Production and post studio ArtClass has added executive producer Eric McCasline to its team.
“Eric is a powerhouse addition to ArtClass–fusing artistry and extensive knowledge of the ins and outs of the entertainment and advertising industries,” said Geno Imbriale, ArtClass’ managing partner. “One of the cornerstones of ArtClass is a dedication to bringing together different backgrounds and perspectives, from emerging talent to experienced leadership. It’s what makes it a creative playground that is supported by experts who also dream big.”
“Having long run in the same circles as founders Geno and Vince [Peone], it is an honor to join what they have passionately built with Rebecca Niles and Corwin Carroll,” said McCasline. The opportunity to bring my past production and post production experience to a place that does it all so well makes this an exciting partnership.”
McCasline previously ran the West Coast offices of Final Cut, where he was responsible for business development while executive producing for an A-list editorial roster. There, he spearheaded the company’s efforts to add full service creative options to its repertoire with the launch of Significant Others. Drawing on his multi-dimensional background, McCasline strengthened existing partnerships, and maximized production and post capabilities for leading brands including Apple and Acura.
Prior to his work and strategizing for Final Cut, McCasline assisted in the launch of design collective Wolf & Crow, where he oversaw collaborations with such brands as Nike and Jeep. During his tenure there, Wolf & Crow became known for bridging the gap between advertising and artistry, with creative highlights such as Bjork’s celebrated “Black Lake” installation for MoMA.
As a strong arts and design professional, McCasline is known for his ability to envision creative solutions including innovations in VR and AI. McCasline previously consulted for Waymark, an AI video creator tool, where he brought extensive business insight to this emerging field.
Rom-Com Mainstay Hugh Grant Shifts To The Dark Side and He’s Never Been Happier
After some difficulties connecting to a Zoom, Hugh Grant eventually opts to just phone instead.
"Sorry about that," he apologizes. "Tech hell." Grant is no lover of technology. Smart phones, for example, he calls the "devil's tinderbox."
"I think they're killing us. I hate them," he says. "I go on long holidays from them, three or four days at at time. Marvelous."
Hell, and our proximity to it, is a not unrelated topic to Grant's new film, "Heretic." In it, two young Mormon missionaries (Chloe East, Sophie Thatcher) come knocking on a door they'll soon regret visiting. They're welcomed in by Mr. Reed (Grant), an initially charming man who tests their faith in theological debate, and then, in much worse things.
After decades in romantic comedies, Grant has spent the last few years playing narcissists, weirdos and murders, often to the greatest acclaim of his career. But in "Heretic," a horror thriller from A24, Grant's turn to the dark side reaches a new extreme. The actor who once charmingly stammered in "Four Weddings and a Funeral" and who danced to the Pointer Sisters in "Love Actually" is now doing heinous things to young people in a basement.
"It was a challenge," Grant says. "I think human beings need challenges. It makes your beer taste better in the evening if you've climbed a mountain. He was just so wonderfully (expletive)-up."
"Heretic," which opens in theaters Friday, is directed by Scott Beck and Bryan Woods, co-writers of "A Quiet Place." In Grant's hands, Mr. Reed is a divinely good baddie — a scholarly creep whose wry monologues pull from a wide range of references, including, fittingly, Radiohead's "Creep."
In an interview, Grant spoke about these and other facets of his character, his journey... Read More