On the heels of launching a Los Angeles office–under the aegis of executive producers Taylor Ferguson and Erin Tauscher–to complement its longstanding NY and San Francisco operations, BODEGA has signed director Mike Goubeaux (aka Mike G) for exclusive U.S. commercial representation.
Goubeaux is no stranger to BODEGA, having bid on assorted projects through the shop in recent years and winning a significant number along the way, working in tandem with company partner/EP Clint Goldman. While freelancing, Goubeaux collaborated on 10 jobs with Goldman at BODEGA, including a soon-to-be-finished half-hour Disney film out of mcgarrybowen, Chicago, The Lab, NY, and Disney’s in-house agency. The film features TV personality Sabrina Soto and takes viewers on a tour/adventure through Disney resorts and theme parks, tapping into the talent and resources of not only Bodega but also its sister shops Northern Lights for editorial, SuperExploder for audio and Mr. Wonderful for design/branding.
This comprehensive soup-to-nuts capability which BODEGA clients can tap into as needed was one of the factors behind Goubeaux’s decision to formally join the company’s roster. Goubeaux said he was also drawn to BODEGA by its opening of a full-service L.A. office with veteran savvy leadership, and his ongoing strong working bond with Goldman which over the years has translated into the feeling of being part of a production family whenever he’s freelanced through the shop. Those endeavors have also included healthcare client fare for FCB, and live-action/effects spots for the Wawa convenience stores chain out of Philadelphia agency The Brownstein Group.
Like BODEGA and its sister entities, Goubeaux has a varied mix of talents. His formal training began in digital design at the Design Architecture Art and Planning school at the University of Cincinnati, and concluded with a B.F.A. from the Savannah College of Art and Design, with a major in film/TV and a minor in sound design. Before settling into the director’s chair, Goubeaux spent five years as an artist and art director at motion graphics shops including Shilo (where he started out as an editor), King & Country, Roger, Elastic and Laundry, providing editorial, design, color, compositing and VFX services. He deploys these skills in the prep, shoot and post process of the projects he directs.
Goubeaux broke into the directorial ranks initially through the contest circuit, including a top five finish in Doritos Crash the Super Bowl competition for the Big Game in 2009. The spot gained airtime for a full year. He then crashed the Super Bowl for Doritos a couple more times while taking on real briefs for real brands in other contest-structured platforms. Between his motion graphics pursuits and the contest world, Goubeaux was able to build and finance a directorial reel which grew steadily in scope and stature, leading to stints at such production houses as Wild Plum and Savage, sprinkled between stretches as a freelance director.
Goubeaux’s directing credits over the years span such brands as Pepsi, eBay, Lysol, Sprint, Hyundai, Dannon, Braun and Burger King. He has also helmed broadcast campaigns for MTV, NBC, HGTV, Disney and Nickelodeon. Some of Goubeaux’s work features such familiar faces as John Stamos, Blake Shelton, Megan Fox, John Cena and Dos Equis’ “Most Interesting Man In The World.” Goubeaux’s most recent spot project is for 7-Eleven out of Deutsch LA.
Goldman noted that Goubeaux’s work showcases his technical expertise–a flair for visual effects, including in-camera magic–as well as far reaching design, narrative and comedic skills. All that along with their familial collaborative relationship and BODEGA’s opening of an L.A. office, said Goldman, made the timing right to officially bring Goubeaux into the company fold.
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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