateside and work at Imaginary Forces based on his being a talent of extraordinary ability, with credentials that included recognition of this artistry from the British Academy of Film and Television Arts. His special ‘O1 visa to work in the United States has since been renewed multiple times, the latest covering this calendar year. At Imaginary Forces he has distinguished himself in features (designing the trailer for Harry Potter and the Sorcerer’s Stone, the titles for Spider-Man) and advertising (spots for Ford, Honda and Budweiser).
Now back at Imaginary Forces, Ahmet is at work on a couple of features. “It’s great to return to a busy building,” he said. “One view is that I’m back, fine and it’s over. But I still have to live with the experience–and it could happen again. You ask me what is it like now that the experience is in my rear-view mirror. Well the truth is that it still is close and on my tail even from that perspective. I don’t know why we were put through this. The authorities asked no questions of me or of Imaginary Forces. I have no idea what the nature of the investigation was and have had no opportunity to answer in my or my family’s defense. In light of that, living in this country and operating within the company with some kind of peace of mind is difficult.”
NHS Blood & Transplant’s “Waiting to Live” From VML UK Wins ADCE Grand Prix
“Waiting to Live” by VML UK for NHS Blood & Transplant was awarded this year’s Art Directors Club of Europe (ADCE) Grand Prix at a gala ceremony, part of the ADCE ‘24 European Creativity Festival in Barcelona.
“Waiting to Live” seeks to raise awareness and inspire families to join the NHS Organ Donor Register. With 233 children currently on the waiting list for an organ transplant, the need is critical—yet in 2021/22, only 40 donors were available. To give every child on the waiting list a greater chance at receiving a life-saving donation, the campaign urgently shines a spotlight on this pressing issue, calling for immediate action.
Winners were selected by a jury of 58 leading creative minds from 22 European countries, who convened last month in Barcelona to deliberate and assess the finest creative works spanning across Europe.
A total of 924 creative works from 24 European countries were entered in the 33rd edition of the ADCE Awards. There were 375 awarded works: 1 Grand Prix, 39 Gold, 62 Silver, 94 Bronze, 175 Shortlisted, 1 European Star-Johannes Newrkla Award, 1 Genius Loci Award, 1 Equal Star Award, 1 Green Star Award. The complete list of 2024 ADCE winners can be viewed here.
The 39 Gold winners are as follows:
Film & Audio
Craft - Music and Sound: “Oliveira Dos Cen Anos” by Little Spain for Real Club Celta
Craft - Direction, Cinematography and Editing: “The Square Meter” by HeimatTBWA for Hornbach Baumarkt AG
Print & Outdoor
Special Outdoor: “Big Blue Bag” by Mother for IKEA
Non-profit / Public Service / NGO:... Read More