Director Brent Harris, formerly of Rabbit, has joined Skunk and Stink worldwide, with the exclusion of France and South Africa where he continues to be handled by Premiere Heure and Egg, respectively.
Harris’ recent credits include spots for Belgium Lottery, Nokia via Wieden+Kennedy Amsterdam, and Sony PSP for Deutsch LA. The latter was produced by Skunk.
Born in South Africa, Harris has made New York City his home for the better part of the last decade. Much of his time, though, has been spent traversing the globe, shooting for international clients including Nike, Nintendo, Mercedes, Volkswagen, Virgin Atlantic, BMW and Axe. Harris’ work has earned assorted accolades, including three Cannes Lions in 2007. He also made a major splash at that year’s AICP Show with MTV’s “Fetish” for Y&R New York, which was honored in the Agency Art Direction and PSA categories, thus earning the spot a place in the permanent archives of the Museum of Modern Art, New York.
Harris’ notable work at Rabbit included Mayflower’s “Big Move,” which made SHOOT‘s “The Best Work You May Never See” gallery last year (5/28/10). The cinematic :70 opened on a close-up of a young woman’s face. The camera then reveals it’s the visage of a larger-than-life puppet endowed with delicate features. She is handled with care by Mayflower movers. The lass, with strings attached, leads the way, striding along highways, with a large Mayflower moving van close behind. We see her react to her surroundings, including her ultimate destination–her new home. The movers unload a large box from the back of the van. The box contains an oversized lawn chair, in which the puppet settles in, with help from the Mayflower movers. A closing tag contains the Mayflower logo, accompanied by the slogan, “Every step of the way.”
“Big Move” came out of Grey New York.
Review: Director Jon M. Chu’s “Wicked”
It's the ultimate celebrity redemption tour, two decades in the making. In the annals of pop culture, few characters have undergone an image makeover quite like the Wicked Witch of the West.
Oh, she may have been vengeful and scary in "The Wizard of Oz." But something changed — like, REALLY changed — on the way from the yellow brick road to the Great White Way. Since 2003, crowds have packed nightly into "Wicked" at Broadway's Gershwin Theatre to cheer as the green-skinned, misunderstood Elphaba rises up on her broomstick to belt "Defying Gravity," that enduring girl-power anthem.
How many people have seen "Wicked"? Rudimentary math suggests more than 15 million on Broadway alone. And now we have "Wicked" the movie, director Jon M. Chu's lavish, faithful, impeccably crafted (and nearly three-hour) ode to this origin story of Elphaba and her (eventual) bestie — Glinda, the very good and very blonde. Welcome to Hollywood, ladies.
Before we get to what this movie does well (Those big numbers! Those costumes!), just a couple thornier issues to ponder. Will this "Wicked," powered by a soulful Cynthia Erivo (owner of one of the best singing voices on the planet) and a sprightly, comedic, hair-tossing Ariana Grande, turn even musical theater haters into lovers?
Tricky question. Some people just don't buy into the musical thing, and they should be allowed to live freely amongst us. But if people breaking into song delights rather than flummoxes you, if elaborate dance numbers in village squares and fantastical nightclubs and emerald-hued cities make perfect sense to you, and especially if you already love "Wicked," well then, you will likely love this film. If it feels like they made the best "Wicked" movie money could buy — well, it's... Read More