Lisa Gatto Setten has been appointed head of production at JWT New York. Reporting to Mike Geiger who is president, chief integration officer of JWT North America, Setten will lead content production, and is tasked with helping to ensure the seamless integration of the production departments for the agency’s flagship office.
Setten joins JWT from BBH New York, where she served as head of broadcast production, overseeing all aspects of moving image production and in-house postproduction for the agency’s New York and Los Angeles-based clients. Some of her most notable projects are Google’s “Dear Sophie” and Chrome’s “Speed Tests,” Axe’s “Susan Glenn” and “Balls,” and Smirnoff’s “Tea Partay.” Other client experience includes Ally Bank, Baileys, British Airways, Cadillac, Johnnie Walker, Levi’s, LG, Sprite, UNICEF, Vaseline and The Weather Channel.
Prior to joining BBH, Setten was a freelance senior producer at Goodby, Silverstein & Partners, working on multiple HP campaigns. Throughout her career, she has produced award-winning work for clients across a wide range of categories. Highlights include multiple Cannes Gold Lions, One Show Pencils and AICP Excellence/Campaign honors.
Craig Henighan Sounds Off On “Deadpool & Wolverine”
Hollywood lore has it that character actor Edmund Gwenn--while on his deathbed--quipped, “Dying is easy, comedy is hard.”
The second part of that darkly witty utterance remains all too true today as Craig Henighan--a Best Achievement in Sound Mixing Oscar nominee in 2019 for Roma--can attest in that he had to grapple with the sonic of being comic for this year’s box office hit, Deadpool & Wolverine (20th Century Studios/Marvel Studios).
The degree of inherent difficulty was ramped up even further because Deadpool & Wolverine had to seamlessly bring together high action-adventure exploits with moments and dialogue that tickled the funny bone. There’s a mesh of humorous banter--a staple of the franchise--along with major spectacle replete with explosions, fights, an impactful score and off-the-wall musical numbers.
Henighan explained that among the prime challenges for him from a sound perspective was having to make sure every joke landed within the construct of a superhero film. The tendency for a tentpole movie of this variety, he noted, is to gravitate towards big, loud audio spanning music, dialogue and sound effects. But the unique comedic element of Deadpool & Wolverine necessitated that re-recording mixer and supervising sound editor Henighan strike a delicate balance. “You need to get out of the way for the comedy,” he related. The jokes in a superhero film become “a real dance” as Henighan had to establish a rhythm that did justice to both the comedy and the action as the narrative moves back and forth between them--and sometimes the funny and the high energy, high decibel superhero dynamic unfold simultaneously in a scene or sequence. The “sonic fabric” has to... Read More