Ogilvy has appointed Guillermo Vega global creative network lead for The Coca-Cola Company (TCCC). In this new role, Vega is responsible for defining, shaping and driving the creative vision for Ogilvy’s work on TCCC’s portfolio of brands. He will be based in New York and will also join the leadership team of OpenX from WPP, the company’s bespoke new offering created for TCCC earlier this year, and the extended TCCC creative community. OpenX from WPP is a new integrated agency model comprised of creative, media, social, data, tech, PR, and commerce experts from across WPP.
Liz Taylor, global chief creative officer at Ogilvy, said: “When it came to finding someone for this role, Guillermo’s talent, expertise and background were a perfect match for the ambition of OpenX. Not only is he a champion of ideas that travel, but he is a builder who has repeatedly grown agencies from the ground up. We are excited for all the boundary-breaking, culture-shifting work that we’ll do together for The Coca-Cola Company and its iconic portfolio of brands.”
Vega said: “Ogilvy’s ambition is unparalleled and the migration of talent to the agency is impossible to resist. The opportunity to help shape the future of The Coca-Cola Company and its beloved brands in a period of accelerated transformation is the kind of challenge that will define the future of our industry for years to come. Creativity and innovation are what drive me forward, and OpenX from WPP is the kind of challenge that gets me excited. I can’t be happier to be part of Ogilvy’s global network and to be returning to New York.”
Vega has a proven record of starting successful creative agencies in several countries. Since October 2018, Guillermo served as chief creative officer for Saatchi & Saatchi London where he has been responsible for overseeing all the agency’s creative output. He was previously executive creative director at 72andSunny where he helped launch and establish the agency’s New York offering and oversaw work on clients such as Smirnoff, Samsung, Xfinity, Seventh Generation, Yoplait and Cheerios.
Before joining 72andSunny, Vega was the ECD of Wieden+Kennedy São Paulo, helping found that office in Brazil. He grew it from three employees to over 100 in four years by winning clients like Nike, Coca-Cola, Levi’s, and Heineken, among others. He joined Wieden+Kennedy from Y&R, where he worked for over 13 years, rising to regional creative director and overseeing Latin America from the Y&R headquarters in New York. He also worked as global CD for Dell and Bacardi as well as the group CD for Virgin Atlantic and VH1.
Vega has won numerous national and international awards at prestigious advertising festivals and has participated as a jury member at award shows including D&AD, Cannes, AICP, Clios, Art Director’s Club, London International, FIAP, New York Festivals, El Ojo de Iberoamérica and El Sol.
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