Global independent creative agency GUT has brought Danny Alvarez aboard as its newest executive creative director. He reports to Juan Javier Peña Plaza and Ricardo Casal, executive creative directors, North America, and global partners.
Alvarez has already wrapped his first project as ECD at GUT, helping to creatively lead the launch of the booking platform GetYourGuide to the U.S. market through its #DogeToTheEarth campaign. The campaign encourages wanderlust travelers to stop HODLing Dogecoin to the moon and exchange it for experiences back on Earth.
“We’ve known Danny for such a long time, and are so proud to be working together with him again,” read a joint statement from Peña Plaza and Casal who had teamed with him previously at DAVID Miami. “He is a fantastic leader, an incredible mentor, and is able to nurture and push for the best, most creative ideas from our teams and our clients. He has a proven track record of outstanding work and brings the best energy to the GUT team. We also love how as an artist, Danny is able to combine pop culture and contemporary art together beautifully in his fine art pieces–we’re huge fans!”
Prior to joining GUT, Alvarez was an ECD at Republica Havas. He has also worked at agencies such as Wieden+Kennedy, TBWAChiatDay, Crispin Porter + Bogusky and BBDO. To date, he has won over 35 global awards for work with brands including Budweiser, Kraft-Heinz and Burger King. For Burger King, his work on its “Bullying Jr.” campaign gathered over 3 billion impressions online in a matter of days, and created one of the most social conversations ever for the brand. The film is also now part of MoMA’s permanent film collection. A Miami native, Alvarez attended the Art Institute of Miami, where he studied Graphic Design and Advertising.
“Joining GUT was a no-brainer; they’re family,” said Alvarez. “I’ve worked with the team before, but this time it’s different. We are independent, we prioritize people and trust our gut when it comes to creativity. I’m convinced we have the best talent and energy across any agency right now. I’m looking forward to mentoring our team, providing conceptual guidance and helping them craft gutsy ideas, ultimately ensuring that every creative comes to work doing what they love.”
As an artist, where he goes by Dan Alva, he spends his time creating fine art pieces and has exhibited his personal work at a number of national and international shows, most notably the prestigious Art Basel Fair. His artwork is a reinterpretation of old master paintings for a modern day audience. He is currently preparing for three solo shows throughout 2022 in Miami, New York and London.
“Advertising and art go hand in hand,” said Alvarez. “I use the same process in my studio as I do in the agency. I brief, research and concept before picking up a paint brush, but in the end, it all comes down to my gut instinct.”
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