Indie ad agency Erich & Kallman has made a series of hires at its full-service office in Austin.
Opened earlier this year, the office was created to better serve the agency’s client Gulf States Toyota and other clients in the region, while continuing to expand Erich & Kallman’s presence in the Southwest.
The new appointments are led by noted industry players Kristi Kirkeide Boutiette, who joins as director of brands; Fearghal Odea, who steps in as executive producer; and David Castellanos, who joins as creative director.
“We’re so happy with the quality of people we were able to bring into the agency, thanks to our Austin office and some new business wins,” said Steve Erich, president and co-founder, Erich & Kallman, “It’s added some great, senior leadership to the agency with folks like Kristi, David and Fearghal, as well as some fantastic creative and strategic talent.”
Boutiette will be brand director For Gulf States Toyota. Prior to her new role, she contracted with Erich & Kallman for the last two years on clients including iRobot, Dole and Meineke. Before Erich & Kallman, she spent 19 years at Crispin Porter + Bogusky, running the Fruit of the Loom account after having played an instrumental role in Domino’s iconic “Pizza Turnaround.” She has also worked with IKEA, Burger King, Miller Lite, Mondolez and Molson.
Odea will head up production, after recently working on Erich & Kallman’s exciting Reese’s Caramel Big Cup commercial for the Super Bowl on behalf of The Hershey Company. He has more than 15 years of experience on the agency side, producing commercials, branded films, websites and digital content for brands like NBA2K, Mitsubishi, ESPN, Pepsi, Ralph Lauren, Calvin Klein, Disney and more.
Castellanos will oversee all creative efforts for Gulf States Toyota, bringing with him nearly 20 years of experience in the U.S. and Mexico. He comes to Erich & Kallman from Saatchi & Saatchi, where he served as SVP group creative director. Prior to that, he spent nearly three years at Media.Monks as VP group creative director and before that, he led DDB’s Mexico office in Mexico City as chief creative officer. He has received over 200 accolades from major competitions including Cannes Lions and D&AD Pencils.
Also joining the team are copywriter Daphne Lefran; associate creative director Diego Zelaya; account director Madison Rich; director of partnerships Bill Brown; associate strategy director Marisol Moran; account supervisor Katie Martin; account manager Renata Nava; sr. project manager Carlton Wilcoxson; production artist Marcus Davis; account manager Catherine MacLennan; and new business supervisor Kate Hogan.
Erich & Kallman maintains offices in San Francisco and Austin.
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More