Renata Leão appointed ECD at DAVID São Paulo
After having been named Agency of the Year at the Clios last week, DAVID Miami has a new chief creative officer–Rafael Donato who comes over from the agency’s São Paulo office, his roost since 2016.
“What Rafa Donato has achieved with our Brazilian clients is outstanding. The business results of Burger King Brazil and Coca-Cola are just two great examples of his leadership and talent,” said Pancho Cassis, partner and global CCO. “I’m happy to have him as my right hand in the U.S. He will do a powerful tandem with Fernando Pellizzaro and Jean Zamprogno, so we can keep helping our US clients grow their businesses with great creativity.”
Over the past five years Donato has helped the agency win big new businesses like Toyota and Tang global, and key industry awards, including 17 Cannes Lions for brands such as Burger King, Faber-Castell, and Coca-Cola, plus several accolades from international festivals, including D&AD, Clio Awards, One Show, and Effie.
Donato’s advertising career began in England in 2004, where he spent time at Grey London, among other agencies. Between 2008 and 2016, before joining to DAVID São Paulo, Donato worked at Ogilvy Brazil as creative director. He played a key role in that shop’s success during those years culminating in the Agency of the Year award at Cannes Lions in 2013.
At DAVID Miami, Donato will work alongside managing director Ricardo Honegger, global chief strategy officer Paula Vampre and head of account management Luiza Prata Carvalho.
Besides Burger King, DAVID Miami works for Budweiser, Bud Zero, Corona, Danone (Two Good and Activia), Mondeléz (Halls, Sour Patch Kids), and Coca-Cola.
Renata Leão
Meanwhile at Donato’s former roost, DAVID’s São Paulo office, Renata Leão has been appointed executive creative director to partner with ECD Edgard Gianesi. The two professionals now co-lead the agency’s creative efforts.
“Renata’s arrival is another initiative to press on with the creative work we always deliver to our brands, which is also the direct result of the talent and dedication of Edgard, who has been already working at DAVID for the last six years. We’ll also able to benefit from the experience and vision of a female creative, which is key for DAVID and all of our clients,”, said Sylvia Panico, managing director and global COO.
Leão has worked for numerous ad agencies across the market, such as AlmapBBDO, F/Nazca S&S, Havas, Ogilvy, Wunderman Thompson and, more recently, at WMcCann. Coca-Cola, Google, Honda, Avon, P&G, Nestlé, JBS, Bayer, Unilever, and J&J are among the clients she has attended to. Throughout her career, she has received many local and international awards: Cannes, Clio, One Show, London International Awards, El Ojo, Wave, among others. 2020/21 brought her three Effies, a Gold at the Brazilian Creative Club and a Silver Clio.
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