Matt Dilmore of Biscuit Filmworks directed this spot–titled "Can I Touch It?"–for Nature’s Care Organic Garden Soil, celebrating the product with a 40-foot-high monument of dirt, two regular guys commenting on it and the tagline, “That’s some good dirt.”
In a category that typically puts the emphasis on storybook vegetable gardens, agency Barton F. Graf 9000 wanted to instead make the dirt pile the hero.
Client The Scotts Company LLC/Nature’s Care Agency Barton F. Graf 9000 Gerry Graf, founder/chief creative officer; Scott Vitrone, Ian Reichenthal, partners/executive creative directors; Amanda Clelland, creative director/art director; Nick Kaplan, creative director/copywriter; Josh Morse, head of production; Erica Kahr, producer. Production Biscuit Filmworks Matt Dilmore, director; Shawn Lacy, managing director; Colleen O’Donnell, executive producer; Peter Slowey, line producer. Editorial Mackenzie Cutler Gavin Cutler, editor; Pamela Petruski, assistant editor; Sasha Hirschfeld, exec producer. Post Company 3 Tim Masick, colorist. Audio Post Heard City
Dancer turned director Ezra Hurwitz collaborates with Ailey II artistic director Francesca Harper, featuring movement as museum pieces against the Whitney Museum of American Art’s striking architecture for this short film titled Echoes of Ailey. Commissioned to celebrate “Edges of Ailey” at the Whitney Museum, the film accompanies the first large-scale exhibition on the life and enduring legacy of visionary artist and choreographer Alvin Ailey. “Edges of Ailey” is currently on view at the Whitney until February 9.
Animating iconic images from Alvin Ailey’s 20th-century repertory, the film expands on the exhibition by constructing a visual narrative around his storytelling and influences. Set to Radiohead’s “Everything In Its Right Place,” dancers from the Alvin Ailey American Dance Theater, Ailey II, and The Ailey School capture the emotional core of the company’s history--physically situating Ailey’s masterworks amongst the Whitney’s collection.
“As a child, my grandmother took me to Ailey’s Revelations once a year,” said Hurwitz. “No matter how often I saw it, the work captivated me. There isn’t one specific thing I hope viewers take away from the film--or one way to interpret its images. It’s meant to be an abstract work, like Ailey’s creations.”
Turning to his archive, Hurwitz and Harper illuminate key sequences symbolic of Ailey’s profound legacy, closing on an uninterrupted sequence from "I’ve Been Buked," the opening movement of Ailey’s legendary "Revelations." Carrying a watershed moment back to its own medium, Echoes of Ailey captures the multigenerational impact of Ailey’s work, continued by his organization. The short film first premiered on Nowness.
Hurwitz is... Read More
