Vaudeville Sound Group–an international postproduction company specializing in creative sound design and mixing across all digital platforms, commercial, broadcast and film–has appointed Annabelle Dunbar-Whittaker as executive producer of its Los Angeles facility.
Dunbar-Whittaker will work closely alongside CEO Daniel Jones and Los Angeles studios manager Jon Plane.
In her new role, Dunbar-Whittaker will be tasked with overseeing Vaudeville’s robust slate of creative content with a focus on short-form. Already, Vaudeville L.A. has enjoyed success in short-form, collaborating on commercials for global brands such as Apple Music, Sony, Amazon, Adidas and Bentley.
Previously, she served as head of production for postproduction group Cut+Run where she was responsible for a large post team, scheduling, budgeting and delivery. With over a decade of industry experience, she has worked across commercials for brands such as Expedia, Nike, Adidas, Geico, Facebook, Louis Vuitton, Microsoft, Samsung and Audi as well as produced award-winning music videos for high-profile artists including Beyonce, Paul McCartney, Ellie Goulding, and Eminem.
CEO Jones said of Dunbar-Whittaker, “Bringing her creativity, experience and skill to Vaudeville will be a huge boost for our creative content – through the pandemic, working remotely I think now more than ever clients really appreciate the value in experienced producing across projects.”
Dunbar-Whittaker added, “I was attracted to Vaudeville’s progressive company culture that places creativity and talent as it’s center focus. They have incredible sound designers and re-recording mixers working across all kinds of creative content and I’m excited to showcase this talent to L.A. and build on their West Coast presence.”
Most recently, Vaudeville expanded its North American footprint with the launch of its first Canadian facility, Vaudeville Vancouver. With facilities in London, Los Angeles, Brighton and Vancouver, the company has strong, longstanding relationships with Amazon Studios, Warner Brothers and Netflix, with recent credits including Lovecraft (HBO), Old Guard (Netflix), Long Way Round (Apple+) and the Emmy-nominated feature documentary, Circus of Books.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More