| Number | Title | Music / Sound | Audio Post | Agency | Production |
| 1 | ESPN “Believe” | Endless Noise, Santa Monica Jeff Elmassian, creative director/composer; Andy Rehfeldt, composer; Shari Christensen, executive producer | Downstream, Portland, Ore. Lance Limbocker, mixer | Wieden + Kennedy, New York | LAIKA/house, Portland, Ore.; Mark Gustafson, director |
| 2 | Adidas,
“What’s Inside” | Elias Art, bicoastal Jonathan Elias, composer | Crescendo! Studios, San Francisco; Craig Helmholz , mixer | 180/TBWA & TBWA/Chiat/Day, San Francisco | Biscuit Filmworks, Los Angeles; Noam Murro, director |
| 3 | Longhorn Steakhouse, “Girlfriend” | Fluid, New York Judson Crane, composer/sound designer; David Shapiro, executive producer; Brad Stratton producer | Sound Lounge, New York; Tom Jucarone, mixer | McKinney, Durham, N.C. | Biscuit Filmworks, Los Angeles; Mike Bigelow, director |
| 4 | Expedia.com, “Anthem” | Asche & Spencer Music, Minneapolis Thad Spencer and Richard Werbowenko, composers; Janell Schmitt, producer | Lime Studios, Santa Monica; Loren Silber, mixer | Deutsch, Los Angeles | Moxie Pictures, bicoastal/international Errol Morris, director |
| 5 | Siemens,
“Building Blocks” | Siblings Music, New York Mario Grigorov, composer; Michelle Barbieri, producer | Bionic Media, New York; Jody Nazzarro, mixer | Publicis, New York | Mass Market TV, New York; Chris Staves and Marco Spier, directors |
| 6 | Toyota RAV4, “Boxes” | Mutato Muzika, Los Angeles; Mark Mothersbaugh, composer; Robert Miltenberg, producer; John Enroth, engineer Machine Head, Venice, Calif. Stephen Dewey, sound designer; Vicki Ordeshook, head of production/producer | Ravenswork, Venice, Calif.; Eric Ryan and Robert Feist, mixers; Katherine Morgan, managing director | Saatchi & Saatchi LA, Torrance, Calif. | Villains, bicoastal; Phillipe Andre, director |
| 7 | Nike,
“Awake” | Lost Planet, bicoastal; Hank Corwin, editor/sound designer; AC/DC’s “Rock and Roll Ain’t Noise Pollution” | Eleven, Santa Monica; Jeff Payne. Mixer; DJ Fox-Engstrom, executive producer | Wieden + Kennedy, Portland, Ore. | RSA USA, bicoastal; Jake Scott, director |
| 8 | America Express, “Open Minded” | Big Foote Music, New York Darren Solomon, composer; Ray Foote, executive producer | audioEngine, New York; Tom Goldblatt, mixer | Ogilvy & Mather, New York; Sara Matarazzo, music producer | Form, Los Angeles; Jesse Dylan, director |
| 9 | Reebok,
“Hockey Centric” | Tonefarmer, New York; Jimmy Harned and Raymond Loewy, composers; Tiffany Senft, executive producer | Final Cut, New York; Roland Alley, mixer/sound designer | mcgarrybowen, New York | Biscuit Filmworks, Los Angeles; Steve Rogers, director |
| 10 | Sony PlayStation Portable, “Pass” | Elias Arts, bioastal; Ben Kahle, composer | Ravenswork, Venice, Calif.; Eric Ryan, mixer | TBWA/Chiat/Day, Los Angeles | Believe Media, bicoastal Vogel.Villar-Rios, directors |
Category:Features
Robert Eggers and Willem Dafoe Reunite For “Nosferatu”
When Willem Dafoe enjoys working with a filmmaker, he'll often jump at the chance to do it again.
The list of directors with whom the 69-year-old has worked with more than once is extensive, including Wes Anderson,Yorgos Lanthimos,Paul Schrader,Lars von Trier and, now for a third time, Robert Eggers. "If it's good, you come back," Dafoe said plainly.
The pair spoke about Eggers' adaptation of "Nosferatu" that hits theaters Wednesday, some of the challenges they faced making "The Lighthouse" — their first project together released in 2019 — and the unique relationship that exists between actors and directors.
The interview has been edited for clarity and brevity.
Q: Willem, I read that you called Robert after you saw "The Witch." What did you say?
DAFOE: I want to meet you and I want to know who this filmmaker is.
Q: What is it about him that keeps bringing you back?
DAFOE: Well, if it's good, you come back. When I saw "The Witch," I thought, "Wow, this is a film about a period that I'm not particularly knowledgeable about, but I enter it so easily. This is relevant. It's rooted. It's my story. I'm with these people."
That's quite an incredible trick because a lot of period films, they're always pointing to themselves. They're always sending messages. They're always showing. This had a kind of energy and the kind of physicality and sensuality that I thought, "Who does this? I gotta see this guy." And then I had a wonderful experience in "The Lighthouse" and I played a part that was really fun in "The Northman." So, when he wants to do this passion project and offers me this beautiful role of Professor Von Franz, I say,... Read More
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