Jim Haight has joined Goodby Silverstein & Partners (GS&P) as head of production and associate partner.
Haight will lead the agency’s production department, while partnering with GS&P Films and Elevel, the agency’s in-house production arm, to foster GS&P’s maker culture. He will develop partnerships that continue to provide clients with content solutions across all mediums—from TV to video to experiential events—and re-engineer how production can work further upstream in the creative process to build production models that help elevate the creative output and execute against client objectives.
Haight brings 17 years of diverse production experience to his new roost. Prior to joining GS&P, he served as the first U.S. head of production at Edelman, overseeing its production and in-house maker teams in the U.S. and Bogota and focusing on social, digital and earned creative campaigns. Haight was an executive producer at Facebook (now Meta), where he oversaw content for the Blue App, as well as at creative agencies such as 72andSunny and Deutsch LA, where he produced and oversaw brands such as adidas, Target, Truth, Google and Volkswagen (including VW’s 2011 Super Bowl hit “The Force”).
“Jim is the perfect partner to guide the agency toward the future at a time when production is going through rapid change,” said Margaret Johnson, chief creative officer at GS&P. “His experience as a storyteller and a production innovator–combined with his track record within agencies and brands–will help shape the future of GS&P production. He will open up opportunities in lower-cost productions and help us to execute at the speed of culture.”
Jeff Goodby, co-founder and co-chairman at GS&P, said, “The idea that the entire world is a media opportunity is truer today than ever. Our work is incredibly diverse–from large-scale Super Bowl spots to putting Lunchables in toy aisles to a VR experience for the Dalà Museum to an augmented-reality experience for the BMW Art Car. Jim has the experience to reinvent and make the seemingly impossible a reality.”
Haight shared, “The opportunity to lead production at GS&P, an agency with a rich history of iconic storytelling, alongside Margaret Johnson, Jeff Goodby and Rich Silverstein is truly special. I’m looking forward to helping this team push the boundaries at all altitudes of production, across an ever-evolving landscape of mediums and formats. I’m excited to strengthen existing relationships, forge new ones with our external production partners and foster a true maker community with the expanding internal resources that we have within GS&P.”
Review: Writer-Director Aaron Schimberg’s “A Different Man”
Imagine you could wake up one morning, stand at the mirror, and literally peel off any part of your looks you don't like — with only movie-star beauty remaining.
How would it change your life? How SHOULD it change your life?
That's a question – well, a launching point, really — for Edward, protagonist of Aaron Schimberg's fascinating, genre-bending, undeniably provocative and occasionally frustrating "A Different Man," featuring a stellar trio of Sebastian Stan, Adam Pearson and Renate Reinsve.
The very title is open to multiple interpretations. Who (and what) is "different"? The original Edward, who has neurofibromatosis, a genetic disorder that causes bulging tumors on his face? Or the man he becomes when he's able to slip out of that skin? And is he "different" to others, or to himself?
When we meet Edward, a struggling actor in New York (Stan, in elaborate makeup), he's filming some sort of commercial. We soon learn it's an instructional video on how to behave around colleagues with deformities. But even there, the director stops him, offering changes. "Wouldn't want to scare anyone," he says.
On Edward's way home on the subway, people stare. Back at his small apartment building, he meets a young woman in the hallway, in the midst of moving to the flat next door. She winces visibly when she first sees him, as virtually everyone does.
But later, Ingrid (Reinsve) tries to make it up to him, coming over to chat. She is charming and forthright, and tells Edward she's a budding playwright.
Edward goes for a medical checkup and learns that one of his tumors is slowly progressing over the eye. But he's also told of an experimental trial he could join. With the possibility — maybe — of a cure.
So... Read More