SVP, executive creative director
22squared
1) Augmented Reality definitely got a big boost in 2017, largely due to iOS 11 and its ARKit framework becoming available on iPhone and iPad. Agencies have been pitching AR ideas for years, but something about Apple embracing it in that way seemed to validate it as something beyond a digital cartwheel. Brands using AR to provide real, valuable utility to their customers are the ones pulling ahead of the pack.
2) I think the most significant changes our agency made this year weren’t about adapting to the current marketplace, but rather preparing for what the landscape is going to look like tomorrow. Investments in design thinking, tech innovation, even the way we work together as teams – much of what we did in 2017 was about setting our clients up for success in 2018 and beyond. We implemented change based on where things are going versus where they currently are.
3) One piece of work I’m really proud of from 2017 is a project we did for SweetWater Brewery. Fishing culture is an important element of their brand, so we created cans that, when stacked, form beautiful images of rainbow trout – the more cans you stack, the larger the trout. For every photo of a stack shared with #fishforafish, SweetWater stocked a live trout into a local river or stream. I liked it because it was a product and packaging solution first, with a cause tie-in that made perfect sense for the brand.
4) I think things will continue to change at a rapid pace in 2018 – the technology in our pockets will continue to open up new avenues and brands will have to continue figuring out new ways to tell their stories – but I also think there are some constants we can count on. Like creativity being the currency we trade in. Agencies are evolving at breakneck speeds and that’s 100% necessary, but creativity still wins the day. It may be a brave new world we’re all sprinting into, but our job is still to come up with great creative ideas. Agencies that can do that in ways that make sense in that brave new world will have the inside track.
5) My resolution for 2018 is to get back in touch with my inner nerd. There’s so much cool technology on our phones and tablets and baked into social media platforms, and a lot of it feels really accessible now. If your job is to figure out how to put these innovations to good used for brands, 2018 feels like it’ll be a feeding frenzy. So I’m excited about that. It’s also a goal of mine to eat fewer meals out of vending machines.
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