In a move that broadens its roster beyond tabletop, The Garage has signed director Matt Genesis and brought aboard executive producer John Hollingsworth.
This growth has from the outset been part of the plan for the company which built its reputation in innovative tabletop commercials. “Our goal has always been to expand the limits on innovation, and John and Matt enable us to do this in other spheres. Their extensive backgrounds in live action will be instrumental in propelling The Garage to new heights,” said executive producer Halie Graham.
Joining The Garage marks the first time Genesis, a longtime freelance director who is based in Minneapolis, has signed with a production company.
Genesis described his directing work as distinguished by “rhythmic and connective camera movement and choreographed scenes with a lot of motion and parallax.” This is evident in recent spots for Amazon, Casper, and Cox (out of FCB Chicago), as well as a short film/music video “Tanjiro” for Xavier Goodman.
“Leveraging technology to create something not otherwise possible is really exciting for me. I want to apply my style to exciting ideas that mean something to audiences,” explained Genesis.
He was introduced to The Garage by Hollingsworth, who has been both his line producer and the agency/brand producer on many commercial productions in recent years. (Hollingsworth line produced Amazon and then brought Genesis on to direct a brand-side spot for Casper, where Hollingsworth was then working.)
Hollingsworth’s time on the line was preceded by several years on staff as a producer at VaynerMedia. He explained that The Garage’s substantial infrastructure drew him in: Its 10,000-sq-ft facility in Brooklyn boasts a fleet of motion control robots; an Unreal Engine LED wall; a SFX machine shop; a fully equipped commercial kitchen; and a prop house.
“The Garage is not just a leading tabletop production company, but also a creative playground offering endless opportunities to experiment and innovate,” said Hollingsworth. He added that these assets are proving to be of great interest to many directors in addition to Genesis, and he teased that announcements of new signings are in the offing soon.
To support this growth, Sarah Gitersonke of SG & Partners in Chicago has joined the company’s business development team. Explained Hollingsworth, “Sarah has a deep understanding of the Midwest market and a strong network of industry connections. Her expertise will play a pivotal role in expanding The Garage’s presence in that region.”
For her part, Gitersonke emphasized that she is always looking for client companies that offer “beautifully diverse talent.” The Garage is owned by first-generation Cuban American director Steve Giralt and in the process of minority-owned certification. Gitersonke joins a sales team that already includes Minerva on the East Coast and N CAHOOTS on the West Coast.
New York Film Fest Preview: “The Brutalist,” “Nickel Boys,” “April,” “All We Imagine as Light”
When you think of blockbusters, the first thing that comes to mind might not be a 215-minute postwar epic screening for the first time at Lincoln Center. But that was the scene last week when the New York Film Festival hosted a 70mm print of Brady Corbet's "The Brutalist." The festival hadn't then officially begun — its 62nd edition opens Friday — but the advance press screening drew long lines — as some attendees noted, not unlike those at Ellis Island in the film — and a packed Walter Reade Theatre. Word had gotten around: "The Brutalist" is something to see. Corbet's epic, starring Adrian Brody as a Jewish architect remaking his life in Pennsylvania, is the kind of colossal cinematic construction that doesn't come around every day. Shot in VistaVision and structured like movements in a symphony (with a 15-minute intermission to boot), "The Brutalist" is indeed something to behold. It's arthouse and blockbuster in one, and, maybe, a reminder of the movies' capacity for uncompromising grandeur — and the awe that can inspire. It's been fashionable in recent years to wonder about the fate of the movies, but it can be hard to placate those concerns at the New York Film Festival. The festival prizes itself on gathering the best cinema from around the world. And this year, the movies are filled with bold forays of form and perspective that you can feel pushing film forward. This is also the time Oscar campaigns begin lurching into gear, with Q&As and cocktail parties. But, unlike last year when "Oppenheimer" and "Barbie" were entrenched as favorites, the best picture race is said to be wide open. In that vacuum, movies like "The Brutalist" and the NYFF opener, RaMell Ross' "Nickel Boys," not to mention Sean Baker's "Anora" and Jacques Audiard's... Read More