Executive producer Susanne Preissler and bicoastal RSA USA have ended their relationship, except for honoring commitments on a couple of projects being wrapped at press time via RSA Independent. Preissler came aboard RSA USA earlier this year, teaming with the company to formally launch RSA Independent, a shop specializing in garnering spots for select feature filmmakers (SHOOT, 1/21, p. 1).
Upon completion of the current aforementioned jobs, RSA USA managing director Jules Daly said the RSA Independent banner would probably be dissolved. However, RSA USA will likely form a renamed division that will continue to facilitate commercialmaking opportunities for longform directors, according to Daly. That division will have to assemble a new roster as Preissler retains her ensemble of feature helmers for ad assignments.
Preissler’s directorial lineup includes: Lisa Cholodenko (High Art); Michael Corrente (Outside Providence); Alfonso Cuaron (Great Expectations, A Little Princess); Scott Hicks (Shine, Snow Falling On Cedars); Agnieszka Holland (Europa, Europa); Bronwen Hughes (Forces of Nature, Harriet The Spy); Doug Liman (Swingers and Go); Chris Smith (American Movie); David Veloz (Permanent Midnight); Kirk Wong (Blades); and Erick Zonka (Dream Life of Angels).
Preissler is currently considering her options, having received inquiries from assorted production companies. In terms of linking with another house, she related that her prime criteria include finding "a well managed company, run by people who have been in the trenches and come up through the ranks. My tendency has always been to work with people whom I could learn from. That’s why I went to Propaganda [her roost prior to RSA] to work with Steve Dickstein [now of bicoastal Partizan] and Steve Golin [now of bicoastal Anonymous] … RSA is a wonderful family company, but it wasn’t right for me."
Also factoring into her decision to leave was RSA USA’s handling of the controversial actors’ strike-related print ad that the company placed in SHOOT. The situation resulted in high profile personnel changes at RSA USA (SHOOT, 6/2 and 6/9, p. 1). "It didn’t sit well with me or my directors because we weren’t given a say in how the company should address the matter," related Preissler. "The company was under the magnifying glass as a result of the ad. I thought it was a great opportunity for us to use a negative situation as a springboard to do something constructive and positive. … Firing people wasn’t the total solution."
During her earlier alluded to year-and-a-half tenure at Propaganda Independent—a division of bicoastal/international Propaganda Films—Preissler helped a coterie of feature directors to diversify into commercials. In fact, she executive produced two of the spots that contributed to Propaganda and sister shop Satellite earning the Palme d’Or at Cannes this year: Nike’s Gold Lion-winning "Driving Range" directed by Lasse Hallstrom (What’s Eating Gilbert Grape, The Cider House Rules.), who has since shifted his spot affiliation to bicoastal/international @radical.media; and Nike’s "Hackeysack," a Silver Lion recipient helmed by Liman. Both Nike ads came out of Wieden+Kennedy, Portland, Ore.
Preissler exited Propaganda a year ago (SHOOT, 8/13/99, p. 1). Prior to Propaganda Independent, Preissler served as head of production at Del Mar, Calif.-based ad agency Lambesis, where she made inroads in helping feature directors make the transition to spots. In ’96, for example, she recruited London-based James Bond movie director John Glen (For Your Eyes Only, Octopussy, A View To A Kill) to helm a series of 007-style action/adventure commercials for Lambesis client Airwalk. That was followed by other collaborations between the agency and feature helmers, including Airwalk’s "Truant" and "Roach," both directed by Liman in ’97. She ran the Liman-directed Airwalk fare through Propaganda, setting the stage for the launch of Propaganda Independent in early ’98.
