Visual effects and animation company DNEG has appointed Erika Burton as EVP, VFX–global head of studios, based in L.A.
She comes on board on the heels of DNEG last month winning both a VFX Oscar and BAFTA Award for its work on Christopher Nolan’s Tenet. Burton will operate as part of DNEG’s senior leadership team, helping to establish and implement the company’s organizational vision, goals and objectives, as well as leveraging her extensive network of industry contacts to help attract even more high-profile work.
Burton brings over 25 years of senior-level experience to her role at DNEG. Her most recent position was as EVP, global features and streaming VFX at Method Studios, where she led the company’s visual effects business across its many locations. Prior to this, Burton held senior leadership roles at a number of major studios including Digital Domain, PDI/DreamWorks Animation, Walt Disney Animation Studios and Rhythm & Hues. She is a member of the Academy of Motion Picture Arts and Sciences, the Producers Guild of America and the Visual Effects Society.
In her new role, Burton will work with Merzin Tavaria, president, global production and operations. Together, they will oversee the organization of DNEG’s production capabilities and the efficient delivery of work across its global locations, while identifying and implementing process and workflow improvements.
DNEG CEO Namit Malhotra said of Burton, “Her wealth of experience, coupled with her talent, creativity and deep industry relationships make her an important addition to our senior team. Working closely with Merzin Tavaria, she will be a driving force in guiding our global VFX production ambitions to the next level as we continue to innovate and scale, and move into exciting new business areas.”
Burton said: “With five Oscar wins out of the last seven, the quality of DNEG’s work is world-class and I’m looking forward to leading the charge and strengthening the company’s production capabilities even further. Our industry has evolved dramatically over the past 14 months, and DNEG has positioned itself well to capitalize on exciting new opportunities as we come through these unprecedented times.”
DNEG is currently in production on movies such as The Matrix 4, Uncharted, Venom: Let There Be Carnage, Bullet Train and Slumberland, and episodic projects including The Wheel of Time and Doctor Who, season 13.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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