Harvest has brought director Matthias Zentner aboard its roster for exclusive U.S. representation. Zentner’s body of work reflects his experience spanning live action, visual effects, design and photography. Among his notable credits are Mercedes-Benz’s “The Race” via Merkley+Partners, New York, LG’s “The Coolest Washer” out of Y&R New York, Visa’s “Aquarium” via TBWAChiatDay, Los Angeles, and Tostito’s “We Wait” for Goodby, Silverstein & Partners, San Francisco.
Zentner was last handled stateside by foreignfilms. He continues to be repped by ACA Films for Hispanic ad assignments in the U.S., Mexico and Latin America. And the director still maintains his production house Velvet in Germany from which he does much of his post/design and European work.
His ad reach extends beyond traditional commercial formats as reflected in his evocative conceptual film An Italian Dream forged out of a unique partnership between Italian shoemaker Tods and the iconic La Scala Opera House. The site-specific, client-direct piece, produced through Filmmasters in Italy, is a celebration of craftsmanship, Italian heritage and visual rhythm that earned a standing ovation during its debut at Fashion Week 2010.
Zentner first gained notable international recognition when he was included in Saatchi & Saatchi’s New Directors Showcase at Cannes in 2002. He also made SHOOT‘s first annual New Directors Showcase on the strength of spots produced by ACA, Mexico City, and Velvet.
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