Principal/CEO
charlieuniformtango
2) I love that our business of creating live action, graphic, audio, and VFX content has gotten so expansive and collaborative because of numerous channels of delivery needing and wanting content. Advertisers and Agencies are looking to us for creative solutions and are wanting to get us involved much earlier in the conceptual stages. What I greatly dislike is that the art and craft of our business gets diminished and sacrificed for very fast turnarounds and small budgets. Sometimes content is created just to be created without thought, creativity nor strategy.
7) I think overall production companies and post houses will be busier but not necessarily making more net revenues. Budgets are tighter for quick turnaround work but the opportunities are great. I think if you’re a creative shop, you’ll rise to the top because the content has to be entertaining no matter if its for broadcast or the internet. Good creative and good quality work will still be king but business owners may have to be willing to sacrifice some profit in some cases, not all. I’m very excited about the potential for 2016.
Review: Writer-Director Andrea Arnold’s “Bird”
"Is it too real for ya?" blares in the background of Andrea Arnold's latest film, "Bird," a 12-year-old Bailey (Nykiya Adams) rides with her shirtless, tattoo-covered dad, Bug (Barry Keoghan), on his electric scooter past scenes of poverty in working-class Kent.
The song's question — courtesy of the Irish post-punk band Fontains D.C. — is an acute one for "Bird." Arnold's films ( "American Honey," "Fish Tank") are rigorous in their gritty naturalism. Her fiction films — this is her first in eight years — tend toward bleak, hand-held verité in rough-and-tumble real-world locations. Her last film, "Cow," documented a mother cow separated from her calf on a dairy farm.
Arnold specializes in capturing souls, human and otherwise, in soulless environments. A dream of something more is tantalizing just out of reach. In "American Honey," peace comes to Star (Sasha Lane) only when she submerges underwater.
In "Bird," though, this sense of otherworldly possibility is made flesh, or at least feathery. After a confusing night, Bailey awakens in a field where she encounters a strange figure in a skirt ( Franz Rogowski ) who arrives, like Mary Poppins, with a gust a wind. His name, he says, is Bird. He has a soft sweetness that doesn't otherwise exist in Bailey's hardscrabble and chaotic life.
She's skeptical of him at first, but he keeps lurking about, hovering gull-like on rooftops. He cranes his neck now and again like he's watching out for Bailey. And he does watch out for her, helping Bailey through a hard coming of age: the abusive boyfriend (James Nelson-Joyce) of her mother (Jasmine Jobson); her half brother (Jason Buda) slipping into vigilante violence; her father marrying a new girlfriend.
The introduction of surrealism has... Read More