1) I think it’s safe to say the divisive state of politics will continue to make us all pine for simpler, more unified times.  So brand stories that champion inclusion, diversity and unity stand to connect with people more than ever. Similarly, I think brands that align themselves behind “purpose driven” creative work will find receptive audiences - as long as its relevant and not gratuitous. I think consumers are wise to brands trying to jump on the “purpose” bandwagon.  At least the McSweeney’s writer who wrote this hilarious piece, “What I Need Most in My Life Right Now is a Purpose-Driven Paper Towel Brand,” has it figured out: https://www.mcsweeneys.net/articles/the-thing-i-need-most-in-my-life-right-now-is-a-purpose-driven-paper-towel-brand

2) I hate to sound biased by referencing DDB work, but the “Skittles: The Broadway Musical” Super Bowl campaign really answers this question for me.  And since I had zero to do with it aside from being insanely jealous, I’m going to gush a bit: just a brilliant blurring of the lines between advertising, entertainment and satire, and a warping of the rules of engagement with consumers, especially around the Super Bowl.  It was a breakthrough creative moment and a huge business success for a very brave and deserving client. 

3) We were fortunate enough to win two Gold Lions at Cannes for a campaign we did for the Tribeca Film Festival. Prior to coming up with the ultimate campaign idea, we’d presented a round or two to the clients.  We shared some stuff we loved.  Some of it more logistically complex. More techy. More experiential. More expensive and arguably more ambitious. And for a variety of valid reasons, we just couldn’t get to a green light from our clients. In the end, we just went back to the simple core truth that Tribeca is about storytelling, and we found a wonderful way to celebrate that without obscuring it in execution. It was a great reminder that simpler is almost always better.

1) Almost every job now involves capturing multiple assets for the client. It’s a broadcast spot, stills for social media, shooting 16:9, 1:1 and 9:16 with multiple cameras to capture everything.

2) I’ve always loved the work that Apple has done and this year was no exception. The “Unlocked” spot and “Little Company” spot stand out to me as extraordinary filmmaking as well as the ad for the iPhone XR “Don’t Mess with Mother.” The beautiful photography in that spot that was shot entirely on an iPhone demonstrates that its not the camera that makes the great images but the photographer.

6) We have always made an effort to increase diversity in our crews and have participated in several job fairs and training programs to increase the percentage of women and minorities in our crews. We shoot frequently in Illinois and to take advantage of the Illinois Film Tax credit you are required to document your efforts to create a diverse crew that mirrors the diversity of the State of Illinois, which is 20% people of color and 50% women. I am proud to report that we meet or exceed those percentages on every job we produce.

1) Our industry’s push for diversity and inclusion continued in the first half of 2019. My hope is our initiatives to give underrepresented voices, not just filmmakers and creatives, a chance to be heard is more than lip service. I’ve seen programs that exist just to check a box but with no follow through. The net gain is still positive cuz people are still getting real exposure.

2) I like strategy of the new High-dive Jeremy Renner Jeep campaign: a fusion of movie star, lifestyle and Renner’s own music. FCA song choice has been suspect at times (I once did a Christmas spot with an ill-fitted Flo Rida track mandated for Fiat) but these spots blend Hollywood and car quite well. 
Of course, Nike’s “Dream Crazy” with Colin Kaepernick Wieden + Kennedy is wonderfully polarizing and gets people buring shoes. 
I like anything by director Tom Kuntz.

3) I produced the indie short from series “Disconnected” (writer/director Jeannette Godoy) and we made it to the ballet to be on the ballet for an Emmy this season. Which is kind of bullshit, just nominate already. We got shut out by AMC, Netflix, Comedy Central and some Jimmy Fallon bit. No sour grapes cuz it all of that is great content, but I learned there really is no “indie” in that game. Emmy-schemmy. Ok, maybe a lil sour.

4) More data robot overlords dictating creative.

5) Social consciousness is connecting with consumers and that work is winning awards. Most feels sincere, but the end result is good.

6) I do Commercial Directing Bootcamp three times a year. Each session, the Diversity Award gives one or two filmmakers from an underrepresented population a free ticket to the seminar. It’s a small way to help, one filmmaker at a time. I also continue to make myself available to them after the workshop.

2) Lately, I have been telling my clients to take a closer look at all things T-Mobile. They’re a good example of how empowering a good company culture can be, and why culture is the key to making meaningful connections with customers, especially in our real-time, multi-channel marketplace. 

T-Mobile have this customer-obsessed way about them that you just can’t fake. It inspires everything they do across its organization, big and small, and it’s what drives its customer experience. They have a clear point of view that immediately informs the brand around how to behave at every touchpoint, from advertising and social, to retail, product and service. Looking at its business results, you have to admit its emphasis on cultivating a good culture is working.

Also, on a personal note, a few weeks ago I was traveling to see a client who says I’ve become a bit “T-Mobile crazy.” So while sitting on a plane at the airport I tweeted T-Mobile’s CEO John Legere and asked for advice. “How could I get my client to be more like T-Mobile?” Eight minutes later, before my flight even pushed back, Legere responded. “Listen to customers, shut up and do what they say!” Well, I relayed the message and this week that same client confessed that she just switched to T-Mobile. A good and strong company culture is everything.

4) We are going to see brands get more creative with influencer marketing by the end of this year. In some ways, it’s still early days, but I suspect more industries are soon going to find its way into this space, and in a big way. 

Social influencers have been a great accelerator for start-ups and small businesses alike. Influencers have become essential in the entertainment, fashion and beauty worlds as well. While at times many efforts can seem a bit on the nose, there is room with influencers to move beyond product awareness, reviews, and trials. Influencers can help brands tackle harder issues, including brand perception and legacy issues. 

To be fair, most companies are still learning what works in this space, but as the fastest growing media audiences are watching videos that start with some version of “Hey guys,” they better learn fast. When money starts moving in from bigger industries, it is going to be an interesting space to watch.

6) Through our M&C Saatchi network, we are affiliated with MAJORITY. MAJORITY is a production company that is tackling gender disparity in advertising and film by meeting it head-on with a meticulously cultivated, vibrant and distinct roster of female directors.

Based in Los Angeles, MAJORITY represents a wellspring of established and previously untapped independent filmmakers who are at the cutting-edge of their craft. They are an immensely talented group who are moving the needle toward gender parity behind the lens, while creating exceptional content, and we are proud to be affiliated with them.

1) Maturing by the moment, Gen Z is even more native to social media than Millennials. This generation is quickly growing into their full purchasing power and influence as trendsetters. For advertisers, traditional marketing may not be as effective with this rapidly rising base of Gen Z consumers. Now more than ever, content truly is king, and a strong content strategy is essential to robust marketing. Speaking as a CTO, it also means brands need to think like all of us engineers and computer scientists on the tech side, and build digitally native pathways to brand experiences for long-term brand affinity. In order to thrive, brands must quickly identify and adopt the latest digital products and trends; think TikTok and in-app purchases. Adaptation is the only way modern brands will survive in the ever- evolving, fast-paced online ecosystem.

4) Though gazing into the crystal ball is a tricky proposition, we nonetheless ask you for any forecast you have relative to content creation and/or the creative and/or business climate for the second half of 2019 and beyond.

We don’t need a crystal ball for this one. TikTok is exploding! Content creators are focusing on video now more than ever. Other platforms are too; we’re starting to see a shift from static to dynamic content across social. With more short-form videos online, content once again feels more “raw,” even if it’s deliberately so. The polished aesthetic that is a hallmark of Millennials resonates less with Gen Z users. TikTok trends may be fast and fleeting, but we’re certainly excited to see that unbridled creativity continue in the months ahead.

6) Women are driving advertising today, especially with digital and influencer content. Across industries, they’re the creators, the taste makers, the innovators. At Obviously, women are leading our team and engineering our technology. Our staff is incredibly diverse, representing numerous identities, genders, and speaking a number of languages. So for us, diversity and inclusion are fundamental to our success. It is truly in our DNA. We nurture and defend these tenets, and believe others must too in order to succeed in the modern professional world. As influencer marketers, young talent is our life blood. Age is irrelevant in our business. Creativity, passion and exploration are hallmarks of the influencer industry, and native to our company.

1) The model of the traditional production company is falling away. For us to stay relevant and a contributor within the industry we can not just think of ourselves as creators of the :30/60 spot. 

Now more then ever with the digital video boom and the popularity of influencers, it’s all about the content and creating interesting stories without the hard sell.

This means emphasizing our creative ability to our clients is key. We have to tap into our team and show our clients that we can help and partner with them at the early stages of conception to develop thoughtful and impactful content developing their brand stories.

We are all storytellers. It’s all about creating content that is interesting and relatable to a wide audience. 

The excitement for me is to continue to build our team with the current trend of our industry at the forefront of my mind. Concentrating on finding opportunities that allow us to be content developers and creators in partnership with our clients is the ultimate goal. 

2) As the industry shifts towards more experiential and non traditional branded content targeted towards more savvy consumers, we have seen a dramatic uptick in the asks for episodic branded content series development. Our background in original content gives us a unique edge in that market and lead Droga5 to enlist us to create a 5 part episodic content series profiling 5 influencers for the new google Pixel3 lunch this last year called #Unswitchables. In developing this series with our agency partner, we put together a classic Hollywood style writers room, with head writers from notable comedy central shows like “The Daily Show” and “Nathan for You”. Over a month long production schedule, James David from “Hood Adjacent” fame lead our characters through a process that inevitably ended in their phone switch. This type of content which seamlessly blends the entertainment world of soft scripted reality and product centric branded content is a strong example of the industry shift away from the traditional 30/60 second spot and engaging with viewers in a more relatable way.

4) As large multinational ad agencies strive to fulfill the growing amounts of content that their clients are asking for, they are taking post-production and now increasing amounts of live action production in-house. This trend of agency in-house capabilities has lead many production companies to expand their offerings into the creative & strategy space that has traditionally been dominated by ad agencies. 

As production companies and large agencies vie for the same brand clients, the real question becomes; “who has the larger bureaucracy and overhead that eats up client retainers?” As smaller business’, its much easier for production companies to get into the creative and strategy space as compared to the behemoth agencies of yesteryear. Our flexibility to scale up to meet a larger clients needs and scale down during lulls in production, makes us a more agile competitor in a world of decreased AOR relationships and increased per project RFP’s.

This fight over the same slice of the production/creative pie will inevitably become more and more intense.

1) There’s been a dramatic increase of brands taking it upon themselves to encourage positive social change through the messages they put out as advertisers, which has been inspiring to our filmmakers and us as a community. The idea that advertising can not only sell products but also bring awareness and compel people to participate in positive change is something that is adding another layer of meaning to what we do. 

And, as clients focus on the power of content more and more, they’re shifting marketing dollars toward the development of branded entertainment, which is creating new opportunities for production companies and directors to develop longer-form communication strategies hand-in-hand with agencies and clients from the start.

2) I am so proud of the work we did on our branded film Corazon, which was directed by John Hillcoat and produced in partnership with JohnXHannes for Montefiore Health Systems. The beauty of the impact of Corazon is that by telling a true story, it raised awareness of the great need for organ donors and triggered a surge of new donors signing up because of the campaign. More importantly than the awards it gathered, it is helping save thousands of lives and gives a deeper meaning to what’s possible in the work that we do.

3) There is tremendous value when we are given the opportunity to collaborate with agencies and clients in the early stages. It gives us the ability to team our directors with screenwriters, to get to know the people or products we’re talking about, and better understand the subject matter to tell a narrative that will have a profound impact In traditional advertising. We tend to get called at the last minute after agencies have worked for months to understand the brand’s DNA; by getting called in early by JohnXHannes and Montefiore, we got to develop a story that struck a chord with audiences because it held so much truth. That came from us having the time to develop a relationship with the subjects, as well as the brand. We are excited by the fact that with today’s evolution of branded communication, we have more opportunities to adopt a process that’s closer to how we operate for feature films.

4) The fact that streaming platforms like Hulu and Netflix are opening the doors to branded entertainment is going to help our business evolve. I think that there’s going to be a lot more opportunities to create branded series and content at a high level, allowing us to take the audience on a bigger journey that’s more immersive and to sell products in a way that is connective and truthful without being on the nose. I see the lines blurring more and more between advertising and long-form filmmaking.

5) Brands are taking risks and addressing social issues head on in an honest way, and it can really pay off when the work is embraced and celebrated. Nike’s “Dream Crazy” with Colin Kaepernick was so inspiring, and it was wonderful to see them recognized for that powerful message.

6) We’ve naturally always made an effort because at its core, Serial is a female-operated company with a core team of women running the show. And, we’re working to ensure that our projects are tapping into diverse perspectives, whether from gender, race, or sexual orientation. We think it’s important to not only convey that with our filmmakers and the young talent we mentor, but also with any key positions such as producers, production designers, cinematographers, etc.

1) 2019 is the year that all the promises of creative being freed up by technology has finally happened. With increased bandwidth and easy to use interfaces our industry is doing things faster than ever. I’m not sure that it is the best thing for all projects but it is certainly brought to bear on most of the work we are doing. Given the democratization of technology we find that creative ability is firmly in the forefront (thankfully).

3) None of the work we did this year was up for any of the major awards, but the biggest lesson learned from a very busy year is that it is more important than ever to define scope of work upfront. We work quite a bit with brands directly and we often find the final deliverables are considerably more than originally bid. To some degree this is a result of a wealth of riches resulting from a great shoot, but it also is true that there can be many cooks in the kitchen and we often find ourselves addressing creative and strategic concerns from all levels with brands.

4) I can’t project for the whole industry but I can speak about the San Francisco market with some specificity. SF continues to be a hot market, with a combo of Agencies and Brands providing work for companies like ours. This trend should continue into 2020, with a premium placed on companies that can scale up as needed to accommodate the needs of the job.

5) Big ideas rule. While we are proud of all the work we do it seems like it is the higher concept stuff that wins out. To my mind this has always been the case and I see no reason that it should/will change.

6) As an editing company we are dependent on building talent from within. From our client services folks all the way up to our senior editors we want to have people who are dedicated and immersed in the field. We always seek to find the best talent first but of course we also have an eye on diversity. We have always sought to make sure our company represents the community in which we live but in the past couple of years we have also found that our clients are demanding it. Free the Bid is a real thing and there are plenty of instances where we are asked by our clients about our policies regarding diversity are. This is a welcome trend.

1) Remember when everything went clear? Clear Pepsi, clear deodorant, Zima for God’s sake? Then we green washed everything because Generation Y and those darn Millennials actually cared about the planet? Never mind if we actually made changes or not, just tell ‘em you care! 

Now suddenly brands *really* care about the ladies. Brands are falling all over themselves wanting Millennial moms to know that our widgets not only have “values” but we think ladies rock too. Oh, not far enough you say? Ok, sure pay women the same, I guess... though we aren’t demanding our agencies pay women the same or making any pay leveling moves at home. But look how powerful our print, TVC and our statues are. Doesn’t that qualify as big change? We’re not showing you in scantily clad clothing while cleaning the X anymore. What? You’re still not happy? Oh because a bunch of fellas approved the ads, in some cases made the ads? 

Hey look, we appreciate that you discovered men can clean, raise children and care about a skin care routine and that women actually have huge senses of humor (thanks Lucile Ball, Carol Burnett, Lily Tomlin, Tina Fey, Kate Mckinnon), but don’t pander. Even if you spend a million on the production, we still know that you’re not hiring us, paying us or being real with us. Do better because we will find out the truth. Advertising is already rated lower in trust than banks. Let’s all work on that.

2) I can’t think of a better example of meshing advertising and entertainment this year than recent work from 22squared for our client Baskin Robbins. Grabbing on to such a big moment, Baskin Robbins went for it with the transformation of several stores to become Ship’s Ahoy, the ice cream parlor heavily featured in season three of Stranger Things. To date about 40 million people tuned in to binge the whole season in a matter of days. 

The campaign didn’t stop there. Next came the cryptic, 1985 technology treasure hunt game Scoop Snoop. It’s an ARG game that had very intentionally subtle brand tie ins and ran parallel to the launch of the show. Suddenly a Reddit thread blew up and weird theories about needing to check out actual nuclear facilities for codes. What a wild ride!

3) N/A unfortunately. Not this year. But OMG next year you better invest in proper lip care for all your wow faces. I just landed at 22SQ in January but the ideas I’m seeing in development for next award season are truly going to make me more proud than I’ve ever been in my career. And I’ve worked on some pretty stellar projects. Matt O’Rourke (new CCO) has been such an inspiration down here.

4) Before coming on board at 22squared, I had the pleasure of being Global Brand Creative Director at TOMS in Los Angeles and creative consultant at Spanx here in Atlanta. Client side was an eye-opening experience in many ways. My favorite was simply learning the business in such a deep way. Additionally so many of my advertising peers would block me in at parties to discuss what it’s like to go client side. Creatives are wildly interested in the proposition because the trend is definitely heading to a place where large companies and even smaller ones are adding traditional advertising creatives to their roster. Some are even building entire ad agencies inside their walls successfully. (See Spotify) 

I don’t see this trend dying out. However, there are plenty of watch outs: Corporations don’t truly understand what ad creatives do. Be prepared to explain the differences between marketing and advertising, retail design and communication design, and simply what a copywriter does for a living. On top of that, be prepared to educate a few coworkers on what good advertising/branding/content looks like. They’re most often sales folks that think a big logo and a price point will motivate a movement. Also many aren’t understanding that you’re not saving money by hiring a couple of FTEs versus hiring an ad agency.

5) “Meaningful” is always king but “surprise” is still a big winner. Play on the heart strings in a surprising way and you’re titanium.

6) This question is ever more important down South where I must admit, things are a bit lagging. 

After eight years in New York and another seven in Los Angeles, I certainly had moments where I was legit the only lady creative in the department. That doesn’t mean I represent all women. Nor does it mean I’m the moral barometer of the effing department. Somehow I was pushed into a kind of school marm role which shocked me as I have a foul mouth, scratch inappropriately and drink beer too. Fact is, I was raised by a man. I know very little about stereotypical lady stuff. The older I’ve gotten the more women I’ve met who feel the same. 

I encourage women to be themselves, fully and without apology. Currently I’m approaching my third trimester of my first child while wearing Dickies overalls, not a lick a cosmetics and would rather work on anything except women’s products. But then again, we need women like me to work on women’s products so the bullshit can stop rolling out into the minds of our nation. Periods aren’t gross. Body hair isn’t gross. WOMEN ARE EFFING FUNNY.

1) The industry is changing in terms of its attitude to branded entertainment. Broadcasters and networks are in need of new commercial models for their commissions, and brands and agencies are seeing that they have to reach consumers in non-traditional ways. There is a lot more collaboration and respect for branded entertainment as a genre and we’re seeing top quality content on TV, digital and even in cinemas that audiences are choosing to spend time with. There is also greater collaboration between brands, agencies, production companies and networks and I’m seeing new partnerships emerging – I love the idea that brands can become executive producers and that production companies are basing their development work on strategic insights from the advertising industry.

2) Johnson & Johnson’s Cannes Lions Entertainment Grand Prix winner 5B is another beautiful example of a brave brand telling a story which has its values--but not its product--at its heart. It is a feature documentary that tells the story of 5B, an HIV ward in a San Francisco hospital in the 1980s when the fear and taboo around AIDS was at is most extreme. The film has a purpose around the importance of personal care, touch and skin, but the product is an enabler of the story rather than an on-screen presence.

One of my favourite integrations from the world of Fremantle is the deal that Britain’s Got Talent did with retail brand Marks & Spencer. Excellent on-air, digital and in-app branded content was complemented by an in-store activation where the show’s judges talked to customers at the self-service check-out. I never ceased to be delighted when Ant and Dec asked me for my Sparks card.

3) The Cannes Entertainment Lions is always inspiring. This is a relatively new category but attracts hundreds of entries from all around the world. It is great to see brands as the creative and financial power behind documentaries, soap operas, feature films, gaming, digital content, VR and more. No media is off-limits. This year I was interested to see how many brands told their own stories by going back to the past – profiling their legacy and showcasing how progressive they have been. However, I would still have liked to see some more ground-breaking new content that would have to power to really disrupt and then scale across platforms, seasons or territories. The content in general still feels like a series of campaigns rather than content that will create new culture through genuine entertainment.

6) We know that great ideas and bold thinking can come from anywhere and anyone and we know that a diverse and representative workforce is crucial in enabling us to create entertainment for everyone. We firmly believe that this sort of creative magic flows best when diverse people work together in an inclusive environment. So, our Creative Responsibility programme is focused on helping diverse talent to succeed so innovative ideas can flourish and untold stories can come to life.

We’re doing this by monitoring internal diversity so that we can understand how inclusive we really are, supporting outreach initiatives that widen the talent pool we draw from, and addressing ‘diversity killers’ that are common to our industry.

1) Commercial production in California is down over 17% in the first 2 quarters of 2019 according to FILMLA. This trend sheds light on the amount of shooting that’s occurring offshore carrying implications that we’re still trying to understand, as it relates to local crews, vendors and actors. I also recognize the amount of non-union work being produced nationally and those implications challenge the union crews who rely on health insurance and P & W and most importantly a paycheck.

2) Nike stands above the crowd when communicating their POV and messaging that reflect our current culture. Their content is clear, concise and most importantly committed. They continue to thrive in a divisive world and their partnership with W+K stand out as a healthy and trusted client/agency team. Nike doesn’t chase or copy a message, they create their own messaging and it stands effective, relevant and memorable.

4) I think (and hope) our Presidential election in 2020 will heat up the second half of 2019 and I think people will want to engage their screens to access information. Election years have proven to be a time when our country gathers to watch debates and educate themselves on the issues and the candidates running for office. Our news outlets are under fire and so I think political advertising will take a big role and it’ll be interesting to see if it can accurately capture the tone(s) in our country.

2) In the past year, Tom Jucarone and I teamed up with McCann New York and students from Marjory Stoneman Douglas High School on a terrific project for March for Our Lives. “The Most Vicious Cycle” was a 3 1/2 minute film depicting the endless cycle of gun violence. Set to Kesha’s “Safe”, they creatively illustrated the endless loop using the Rube Goldberg machine as a storytelling device, and at the end, it begins again, playing three times. It’s powerful.

As a sound designer, I’ve worked on three anti-gun spots in the last year. It is important to work on projects that serve a greater purpose than just selling a product. This film struck a chord with me because of my passion against gun violence. Over the 30+ years that I have been making sounds, I feel my best work has been on PSAs that dealt with very important issues that we face every day of our lives. 

3) “The Most Vicious Cycle” for March for Our Lives was short-listed for AICP Post Awards, AMP Awards, D&AD, and won a Webby Award for Public Service and Activism this year. Whenever you work on a PSA, you learn something. That’s what they’re all about. They teach and they give you something to think about. I am as much a viewer, as I am an artist on these projects. This film had no production sound so everything was created through sound design and foley. But at the end, I’m like everyone else. When it’s finished, I sit in my room, and I watch what we’ve created. Not as an artist, but as a viewer and a person who’s passionate and compelled by the subject.

Receiving recognition from our peers is very gratifying. However, the key takeaway is to always put everything into your projects. We have the ability to move people and educate people. We put our heart and soul into the work because that is what we have done and continue to do in careers that have spanned over 30 years. 

6) I am very proud that, historically, Sound Lounge has always had strong and creative women heading most of our divisions. More than half of our management team is made up of women, and 40% of our company is women. Over the 20 years that Sound Lounge has been in business, many of our mixers started as interns and in the machine room. Through our open door policy and willingness to share, they have opportunities to learn how to mix and be mentored by artists who have been in the industry for a long time. We believe that the only way to get great at your craft is through practice. I am a big believer that our young mixers should and do work with filmmakers from our local universities like NYU and Columbia.

1) With a greater need for content now more than ever, the entire creative community is being stretched in many ways. The speed at which content is required means that in addition to our roster talent, we need curated and trusted freelance talent or off-roster creatives to ramp up at a moment’s notice. We are always keeping an eye out for new voices, especially those who have multiple creative abilities, and have developed a terrific network. One of the positive aspects of the content glut is that we are often involved in projects much earlier, sometimes in the concept stage, which we thrive on. It means we do a lot of work up front, before the concept is sold but it’s a partnership we form with our clients in the process.

2) The most evocative work this year has been the creation of engaging branded content. Things that speak to an ethos where the “sell” is about identifying with story, character, and brand values. An example we’ve been involved with are a series of YETI films presented by YETI. These beautifully crafted documentary pieces engage the viewer with a subtle wink towards the brand. Each presents a story about a person who is deeply connected to the outdoors - sporting, preserving, exploring - but without mention of a single product. A title card is all people need to know about what company connects with a love of the wild.

3) Lucky Post did the edit and finish on Tazo Tea, directed by Lucky 21’s Adam Littke, which was shortlisted for a 2019 Cannes Lion. It was an exceptional idea with a fairly limited budget…..“Brew the Unexpected” featuring Alyssa Edwards from RuPaul’s Drag Race as a counselor for Camp Tazo. Lesson learned: there are extremely creative ideas out there but we need to think more nimbly to deliver them for our clients. If we do, there’s a story to be told and honors to receive - and not just for massively funded work. Although those are always nice to have.

4) We see a continuation of the last 12 months, far more smaller-scale branded content projects that require us to construct bespoke teams. There will still be a need for the traditional channels. But with social media controlling far more viewing habits, we need a more flexible offering for brands & agencies; built with the same core values and backed by our main entity, but formed with world class partners that we can bring to the party in a cost effective and efficient way.

5) Good creative is good creative, but with the ever-changing landscape there are so many ways we can deliver for our clients. We continue to seek the best work and welcome involvement early to help shape an idea. We gain enormous satisfaction from introducing top talent that a brand or agency might not have been exposed to, and help marshal the project from a few words on the back of a napkin to a finished piece being shown in Cannes.

6) We look at our business for the long term, and prefer to foster our own talent and help them form their own journey. Mentoring is one of the most effective ways to encourage diverse voices and workforce. Lucky Post editors Elizabeth Moore and Sai Selvarajan began with us in the early stages of their careers and have become creative forces with unique perspectives, and clients who appreciate them as much as we do.

1) It’s been a trend for years, but the lines are blurring between conventional TV commercials and social content. Every TVC shoot has a social content component, often as extensive as the commercial creative, and some of the social content can be quite entertaining. Although there is not always parity in relation to the job specs with schedule and budget around the broadcast and social productions, I think a positive trend is that advertisers more and more are realizing that creating quality, entertaining content takes real thought and execution and is not always something that can be shot with an iPhone during lunch.

2) The Game of Thrones x Bud Light “Joust” spot we produced for W+K/Droga5 for the Super Bowl seemed to be the right balance of branded marketing and entertainment. It won the Super CLIO this year. But my favorite work this year was Droga5’s fantastic campaign for The New York Times. It was pretty much perfect.

3) Work that normally doesn’t make a spark on paper when originally received can take a life of its own and really catch fire in a whole other way when smart clients, creatives and directors spend time talking and pushing to make something special. I don’t think any of us knew how much Burger King “Whopper Detour” (O Pos produced the stunt film) would resonate!

4) I wish I had a crystal ball. It would save me money on expensive phone calls to 1-880-Psychics. I think this industry is in a strange reshaping and renovating mode. The marketers are hosting agencies internally, the holding companies and the agencies are producing work internally and then there is ‘us.’ ‘Us” being production, editorial and animation companies which have to remain strong and continue to produce the best work we can to stay in demand for the all the reasons we launched our companies to begin with. We all aim to produce branded content that blurs the lines between advertising and entertainment and pushes boundaries in craft.

5) Recent award show trends and wins seem to champion campaigns that hit multiple platforms and are interactive, really speaking to consumer needs. For instance, we produced the centerpiece stunt film for Burger King “Whopper Detour,” which was a sensation at Cannes, winning Titanium, Mobile and Direct. 

6) Like all production companies, we need to do a better job of searching out more female directors and more minority directors. Comedy is our niche, for the most part, and it can be a daunting task to find people whose work we think is at a certain level. That said, we know there is talent out there that hasn’t yet gotten a fair shot.

1) The push to :15s as being the new norm for many brands. As brands try to achieve reach in a fragmented media environment - seeing more and more a desire to only do :15s. This forces everyone; clients, agency and production, to really prioritize the messaging. Less real estate. Less messaging. The challenge is this often isn’t easy. It worked well for our Diet Dr Pepper Lil Sweet campaign - because in the 5th year of the campaign, we have a finely tuned strategy and have built enough equity in the character. But launching new campaigns with limited real estate is a challenge. The opportunity is that when you only have 15 seconds to state your case, you ought to stand out, which could open the doors to more creatively dynamic work.

2) Obviously, the new AirPods spot was beautifully done. I love what AT&T has been doing mixing genres in their “More For Your Thing” campaign. The Skittles Broadway Play was super entertaining. Personally, I loved Robo-Cop as Colonel Sanders for KFC. And more recently Bud Light’s Area 54 can. Very topical.

3) Trying to think modular and “use every part of the Buffalo” when it comes to production. Besides a shift to :15s - there is such an appetite from clients to feed the content beast, ie: :06s, bumpers, different social channels, etc… We work with production and business affairs to make sure we are being efficient, but still allow us to create more content from almost every set up on our already tight shoot days. In our newest campaign, “The Adventures of Dr Pepper” we worked with our director, Taika Wahtiti, to devise a modular :30 second launch spot. The first :15 seconds acts as an intro to the campaign. The second half is more of a traditional :15 second spot. This allowed us the option in edit to easily create our :15 second lift. It worked out great and gave us more real estate to introduce our new campaign and character. 

4) I think heading into an election year the social conversation will continue to take a turn into some very divisive and serious areas. And how brands decide to either engage or not will be interesting. I think many will choose, rightly, to stay out of the fray. This political landscape will be heated. But if I had to predict the immediate future, everyone will be talking about the return of “Fansville,” Dr Pepper’s Clio-Award winning College Football Campaign.

5) One recurring theme I notice is that Apple wins lots of awards. But seriously, I think the bigger brand work, and cause marketing, from brands like Apple and Nike are always going to garner more of the prestige awards. It’s just the nature of things. Similar to how certain movies attract awards as well.

6) It starts with asking to see more reels from filmmakers with diverse backgrounds. And digging a little deeper than the usual sources. I know it’s on everyone’s mind, but I think as an industry everyone could be doing a better job.

4) I think one trend that continues to influence content creation is the almost indistinguishable line between commercial work and film work. In many cases, the talent and crews are the same, and ads are no longer a :30 or even a :15 necessarily - we are seeing clients gravitate toward short films in the form of brand identity pieces, anthem pieces and the like. Several brands have taken a movie trailer format to showcase their products, (like Taco Bell’s recent “Web of Fries” and movies continue to align with product partners on incredibly elaborate promotional campaigns and spots with the sell or reveal kept until the very last moments. Why? Because the caliber of filmmaking and commercial work is expected to be the same, from top directors, DPs and actors to VFX houses that handle Oscar winning films, and top spots. Traditionally “commercial” post houses are doing more and more top film work: we had a film in Sundance, SXSW and are working on post on another doc with an Academy Award-nominated editor working out of our Austin studio. It’s great to grow our chops on longer format work and learn as one discipline informs the other.

6) “Many might not know that charlieuniformtango is a woman- and minority-owned business. I was born in Sudan to Egyptian parents and immigrated to the U.S. as a young child. Here at charlieuniformtango, we’re always looking to add the best and brightest humans to our team – no matter how they identify or where they come from. I’m so excited to see that more than ever before, women, (especially women of color) are rising to great heights in an industry that’s been a “boys club” for too long. We have a long history of developing and nurturing female talent, including several editors, motion designers, audio engineers and FX artists, and right now one of our incredible assistants is making her way toward a full-time flame artist role. Some of our most recent hires – two assistant editors and a 3D artist–are women. And, through one of our top local universities, we’ve just connected with another incredibly talented minority female filmmaker (director/DP) who has already accomplished so much (before she has even graduated). Her work is beyond inspiring. Our next step will be to bring her in on shoots and projects so she can learn the working side of the industry. She has such potential. Hopefully she’ll join us once she completes her education. 

1) It’s no secret that the traditional agency/client dynamic has been fractured for a while and that trend is continuing in 2019 with some of the major ad spends being done by clients directly. There will always be a place for the agency model but it is no longer the only game in town. Clients such as Facebook, Google, Amazon and Uber are quickly becoming major players in our world with full creative capabilities. One aspect of this relationship that seems to be evolving is the partnering of clients and advertising agencies producing joint creative. We are seeing more and more creative that is being developed and produced as co-productions between the client and agency. On the surface this seems like a situation that is inherently destined for conflict but in practice, when done right, it brings a focus on collaboration and has produced some really wonderful work.

2) An ongoing campaign that we have worked on is the "Web Of Fries" spots for Taco Bell out of Deutsch LA. The “Ads” promote their Nacho Fries through a series of trailers for non existent films that span a wide range of genres from sci fi to thriller to musical. It bridges that elusive gap between content and commerce in a totally transparent and fun way. It’s not product placement, its even better. The product is actually the star. It’s one of those campaigns that is just smart and effective and you wish you had come up with it. People really respond to it and the spots have garnered a kind of cult following online. As an advertiser and an agency it’s exactly what you hope for. Oh and added bonus. It has legs. There are lots of film genres to spoof….

5) One of the recent trends that is here to stay is the long form documentary style piece of content that is brand influenced. They are not necessarily advertising but rather real world situations where a compelling story is told and the protagonist is either aided by the product or tells an anecdote that extolls the virtue of the product. When these are done well they become little gems that can tell stories that are not often heard. We have a number of editors who have won Emmys for their documentary work and it was always a bit of a struggle to find them commercial work. That has completely changed in the last couple of years. We have worked on an incredible amount of award winning work that enabled us to collaborate with some of our favorite documentary filmmakers. It is great for business but also, in many cases , feeds the soul.

1) Over the past few years, the assignments we have fielded have been increasingly conceived for usage across multiple platforms. While there may or may not be a TV buy behind a campaign, the assets are certain to serve as premium brand content on one social media platform or another – if not all of them. This trend has only increased in 2019, as we continue to crank on multi-platform projects. They provide our studios in LA and New York with great opportunities to utilize the varied skillsets of our team, and keep things fresh.

4) I’m looking forward to continuing to hear from brands and agencies that are rooting their visual storytelling in ways that are more humane. This isn’t just to say that our interest is to “add more humanity” – we actually want to push more human-focused creativity. This year at Gentleman Scholar, we’ve had the pleasure of working on fabulous design briefs, as well as projects focused on people living with HIV, cancer research, as well as Families Belong Together. When the world is feeling restless, it’s imperative to work on projects with a conscience.

6) Diversity has always been a focus for Gentleman Scholar. Through recruitment efforts and keeping our eyes open to cultivating a diverse landscape of people, we are absolutely committed to finding diverse talent – creative, production, and studio staff--that is a mix of genders, ethnicities, and ages. We are also dedicated to growing our talent and giving everyone in the studios the same opportunities. For example, team members are given the room to grow, and they are encouraged to choose their own focus. By working within this framework, the company aims to encourage people to stay and grow with us. 

In regard to positioning women on the creative side, we openly recognize the gap that exists and push this group at Gentleman Scholar. We will always want them to get an equal share of the spotlight and upward mobility. Personally, I fully recognize and relate to the struggles of succeeding in a male-dominated industry, so I do whatever I can every day to make sure women’s voices are heard and that their work is seen

1) There’s been an increasing request for female directors, which has really given us a chance to champion all female talent including DPs, producers, etc. We’re getting so much closer to an equal playing field.

2) Ben and Adam Callner’s short film “Adman” was a clever and self-reflective look at advertising. It hit all the beats and reaffirmed that the work with an emotional rollercoaster of storytelling still stands out the most. We all just want to feel something.

3) We won an AICP for a PSA starring Mike Rowe receiving a live prostate exam on camera. We went into the project with the agency just wanting to make something meaningful to bring prostate cancer awareness, and pulled our resources together to create this spot. It was great collaborating with the agency from the start, not waiting for the project to come to us, and having more skin in the game.

4) This year’s advertising funds have been affected by the global economy so it’s been interesting watching the ripple effects of global politics (US/China trade war, Brexit) as they influence brands’ spending power.

5) Again, we’re getting so much closer to an equal playing field with our diversity awareness. I think the awards shows reflect that.

6) We’ve always been the type of company that nurtures new directorial talent from all backgrounds by participating in spec work and connecting filmmakers to strong below the line talent. We find it’s just as important to nurture our producers as well so they can include the same mindset through the execution of the spot. Overall, we’ve created an environment for more teaching and learning in our company.

1) My personal mandate in 2019 was to purposefully and aggressively shift ONE TWENTY NINE FILMS’ focus to create and develop original content including TV series, docu-series and films.

Because we’re a production company with a roster of directors who are also accomplished writers, we are aligning with them to both co-develop story ideas, and provide the necessary support to pitch, and secure funding for production.

That end goal involves facilitating funding and distribution channels to propel the development of original properties for our writers and directors and other creators interested in collaborating with OTNF.

This particular approach extends to producing branded content as well, collaborating with agencies and/or working directly with brands to tell original stories.

Audiences are savvy and want to be engaged with tangible, substantive content that push boundaries, helping us to connect with others and find our place in the world.

2) We currently have 14 original properties in various stages of development. The stories I’m most excited about are those featuring people who overcome tremendous odds and challenges - stories that feature the LGBTQ community, POC, and those going through major transformations--through scripted comedy, dramedy, and docu-series. 

Based on the true story of writer/director Daniel Mabe’s own experience, the dramedy LAME follows his stay in a rehab hospital following a freak spinal cord injury. Relying on his sense of humor to maintain his sanity, he comes to grips with his new reality and begins his journey back to mobility. 

Writer Ben Kawaller’s own experiences as a single gay man living in LA was the inspiration behind the comedy pilot, This Isn’t Me, directed and co-written by Adrian Elliot. This Isn’t Me is a Curb Your Enthusiasm–esque caper that follows an under-employed 30-year man who falls into odd jobs, strange beds, and bad habits, but might find redemption as a part-time tutor for a transgender 10-year old with a short temper and seriously backwards social politics.

With so many distribution channels vying for original content--and more popping up all the time--there’s a huge appetite for compelling stories. It’s an exciting place to be.

6) Mentoring new talent is all about providing opportunities to succeed. Whether it’s nurturing that talent, or providing a platform for diverse voices to be heard, our approach succeeds when we’re presenting a well-rounded perspective, and pushing the boundaries of creativity.

Prime examples shine in the LGBTQ-centered work of director Rosie Haber or the personal and off-beat original comedy shorts of director Mary Dauterman.

And we’re delighted to begin production on a new docu-series in August featuring Craig Watson, an African-American entrepreneur who opened Baked Cravings, the very first nut free, peanut free and tree nut free bakery in East Harlem. It’s a fascinating tale of a small business succeeding against all odds and refusing to conform.

3) I think the biggest lesson I learned this year was how important communication and relationships are at every stage of the production and post process. We worked with Townhouse and Tool of NA’s Floyd Russ on the Gillette “Nothing Comes Easy” campaign. The work centered around Shaquem Griffin and showed his progression from growing up as a boy with an amputated hand to being drafted into the NFL. It was really important to the whole team that the final spots were both authentic in story and appearance. I believe the initial and ongoing conversations between Floyd, the agency creatives, our editor Stacy Peterson and our VFX team at Jogger really set the shoot, edit, and VFX up for success and gave us room to really explore the story. And how the entire team worked through the process together really paid off with the reception the work has received and the people it has inspired, including the award show judges.

5) Cause marketing has gone from a one-off category at award shows to permeating advertising as a whole. Award winners like Nat Geo’s “Nujeen” and the AICP Next honoree McDonald’s inverted arches for International Woman’s Day both speak to the fact that award show committees are taking notice of work that activates their audience and pushes the conversation forward.

6) Cut+Run’s management team is majority female and we were early supporters of Free The Bid. On a personal note, Cut+Run has a deep tradition of mentorship and I am a direct product of that. Having learned the craft and business of advertising and specifically editing right here as EP, I am now in the position of doing the same - nurturing and guiding the next generation of female editors and producers.

1) It could be wishful thinking, but I think the pendulum has swung back towards creativity, from always-on, everything mobile and digital, to making things that are engaging and impactful. Work that people seek out rather than ignore, especially as ‘ignoring’ is easily accomplished these days. When we talk about the work that excites us at The Mill, it’s about the work that has the ability to cut through the noise and make a connection.

From where we stand, we, of course, have an admiration for brave ideas that are beautifully crafted, and creativity that leans on new forms of technology like real-time VFX. An example of this is Lady Gaga’s tour visuals for her Las Vegas Residency, wherein we were able to produce huge animated large-scale CGI Avatars of Gaga in a ridiculously short period of time. This is an area of technology we are excited by and see making a real impact on the industry. Real-time VFX through the use of Game Engine technology allows us to expand into new areas of interactivity and production; we’ll definitely see much more of that in the coming months.

Related to all of this, and it comes across strongly in all the award shows, is work that has a point of view, sometimes quite a political one. Colin Kaepernick and the entire Nike “Dream Crazy” campaign stands-out, as does The New York Times “Truth” campaign. Brands that express an opinion about social issues, race, equality, the environment; that’s something that is echoing through the whole industry.

1) One of this year’s most impactful developments in our business has been the move by Technicolor to open a large visual effects entity offshore to support its multiple companies with production of low-cost VFX. In effect, this move has reduced their reliance on the more costly talents of experienced and local VFX artists. The resulting layoffs of CG, Flame, and motion graphics artists, along with numerous production staff, may actually provide smaller, privately-owned companies with the opportunity to engage these now freelance artists and bring their own--potentially more nimble services--into the space.

4) An exciting opportunity is becoming increasingly more apparent in the market as we see more intentional crossover between marketing and entertainment. There are now films advertising products and services in their narratives, TV commercials with cinematic production values, and marketing campaigns being delivered in episodic installments. Following the launch of BMW Films in 2002, creative video/film work from non-production companies has continued to grow and we’re now ushering in a new golden age of branded content...Marriott’s short film series “Two Bellmen” and Apple’s short film “Underdog” are only a couple of examples.

The many accolades heaped upon crossover projects during this recent awards season highlight the growing creative collaborations between marketers, sports and entertainment entities. This opens up enormously exciting--and meaningful--consumer engagement going forward. 

Major brands such as Nike, Jordan, NFL, NBA and hundreds more will look to their creative partners  to take them to that next level - even in the coming short term. This is an exciting time for thinking well beyond the :30 spot or the short social burst and jump into the next level of brand engagement--not only marketing/films, but fully-integrated AR + VR experiences are being funded by smart and savvy clients who are developing creative technologies to take their brands to the next level.

The possibilities are amazing. Content is king again!

1) For me and my half-full water glass, 2019 has been characterized by an embrace of disruption as a means of creation rather than allowing it to be a form of destruction. Nothing is easy right now, and we are finding ways to keep moving forward despite it all. Creators and distributors alike are taking on the huge culture gap in the US, embracing this opportunity to speak truth-to-power rather than “playing nice” and avoiding conflict. Brands are getting wise to the early hysteria around “likes” and “views”, and technology giants are allowing themselves to get humble around the ways in which they need to discipline their growth. Are we getting close to our next destination? I’m holding out hope, but this year has also shown us that it’s going to continue to be a bumpy ride. The axiom that change is the only constant has real resonance now.

2) In advertising, the work that’s been most engaging for me this year is work that acknowledges the messy anxiety of 2019’s cultural moment and faces it head-on. The Super Bowl spot that Chapeau did with Preacher & Arts + Sciences for SimpliSafe acknowledged a growing worry around waning control of our privacy and diffused it (at least temporarily!) with humor. A widely-discussed Gillette campaign forced us into conversation about topics like toxic masculinity that are both uncomfortable and pervasive. Nike has brought women’s sports, the Black Lives Matter movement, and fashion together in poignant ways that propel ongoing discussions about gender and racial inequities. The most popular show of the first half of the year, Game of Thrones, reinforces this narrative moment so clearly: it shows us that even though nothing is easy, that doesn’t make it not worth doing.

4) As viewers are inundated with exponentially more content (much of it “free”), the quality of a brand’s message and its mastery of the medium in which it is consumed matter equally to its success.

New leaders in our field will emerge by embracing the need to create content that engages and inspires audiences and consumers differently across distribution mediums & technology platforms. “Playing it safe” isn’t the money move anymore, because mobile and digital media (streaming platforms, gaming, and social media) have permanently disrupted both the mechanisms by which brands have traditionally reached audiences, and the tools creators have traditionally used to create brand messages.

To get ahead of the curve, brands need to be braver about trusting and investing in innovative methods of engagement, and creators need to be braver about collaboration. Advertisers will need to invest in tailoring content to out-of-home & new digital mediums to successfully reach consumers, and creators who know how to adapt their vision to scale with the changing experiences, goals, & expectations of their audiences will be in high demand.

5) Without question, this is an exciting time for brands and creators who embrace the value and work of centering voices and stories that have traditionally been marginalized. A woman-owned &-operated creative studio, Chapeau celebrates diversity on the daily, so we are delighted that films like “Parasite” and “Atlantique” are being celebrated this year. In advertising, director Kim Gehrig killed it this season with her “Dream Crazier” spot; the AICP gave notable honors to her as well as the work of several other women directors. I hope advertisers take notice of these successes and respond by supporting more inclusive stories about women, told by women, for women. We are the world’s primary consumers, after all!

6) One of the first things Lauren (Mayer-Beug, Chapeau’s creative director) and I bonded over was the shared experience of repeatedly being the only woman in a room dominated by men. Too often in this business, marginalized voices simply aren’t heard over the inevitable din of a challenging working session; Lauren and I have both experienced our own voices going unheard in those rooms, and as a result are purposeful about making Chapeau a space both to listen and to practice mutual self-advocacy. We do this by proactively cultivating a working culture that invites creative people to find their unique perspectives, express new ideas, and to feel safe & normal about asking for help (which includes asking leadership to support their development).

True diversity is tricky in advertising, because it has been the practice of this field to reward the status-quo with the benefits of being the cultural “norm”. I’m personally committed to finding ways to center and turn up the volume on voices, stories, and talent that have traditionally been marginalized, and/or are new to the businesses of advertising & entertainment. Chapeau hires for people who are actively curious and have flexible mindsets, and we find these qualities (sometimes more than other measures of skill) seem to attract “diversity” to us.

1) As politics and society at large continue to feel upsettingly divided, the addition of cultural and societal expression from brands and content creators is so welcomed right now. Award winning work from Nike, “Dream Crazy” and Childish Gambino’s “This Is America” comes at a time where we feel thankful that brands, artists, and people of influence are speaking up.

2) The line between advertising and entertainment is becoming blurrier and blurrier each day and we love it! Johnson & Johnson’s feature documentary “5B” by Ryot is remarkable and a perfect ongoing example of these two worlds colliding. F&B Singapore’s recent work for skincare brand SK-II, “Timelines,” is a four-part short form documentary series that is focused on young women around the globe creating their own timelines and blocking out societal pressure of marriage before they are ready. Never once is the skin care product in frame; instead the emotional journalistic docuseries (starring Katie Couric) focuses on four different young women and their diverse path to fulfillment. 

3) Making thoughtful choices and taking all aspects of decision making into consideration for the audience and participants, as well as the brand, truly leads to not only the most positive production processes but also successful outcomes for everyone involved. Our recent collaboration with Dan Lam and Steve’s Ice Cream is a great example of how thoughtful production can elevate the work beyond expectation. In this activation, it was our mission to support creativity and allow guests to not only sample the unusual flavors of Steve’s Ice Cream but to also interact and experience the unexpected art in juxtaposition to a gallery setting. From all of this, we hope people see Steve’s not just as a brand that pays artists to do some work for them, but as a brand that puts artists in the forefront, bringing their work to as many people as possible.

Also, a few months ago we launched GrowYourCircle.org, a digital tool that gives agency producers access to underrepresented talent across all disciplines of production. To us, Grow Your Circle is also a great example of how often uncharted conversations can be elevated to positive discussions and outcomes. Openly communicating and iterating with a diverse team and bringing in specialists for user testing and feedback is crucial to the success of all productions. 

4) The rise and continuation of OTT advertising, content to be made for streaming platforms, is all the rage and quite exciting for storytellers wanting to break out of the :60/:30 mold.

We are very excited about the progression of AR and voice technologies being woven into not only education and mental health initiatives, but also providing meaningful inputs into our everyday lives.

5) We are really proud of the work coming out of our Swedish offices for Volvo’s “The E.V.A Initiative,” an online library of safety research accompanied by a film that sheds light on the fact that women are more likely to get injured in a car crash because male crash test dummies are the standard. 

We are also inspired by the work that the entire industry is doing to not only raise the bar on Diversity & Inclusion efforts, but to also extend these efforts to our clients by pushing to affect change in not only the messaging, but also in the software and hardware. 

6) In terms of filmmakers specifically, our New York office pledged with Free the Bid in 2017 and we’re currently in the middle of having our entire global collective join the pledge.

In terms of all production specialties—as mentioned before—we created Grow Your Circle earlier this year. We hope the digital tool will continue to help to fulfill our responsibility to minimize the inequality across the production industry, and creates better work as a result of it. We are committed to continue seeking underrepresented talent and providing Grow Your Circle as a public resource tool.

As an agency, we are also committed to pay parity with existing employees as well as equitable starting pay when we hire new employees. In addition to becoming an inaugural agency for the 3% Movement’s Pay Parity Pledge, this year we proudly announced that our New York office found no statistical evidence that variation in compensation is due to gender. More specifically, we discovered that we have pay parity within our job functions and women actually make In terms of filmmakers specifically, our New York office pledged with Free the Bid in 2017 and we’re currently in the middle of having our entire global collective join the pledge.

Our agency proudly utilizes and supports organizations such as MAIP and Ghetto Film School in hopes to bring opportunity to a wider net of talent. Internally, our production studio is working on building a reputation to experiment. We encourage our up-and-coming talent to work on spec scripts, music videos and passion projects in their spare time and generally explore their creativity in an environment where they can expect positive feedback and a safe place to try new things. Our budding producers are encouraged to shadow seasoned producers as we find this model to be a great way to learn on the job.