LP Tremblay and Kate McCagg have been named executive creative directors and will join the creative leadership team of Havas New York.
“Kate and LP represent a rare breed of creative leadership,” said Toygar Bazarkaya, chief creative officer of the Americas at Havas. “Both come from early digital pure plays and have a wealth of traditional agency experience. But what’s very telling about our industry is that they’ve never been able to use the full potential of their strengths in one place. With media, data, creative and cognitive right under our roof, Kate’s and LP’s unique skillsets and proven understanding of brands will help take our clients’ needs and work into the future. Kate’s and LP’s passion and collaborative spirit are hard to find, and I can’t wait for the great things to come.”
McCagg joined Havas New York in 2014. In her two years at the agency, she has proven to be an invaluable asset. Prior to joining Havas, McCagg was creative director at Razorfish in San Francisco and Portland, creating online, digital and social work for Microsoft, American Express, Nike, Levi’s, Intel, Breville Appliances and Shutterfly. In 2015, she was nominated to be part of Havas’ Next Gen class, a year-long global training program designed for high potentials and future leaders of the agency.
Tremblay began his career in the interactive department of Sid Lee in Montreal, moving on to agencies like AKQA in San Francisco, Wieden+Kennedy London, DDB Toronto and BBDO New York. He has created some of the most recognizable and awarded campaigns in the industry, including last year’s “Too Close to Home” campaign for AT&T to combat distracted driving. “Too Close to Home” picked up a Gold Lion at Cannes. His award-winning campaign “Our Food, Your Questions” for McDonald’s helped birth a new age of transparency for the brand and its consumers. Over the years, Tremblay has worked on campaigns for such clients as Diageo, Visa, Nokia, Unilever, Bose, Coca-Cola, Red Bull and Johnson & Johnson.
Tremblay and McCagg will report to Bazarkaya.
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