Director Daniel Iglesias Jr. has signed with Good Company for exclusive representation in the U.S. spanning commercials, branded content and music videos. He is no stranger to his new roost. Prior to officially joining the production house, he directed via Good Company an IKEA commercial, “Kåma Sutra,” for Ogilvy NY, a tongue-in-cheek exploration of the boudoir. Currently Iglesias is working on a project for Paper Magazine and Tiffany.
Iglesias Jr.’s career started while attending Chapman University’s film school, where he earned a BFA in screen acting. At the same time, Iglesias and his friend Zack Sekuler began crafting images for his friends in the alt-rock band The Neighbourhood. Creative-directing The Neighbourhood’s moody monochromatic look from the outset, Iglesias saw his career catapult after directing his first music video for their breakout hit “Sweater Weather,” which reached over 310 million views. In the clip, Iglesias puts the audience behind his unique visual lens, utilizing a black and white color palette and simple yet creative camera movement to follow the band on a convertible cruise through the streets of L.A.
While thriving behind the camera for artists like The Neighbourhood, X Ambassadors and AlunaGeorge, Iglesias continued to use his experience as an actor to inform his work. Iglesias credits his on-screen experience as a tool for how he coaches performances visually, rather than verbally–a method for working with talent that comes naturally to him as a performer.
As a free agent for the past few years, Iglesias has proven to be a multidimensional talent with the ability to craft familiar formats with a unique and refreshing style. Iglesias consistently uses elements of surrealism and with a blend of avant-garde and commercial compositions, often stemming from innovative camera techniques. His body of work includes clients like Ralph Lauren, Steve Madden, Skyy Vodka, Capitol, and Chrysler, as well as a notable Vogue film Death Head Sphinx.
Iglesias earned acclaim with his provocative two-minute promo for Margaux the Agency. Designed as a “living magazine,” Margaux Vol 1 merges creative blocking, camera movement and effects to create a kinetic visual catalog that is both classic and contemporary. The piece took home Best Picture at the London Fashion Film Festival, along with awards from the Los Angeles Film Festival, the International Fashion Film Awards in La Jolla, and Promofest in Spain.
Iglesias–whose last production company affiliation was with More Media as part of the directing duo ENDS–had been on the radar of Good Company co-founder/managing director Ryan Heiferman for some time. “There’s such a unique aesthetic that threads his work, making him a great fit for our roster,” explained Heiferman. “After we had such an amazing experience working on the IKEA project, it was a no-brainer to bring Daniel on board officially.”
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