Campopiano also appointed creative leader of WPP’s global Coca-Cola account
John Patroulis has been promoted to global creative chairman and president, creative business, while Javier Campopiano has been upped to worldwide chief creative officer of Grey and appointed creative leader of WPP’s global Coca-Cola
account.
“We have transformed the global structure of Grey during the last 18 months, reducing the number of studios across the world, and focusing more than ever in the density of talent, especially on the creative side. This new leadership model is the next logical step. It aligns perfectly with our strategy of being a creatively-led, borderless organization dedicated to delivering what our clients want: the best talent regardless of geography,” said Michael Houston, worldwide CEO of Grey.
Campopiano’s expanded role puts him in charge of Grey’s creative performance across the global network. Core to his duties, Campopiano will oversee the creative product for WPP’s global Coca-Cola Company account. The veteran creative played an integral role in the successful global pitch. He will lead the creative team drawing upon the very best talent from Grey and across all the WPP agencies that make up Open X.
Patroulis’ expanded role gives him a seat at the creative as well as the executive boardroom table. Along with his creative leadership duties, he will partner with Houston on business strategy, new offerings, talent investment, growth plans and business transformation for Grey and its global clients.
This follows the Grey strategy of focusing on creativity not just in the output, but in the business itself. Recent examples have been Laura Jordan Bambach, who is president and CCO of the London office, and Diego Medvedocky, the highly-awarded LATAM creative leader who is currently president of Grey LATAM.
Both Patroulis and Campopiano will work closely together to set and implement the agency’s creative vision, recruit top talent and drive new business growth.
Patroulis joined Grey as worldwide chief creative officer in 2017, also overseeing the New York flagship’s creative department for years. He has won every top creative honor, including The One Show “Best in Show,”
The Grand Clio, The Grand Effie and the Cannes Grand Prix, which he has earned several times.
Campopiano joined Grey in 2019 as chief creative officer, Europe and global clients. Most recently, he has served as global creative partner. Under his leadership, Grey has produced acclaimed campaigns for Volvo, Pringles, P&G and Carlsberg. He gained worldwide fame for the “It’s a Tide Ad” campaign that swept award shows in 2019. He is the recipient of 50+ Cannes Lions including Grand Prix and Titanium as well as the Clio, LIA, ANA, D&AD, and The One Show.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More