Great Guns has signed director Adam Cameron for global representation. He had most recently been handled stateside by Limey.
Among his recent endeavors are a Movistar piece featuring an Icelandic soccer team for DDB Madrid, and a pair of Chili’s spots for Hill Holliday, Boston. The former, which features the entertainingly offbeat goal-scoring celebrations of the football team, has gained pan-European exposure on both TV and cinema.
And the Chili’s fare, recently covered in the New York Times, includes a spot, “Boom, Boom, Boom,” in which a male office worker asks a female colleague if she wants to go to Chili’s with him that night. She breaks out into song, responding in the voice of bluesman John Lee Hooker.
Other Cameron directorial credits include spots for Lebron James Home Court furniture out of Mullen, Winston-Salem, N.C., Mobil featuring Lewis Hamilton and Tony Stewart for McCann, New York; and the Virginia Tobacco Settlement Fund via Barber Martin, Richmond, Va. For the latter, Cameron’s comedic spot titled “Forest” earned inclusion last year into SHOOT‘s “The Best Work You May Never See” gallery.
Cameron’s work is largely of an understated comedic tone. The director said he joined Great Guns for its global reach, including its mainstay U.K. operation under the aegis of company founder Laura Gregory, as well as its U.S. foothold headed by managing director Tom Korsan. While Cameron continues to maintain relationships with production houses Tesauro, Madrid and Barcelona, through which he helmed the Movistar project, and H Films in Milan, Great Guns will be in charge of his overall workload both in the U.S. and internationally.
Cameron has been directing solo for some four years. He made his first major directorial splash as half of the Joe Public duo with Simon Cole. Joe Public twice earned DGA Award nominations as Best Commercial Director of the Year on the basis of work done in 1999 and 2001. Joe Public split in late ’06, with Cameron’s first roost as an individual helmer being Biscuit Filmworks, followed by Company, and then Limey.
Great Guns maintains offices in Venice, Calif., London, Prague, Mumbai, Shanghai and Singapore.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More