Production and postproduction collective The Cabinet, based in San Francisco, has formed a strategic alliance with ArsenalCreative, a multidisciplinary post studio in Los Angeles.
Director/editor Doug Cox, who launched The Cabinet last year, said, “What we’ve done here is build a window, a portal to a group of talented artists that will plus our capabilities and deliver quality finish and color to our clients, making The Cabinet a true one-stop shop,” He explained that, utilizing one of The Cabinet’s converted edit suites, the facility “has already enjoyed working with their clients to seamlessly stream flame finish and color sessions directly to its monitors and systems.”
Mark Leiss, managing director/partner of ArsenalCreative noted, “Making the decision to establish our offices in San Francisco was all about timing and finding the right partnership. I’ve worked with Doug on a variety of projects over the years and respect his craft and vision. This expansion gives us a permanent presence to focus on cultivating new relationships and strengthening established ones in a market that we’ve been working in for many years.”
Recent work at The Cabinet includes a multi-platform broadcast and online campaign for Sparkle paper towels with Cutwater, and a digital campaign for Intel, via Doremus. The company is currently in post on So Delicious via Duncan/Channon, with whom Cox collaborated on last year’s widely seen CTCP anti-vaping project “Wake Up” (featuring Blondie’s “One Way or Another”).
ArsenalCreative is overseen by Leiss and EP/partner Cortney Haile. Cox–a three-time AICE Award winner (and nine-time nominee), including two awards for Best of San Francisco, in 2012 and 2015–is backed at The Cabinet by EP Jim Vaughan.
Cox said of Leiss, “Mark and I have known each other and been in the same circles for years and always talked about the need for finish in San Francisco. Mark, Cortney and the rest of the team at ArsenalCreative provide an answer to content finishing that we were looking for. Our ‘team sport for content’ just got that much bigger.”
Rom-Com Mainstay Hugh Grant Shifts To The Dark Side and He’s Never Been Happier
After some difficulties connecting to a Zoom, Hugh Grant eventually opts to just phone instead.
"Sorry about that," he apologizes. "Tech hell." Grant is no lover of technology. Smart phones, for example, he calls the "devil's tinderbox."
"I think they're killing us. I hate them," he says. "I go on long holidays from them, three or four days at at time. Marvelous."
Hell, and our proximity to it, is a not unrelated topic to Grant's new film, "Heretic." In it, two young Mormon missionaries (Chloe East, Sophie Thatcher) come knocking on a door they'll soon regret visiting. They're welcomed in by Mr. Reed (Grant), an initially charming man who tests their faith in theological debate, and then, in much worse things.
After decades in romantic comedies, Grant has spent the last few years playing narcissists, weirdos and murders, often to the greatest acclaim of his career. But in "Heretic," a horror thriller from A24, Grant's turn to the dark side reaches a new extreme. The actor who once charmingly stammered in "Four Weddings and a Funeral" and who danced to the Pointer Sisters in "Love Actually" is now doing heinous things to young people in a basement.
"It was a challenge," Grant says. "I think human beings need challenges. It makes your beer taste better in the evening if you've climbed a mountain. He was just so wonderfully (expletive)-up."
"Heretic," which opens in theaters Friday, is directed by Scott Beck and Bryan Woods, co-writers of "A Quiet Place." In Grant's hands, Mr. Reed is a divinely good baddie — a scholarly creep whose wry monologues pull from a wide range of references, including, fittingly, Radiohead's "Creep."
In an interview, Grant spoke about these and other facets of his character, his journey... Read More