Title | Music/Sound | Audio Post | Agency | Production | |
1 | Volkswagen GTI, “Hair” | Beacon Street, Venice, Calif. John Nau and Andrew Feltenstein, composers; Brian Chapman, sound designer | Sound Lounge, New York Philip Loeb, Rob Difondi, Rob Sayers, Glenn Landrum, Keith Reynaud, mixers | Crispin Porter + Bogusky, Miami Bill Meadows, music producer | MJZ, bicoastal Rocky Morton, director |
2 | Cadillac DTS, “Drumline” | HUM Music+Sound Design, Santa Monica Jeff Koz, creative director; Jim Casella, composer; Debbi Landon, executive producer. | Margarita Mix de Santa Monica Jimmy Hite, mixer | Leo Burnett Detroit | HSI Productions, bicoastal Paul Hunter, director |
3 | Dodge Caliber, “Too Tough” | Emoto, Santa Monica Tony Morales, John Adair, composers; Paul Schultz, executive producer. Nomad Editing Company, Santa Monica Francois Blaignan, sound designer | Sound Lounge, New York Tom Jucarone, mixer | BBDO Detroit/New York Loren Parkins, executive music producer | Smuggler, bicoastal Brian Beletic, director |
4 | Juicy Fruit, “Ant” | Stimmung, Santa Monica Cyrus Melchor, composer; Gus Koven, sound designer; Kelly Fuller, executive producer | Hoffman Sound, Chicago Jim Hoffman, mixer | Energy BBDO, Chicago | MJZ, bicoastal Dante Ariola, director |
5 | Burger King, “Buckin’ Chicken” | Beacon Street Studios, Venice John Nau, Andrew Feltenstein, composers; Brian Chapman, sound designer. | POP Sound, Santa Monica Peter Rincon, mixer | Crispin Porter + Bogusky, Miami Bill Meadows, music producer | Hungry Man, bicoastal Bryan Buckley, director |
6 | Virgin Mobile, “Greatest Adult Music” | Moneybacon, New York Paul Malmstrom, composer (also partner/creative director of agency Mother, New York) | audioEngine, New York, Hillary Kew, mixer | Mother, New York | @radical.media, bicoastal Peter Darley Miller, director |
7 | Gibson Guitars, “Empress” | Aardvark Sound, London Oliver Davis, composer/sound designer | Wave, London Parv Thind, mixer | Carmichael Lynch, Minneapolis | Great Guns USA, Venice, Calif. Gurinder Chadha, director |
8 | Volkswagen GTI, “Wrecking Ball” | Wojahn Bros. Music, Santa Monica Roger Wojahn, Scott Wojahn, composers; Marisa Mastroianni Davis, executive producer | Sound Lounge, New York Peter Holcomb, mixer | Crispin Porter + Bogusky, Miami Bill Meadows, music producer | RSA Films, bicoastal Jonas Akerlund, director |
9 | Nike, “Second Generation” | Elias Arts, bicoastal Jonathan Elias, David Wittman, composers; Dave Gold, creative director; Dayna Turcotte, producer | Sound Lounge, New York Tom Jucarone, mixer | Wieden + Kennedy, New York | Smuggler, bicoastal Brian Beletic, director |
10 | Comcast, “Laugh Riot” | Musikvergnuegen, Hollywood Walter Werzowa, composer/sound designer; John Luker, composer; Pat Weaver, producer | One Union Recording Studios, San Francisco Eben Carr, mixer | Goodby Silverstein & Partners, San Francisco | Smuggler, bicoastal Happy, director |
Robert Eggers and Willem Dafoe Reunite For “Nosferatu”
When Willem Dafoe enjoys working with a filmmaker, he'll often jump at the chance to do it again.
The list of directors with whom the 69-year-old has worked with more than once is extensive, including Wes Anderson,Yorgos Lanthimos,Paul Schrader,Lars von Trier and, now for a third time, Robert Eggers. "If it's good, you come back," Dafoe said plainly.
The pair spoke about Eggers' adaptation of "Nosferatu" that hits theaters Wednesday, some of the challenges they faced making "The Lighthouse" — their first project together released in 2019 — and the unique relationship that exists between actors and directors.
The interview has been edited for clarity and brevity.
Q: Willem, I read that you called Robert after you saw "The Witch." What did you say?
DAFOE: I want to meet you and I want to know who this filmmaker is.
Q: What is it about him that keeps bringing you back?
DAFOE: Well, if it's good, you come back. When I saw "The Witch," I thought, "Wow, this is a film about a period that I'm not particularly knowledgeable about, but I enter it so easily. This is relevant. It's rooted. It's my story. I'm with these people."
That's quite an incredible trick because a lot of period films, they're always pointing to themselves. They're always sending messages. They're always showing. This had a kind of energy and the kind of physicality and sensuality that I thought, "Who does this? I gotta see this guy." And then I had a wonderful experience in "The Lighthouse" and I played a part that was really fun in "The Northman." So, when he wants to do this passion project and offers me this beautiful role of Professor Von Franz, I say,... Read More