Independent Media–the Santa Monica-based production house best known for handling noted feature filmmakers for select commercials and branded content projects–has extended its reach internationally, opening a London office with Julia Reed at the helm. Reed comes aboard as director of marketing and will work with Independent Media founder/executive producer Susanne Preissler to form a close-knit management team designed to connect the company’s global roster of directorial talent with the European advertising community.
Reed brings a creative talent management skillset to Independent Media long admired by Preissler dating back to when the latter headed up Propaganda Independent for the venerable, since closed Propaganda Films. “We were two ships passing,” recalled Preissler. “I came to Propaganda after Julia had left but became very cognizant of what she accomplished there, putting [Propaganda sister shop] Satellite on the map.” Reed is credited with playing an instrumental role in helping to diversify music video shop Satellite into a major commercial production player while having a hand in bringing new groundbreaking directors into that company’s fold, including most notably Spike Jonze who has gone on to be an influential creative force in commercials, new content forms and feature films.
Prior to Satellite, Reed was an exec producer at Propaganda Films. After Satellite, she served as CEO of what was then director Tony Kaye’s production house, Tony Kaye & Partners. Reed later went on to The End, bought its London operation and turned it into U.K. production house Harry Nash which had a successful run before its closure in 2003. At Harry Nash, she also displayed her affinity for nurturing directorial careers, helping to bring such talent as Ringan Ledwidge and Fredrik Bond into further prominence.
Since Harry Nash’s shuttering, Reed has been away from the commercialmaking business, though in recent years she has been involved in the development of a feature film project with Julia Roberts’ company Red Om Films. Reed is working with producer Phil Rose of Red Om on the project, a love story called Madness Visible, with Roberts attached.
Preissler said she expressly sought out Reed for a return to the ad arena. She regards Reed and the London office as the ideal pairing to underscore Independent Media’s commitment to the European market.
Indeed while Reed’s eye for talent could down the road translate into additions to the company’s directing lineup, her immediate priority is to help Independent Media’s directors gain access to some of the great creative work coming out of European agencies.
Reed said she had no intention of returning to the commercialmaking arena until she heard from Preissler and had the chance to assess the opportunity at Independent Media. “The high level of the directors and the body of work first drew me in,” related Reed. “Being able to work closely with Susanne and to know I will have her production and business support made this too good for me to pass up.”
Reed is also intrigued by the prospect of being able to depart from her industry norm, which has been working primarily with up-and-coming directors and helping to develop their careers. “Now I will be working with directors at Independent Media who are well established in features. It’s a different angle from which to approach the business and the creative opportunities in the European markets.”
That established Independent Media directorial talent includes:
— Michael Apted who is currently directing a Reclast campaign for McCann Erickson, which is integrating webisode content within the actual commercial, dovetailing nicely with the director’s intimate style of dialogue filming. Apted’s latest feature film, The Chronicles of Narnia: The Voyage of the Dawn Treader, is slated for release on Dec. 10.
— Janusz Kaminski is wrapping directorial duties on a seven-day John Deere shoot for GSD&M, and recently completed cinematography on Steven Spielberg’s movie, War Horse.
— Wally Pfister is in pre-pro on a Northern Trust assignment for Downtown Partners after serving as cinematographer on Moneyball starring Brad Pitt, Philip Seymour Hoffman and Jonah Hill.
— Elias Merhige recently shot a couple of commercials in Scotland for financial services company Raymond James.
— Tony Goldwyn has been awarded a National Milk campaign out of Deutsch.
— And Scott Hicks is finishing up the feature The Lucky One starring Zac Efron and will again be available for commercials.
Netflix Series “The Leopard” Spots Classic Italian Novel, Remakes It As A Sumptuous Period Drama
"The Leopard," a new Netflix series, takes the classic Italian novel by Giuseppe Tomasi di Lampedusa and transforms it into a sumptuous period piece showing the struggles of the aristocracy in 19th-century Sicily, during tumultuous social upheavals as their way of life is crumbling around them.
Tom Shankland, who directs four of the eight episodes, had the courage to attempt his own version of what is one of the most popular films in Italian history. The 1963 movie "The Leopard," directed by Luchino Visconti, starring Burt Lancaster, Alain Delon and Claudia Cardinale, won the Palme d'Or in Cannes.
One Italian critic said that it would be the equivalent of a director in the United States taking "Gone with the Wind" and turning it into a series, but Shankland wasn't the least bit intimidated.
He said that he didn't think of anything other than his own passion for the project, which grew out of his love of the book. His father was a university professor of Italian literature in England, and as a child, he loved the book and traveling to Sicily with his family.
The book tells the story of Don Fabrizio Corbera, the Prince of Salina, a tall, handsome, wealthy aristocrat who owns palaces and land across Sicily.
His comfortable world is shaken with the invasion of Sicily in 1860 by Giuseppe Garibaldi, who was to overthrow the Bourbon king in Naples and bring about the Unification of Italy.
The prince's family leads an opulent life in their magnificent palaces with servants and peasants kowtowing to their every need. They spend their time at opulent banquets and lavish balls with their fellow aristocrats.
Shankland has made the series into a visual feast with tables heaped with food, elaborate gardens and sensuous costumes.... Read More