Tim Reilly has joined customer experience agency DEFINITION 6 (D6) as creative director. Reilly, a creative and writer, brings almost two decades of experience creating movie trailers, social media content, marketing strategies, and promo work for HBO, Turner, Sony Pictures, 20th Century Fox, and Paramount+, among assorted other entertainment brands.
Most recently, Reilly ran Newest Industries, a creative and content management consulting firm, where he conceived and directed behind-the-scenes content and developed scripted social media campaigns for such clients as A24, Netflix, and FX, among others.
Prior to that, Reilly worked as a creative director at Turner Classic Movies for 15 years. There, he led a team of writers and producers creating promotions and content for a portfolio of classic film franchises across multiple platforms. Reilly highlighted his work with the Imagineers at Disney where he updated and rebranded The Great Movie Ride at Walt Disney World Resort with new video installations and scripting. He was also instrumental in positioning TCM as the authoritative curator of classic movies by facilitating events such as “Summer Under the Stars,” The TCM Classic Film Festival, and The TCM Classic Cruise. During his tenure, Reilly was recognized with Promax Awards for “31 Days of Oscar” and Fathom Events, among others.
During this time, he also partnered with The Criterion Collection to launch and promote FilmStruck, an art-housing streaming service. Reilly coordinated the rollout of FilmStruck across multiple platforms and cultivated long-form shoulder content to give context to directors and themes featured on the platform.
Reilly has also held a position as sr. writer-producer at HBO where he developed scripted, and produced promotional campaigns for series and specials including Six Feet Under, Sex and the City, Chris Rock: Never Scared, Inside the NFL, and Real Time with Bill Maher.
“Tim is, quite simply, an inspired storyteller and fantastic writer, as well as a great 360-degree creative,” said Crystal Hall, D6 SVP/creative director. “He pulls from a wide and varied background that is perfect for our clients.”
Reilly shared, “I’m especially excited to bring my ideas into the fold for entertainment marketing campaigns, collaborating with the data and analytics team. Coming from a writing and economics background, I have a healthy respect for the data-driven approach to winning hearts and minds. That’s what we’re trying to do at the end of the day. The best creative lives within boundaries. It needs some structure to latch onto in order to grow–like a tomato plant in a cage.”
Reilly further noted, “On top of knowing and collaborating with some of the people at D6 going back to my HBO days, I’ve already witnessed how community and culture is just as important to the team here as it is to me. You can’t put a price on that. I’m eager to build on those relationships and forge new ones.”
New York Film Fest Preview: “The Brutalist,” “Nickel Boys,” “April,” “All We Imagine as Light”
When you think of blockbusters, the first thing that comes to mind might not be a 215-minute postwar epic screening for the first time at Lincoln Center. But that was the scene last week when the New York Film Festival hosted a 70mm print of Brady Corbet's "The Brutalist." The festival hadn't then officially begun โ its 62nd edition opens Friday โ but the advance press screening drew long lines โ as some attendees noted, not unlike those at Ellis Island in the film โ and a packed Walter Reade Theatre. Word had gotten around: "The Brutalist" is something to see. Corbet's epic, starring Adrian Brody as a Jewish architect remaking his life in Pennsylvania, is the kind of colossal cinematic construction that doesn't come around every day. Shot in VistaVision and structured like movements in a symphony (with a 15-minute intermission to boot), "The Brutalist" is indeed something to behold. It's arthouse and blockbuster in one, and, maybe, a reminder of the movies' capacity for uncompromising grandeur โ and the awe that can inspire. It's been fashionable in recent years to wonder about the fate of the movies, but it can be hard to placate those concerns at the New York Film Festival. The festival prizes itself on gathering the best cinema from around the world. And this year, the movies are filled with bold forays of form and perspective that you can feel pushing film forward. This is also the time Oscar campaigns begin lurching into gear, with Q&As and cocktail parties. But, unlike last year when "Oppenheimer" and "Barbie" were entrenched as favorites, the best picture race is said to be wide open. In that vacuum, movies like "The Brutalist" and the NYFF opener, RaMell Ross' "Nickel Boys," not to mention Sean Baker's "Anora" and Jacques Audiard's... Read More