Director Noah Marshall, who continues to be handled internationally by The Sweet Shop, has taken that representation global by signing with the company’s U.S. operation. He had previously been repped in the American ad market by PRETTYBIRD.
Marshall said of his decision to sign with The Sweet Shop US, “It feels like the perfect time to consolidate my management to coordinate and concentrate on the great work that’s been coming my way, as one voice. The executive team in the US, helmed by MD [managing director] Laura Thoel, features some of the most forward-thinking talent around and I can’t wait to see what we accomplish together in the States and on the worldwide stage.”
Marshall cut his teeth in the ad world as an art director, working with agencies including Bates, BBDO and FCB. He then settled into the director’s chair to marry his passion for storytelling with his love of image and design. The result is a body of work that has been honored at competitions including Cannes, D&AD and The One Show.
Among Marshall’s clients over the years are Beats by Dre, Nike, Coca-Cola, Heineken, Sony, Panasonic, Ford, Toyota, General Motors, HSBC, Barclays Bank, HP and Schweppes.
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