IPG’s Deutsch is turning its New York and Los Angeles offices into separate agencies. Each becomes free to pursue clients independently sans any concerns over conflicts of interest. Deutsch NY continues to be led by CEO Val DiFebo. And Deutsch LA remains under the aegis of CEO Kim Getty.
The Deutsch shops thus can in theory thrive in their distinctly different cultures and play up their individual strengths.
Philippe Krakowsky, incoming CEO and current COO of IPG explained, “Since the start of this very unusual and challenging year, we’ve seen dynamic and independent leadership take hold at both offices, with Val and Kim focusing on their individual clients and culture. Kim has built on the Steelhead production capability on the West Coast, as well as further pivoting the agency into entertainment, tech and culture. Val continues to leverage our data, media and tech assets to enhance her agency’s strategic offering and business-building creative work. Given its history, the Deutsch brand is one that has the breadth and elasticity to support both operations, so that disparate clients can enjoy the benefits of having distinct, single-city offices with unique cultures and expertise.”
The move toward separation bucks the trend of agencies getting larger, bundling smaller shops together. At the same time, it is part of another movement within the industry whereby shops look to become smaller and more manageable so that they can operate more nimbly and pivot quickly to better serve clients and adjust to an ever changing marketplace. Certainly the ability to adapt has become all the more invaluable in 2020 during the ongoing pandemic.
New visual identities have been created for the L.A. and NY agencies. The visual ID for Deutsch NY was created by sr. art director Hyobee Kim, design director Joanna Durkalec and new business creative director Vinney Tecchio. Meanwhile the new visual ED for Deutsch LA was created and led by L.A.’s head of design Adhemas Batista.
Carrie Coon Relishes Being Part Of An Ensemble–From “The Gilded Age” To “His Three Daughters”
It can be hard to catch Carrie Coon on her own.
She is far more likely to be found in the thick of an ensemble. That could be on TV, in "The Gilded Age," for which she was just Emmy nominated, or in the upcoming season of "The White Lotus," which she recently shot in Thailand. Or it could be in films, most relevantly, Azazel Jacobs' new drama, "His Three Daughters," in which Coon stars alongside Natasha Lyonne and Elizabeth Olsen as sisters caring for their dying father.
But on a recent, bright late-summer morning, Coon is sitting on a bench in the bucolic northeast Westchester town of Pound Ridge. A few years back, she and her husband, the playwright Tracy Letts, moved near here with their two young children, drawn by the long rows of stone walls and a particularly good BLT from a nearby cafe that Letts, after biting into, declared must be within 15 miles of where they lived.
In a few days, they would both fly to Los Angeles for the Emmys (Letts was nominated for his performance in "Winning Time" ). But Coon, 43, was then largely enmeshed in the day-to-day life of raising a family, along with their nightly movie viewings, which Letts pulls from his extensive DVD collection. The previous night's choice: "Once Around," with Holly Hunter and Richard Dreyfus.
Coon met Letts during her breakthrough performance in "Who's Afraid of Virginia Wolfe?" on Broadway in 2012. She played the heavy-drinking housewife Honey. It was the first role that Coon read and knew, viscerally, she had to play. Immediately after saying this, Coon sighs.
"It sounds like something some diva would say in a movie from the '50s," Coon says. "I just walked around in my apartment in my slip and I had pearls and a little brandy. I made a grocery list and I just did... Read More