Backyard Productions has signed director Patrick Creadon for spot and branded content representation in the U.S. Based in L.A., Creadon has turned out work ranging from commercials to television projects and award-winning documentary films. His credits in the ad arena include assorted spots and pieces of content for Fisher-Price, Unilever, Intel and Fair Trade.
Creadon’s feature projects have made their mark on the festival circuit, including Sundance, Tribeca and Slamdance. His directorial debut Wordplay premiered at the 2006 Sundance Film Festival, and went on to become the second-highest grossing documentary of that year. Other films include I.O.U.S.A. (2008), If You Build It (2014), All Work All Play (2015), and an installment about Notre Dame football for ESPN’s award-winning documentary series 30 for 30 (2016). His critically acclaimed documentary, Hesburgh (2018), about the legendary long-time president of the University of Notre Dame, will see its theatrical release later this year. Creadon’s latest film, Ski Bum: The Warren Miller Story (2019), just made its world premiere as the opening night film at the Slamdance Fest in Park City, Utah.
Prior to joining the Culver City-based Backyard, Creadon had last been repped for commercials by No Smoke and Creative Film Management. Backyard CEO Kevin Allodi described Creadon as “a great talent and a fantastic addition to our roster."
Creadon said of Backyard, “The advertising and branded content space is dramatically evolving, and I’m excited to be a part of a company that is firmly grounded in the traditional commercial production world, but also forward thinking about the possibilities of short form filmmaking within the creative commercial advertising and digital content space. It’s both exciting and inspiring.”
Backyard’s sales team of indie reps consists of Schaffer/Rogers on the East Coast, Options on the West Coast, and Heart Brains and Nerve in the Midwest.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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