Craig Miller and Marc Calamia will be joining BBDO Atlanta as group creative director and head of integrated production, respectively. They will report to chief creative officer Robin Fitzgerald and represent her first senior hires since she joined the agency in September 2016. Miller will work across multiple accounts, while Mr. Calamia takes on a new role at the agency. Both start at BBDO Atlanta this month.
Miller joins BBDO after recent stints at Arnold Boston, VCCP London and CP+B Boulder, where he helped spearhead Domino’s Pizza’s “Pizza Turnaround” and “Oh Yes We Did” campaigns in 2010. These efforts resulted in one of the most dramatic corporate turnarounds in history and earned Domino’s a 2016 Effie Award for Sustained Success. His recent work includes “Harry’s Last Call” web video for Budweiser, featuring the late Chicago Cubs announcer Harry Caray. The video made Budweiser the first brand to simultaneously have the most engaging brand post on Facebook, Twitter and YouTube.
Calamia will be joining BBDO Atlanta from R/GA New York where he served as executive director of production and head of R/GA’s Content Studio. Prior to that, he led the digital and content production capabilities at 360i and Big Fuel, and helped create branded content studios for NBC Universal and Viacom in New York. Calamia’s work for Oscar Mayer and Breast Cancer Awareness (#Mamming”) have received multiple awards including Cannes Lions. In his new role, Calamia will help bolster the agency’s in-house capabilities to meet the ever-increasing and insatiable content needs of clients, including everything from quick-turn social videos to prototyping apps.
Miller and Calamia join an agency that is enjoying positive momentum. New business wins have included Sanderson Farms, Norwegian Cruise Line, Toys “R” Us, Novant Health and winning the statutory review for the Georgia State Lottery. These are in addition to an impressive roster of clients including AT&T, Bayer and Voya.
“We aspire to lead our clients forward. Adding the talent and experience of Craig and Marc will help us do just that,” said Fitzgerald. “Their experience here and abroad, at various types of agencies and across all forms and platforms will add real firepower to our creative capabilities.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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