Creative studio Imaginary Forces has promoted industry veteran Renée Robson to executive producer. Robson’s expertise spans production in the realms of traditional live action, motion graphics, and emerging technologies.
In the wake of the Cannes Lions, there is a collective acknowledgment that the industry is in an era of rapid evolution. The ways in which we work must shift to meet the new challenges and opportunities, while staying true to the core principles of the creative industries.
Reflecting on the industry, Robson said, “At Imaginary Forces, there’s a 28-year legacy of rising to the opportunities presented by an ever-changing industry with agility and expertise while continuing to create award-winning, iconic work that has a place in the wider culture.”
Robson added, “The underpinnings of production excellence aren’t shifting. As the downward pressure on budgets continues and timelines become increasingly compressed, it remains the job of the producer–perhaps now more than ever–to find innovative solutions that also elevate the idea, the craft, and the creative and to be the best possible advocate for both the creative and the client.”
Robson’s first tenure at Imaginary Forces began in the early 2000s as a production coordinator. After several years at IF, Robson returned to live action production to further build her skill set through large-scale, international brand campaigns. She has held leadership positions at Furlined, Tool, and The Sweetshop, developing expertise in production accounting, budgeting, insurance, union policies, and creative production solutions. Notable campaigns include films for Apple, Google, Microsoft, REI, GirlsWhoCode, and SK-II, which have garnered industry accolades, including multiple awards from Cannes Lions, D&AD Pencils, The One Show, AICP, and Clios.
When re-joining IF in 2017, Robson brought her live action expertise to the team and added another arrow to her production quiver, learning to produce main title sequences.
“As an executive producer, Renée brings a level of expertise, meticulousness, and professionalism that allows our team to continue pushing the boundaries of their creativity, knowing that she will find the best solutions for each project and every challenge,” said Peter Frankfurt, co-founder and ECD of IF.
Chip Houghton, co-founder and managing director of IF commented, “Renée is a production maven. From cutting-edge, industry-first projects such as producing a six-day shoot on a portable volumetric screen to challenging live action shoots, the insight, experience, and dedication she brings to every project is unparalleled.”
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More