Director Jason Smith has joined Mutt Film, the L.A.-based commercial production company under the aegis of executive producers/partners Shannon Lords-Houghton and Beth George.
Smith’s assorted credits include spots for brands including Nike, Coca-Cola, EA, Audi, Under Armour, Mountain Dew, Guinness and BMW. His Nike “Lance” and Audi “Living Room” commercials won AICP Show honors and have been featured at MoMA in New York. Smith’s work has won Cannes, British Arrows and Creative Circle awards, among other accolades, and earned three D&AD nominations. Smith’s production house affiliation prior to Mutt was Believe Media.
Outside of commercials, Smith has directed the acclaimed documentary Cross Country featuring the sculptor Jon Krawczyk . He and Smith traveled across the United States with the work in progress piece asking people along the way to talk about 911 and put their own memento inside the sculpture. What Smith captures on camera is moving and though wrenching, reveals the depth of feeling so many Americans have. The finished sculpture now stands across from Ground Zero and is part of the memorial to the lives lost there.
Smith was also commissioned by EA Sports to develop a script and direct a new “Need For Speed” video game. The ambition was to seamlessly combine live action footage with CG to create an immersive authentic experience that was raw and exciting. The high powered driving is tense and cinematic, but what really stands out is Smith’s direction of the actors. They are always fierce, but often very funny.
Smith said he was drawn to Mutt by its “diverse and creative content in all genres” and his affinity for EPs Lords-Houghton and George.
Lords-Houghton described Smith as “a creative force that has never been satisfied with the status quo. No matter how many goal posts he crosses, he always looks to the next one and what he can do better and differently. And all with a wicked wit and a generosity I haven’t seen in many people.”
George has been a long-time fan of Smith’s work, saying she’s been “inspired by his ability to capture authentic performances while at the same time creating visually stunning unique photography.”
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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