Huge, the design and innovation company under Interpublic Group (NYSE: IPG), shared that for the first time in the company’s history, 25 percent of its projects contain AI components. Recent work includes projects with Google, Hublot and newly announced client, Darling Ingredients. For the latter, Huge launched a flagship digital experience using a wealth of imagery created entirely by AI to deliver both production efficiencies and brand elevation. For Hublot, Huge is developing what’s billed as the first “Luxury AI” prototype to deliver highly personalized, white-glove experiences aimed at increasing customer lifetime value. And Huge is enhancing Google’s Keyword blog and news site with AI to make Google product news and tips more accessible, saving time and adding value for readers. To further advance Huge’s capabilities in AI-powered design, emerging tech and design innovation, Huge has hired chief creative officer Ez Blaine, chief technology officer Marc Maleh and executive creative director Jade Tomlin. Blaine’s career at the leading edge of brand and digital design spans agencies TBWA, AKQA and R/GA, as well as in-house leadership roles at Apple, Sonos and Tidal. Maleh rejoins Huge from Valtech, bringing more than 20 years of expertise in creative technology across generative AI, extended reality and experiential design. Tomlin joins from AKQA London to serve as creative lead on Huge’s Google account. The account recently won three Webby Awards and continues to pioneer the use of AI in high-impact experiences. The new team will report to Chidi Achara, chief product officer at Huge, who joined in February. Additionally, Kieron Leppard has been promoted to global head of experience design to drive the company’s UX, CX, Innovation and Sustainability practices, reporting to the new CCO, Blaine….
Toronto-based The Salmon has added JJ Adler and the duo We The Grimshaws to its directorial roster for representation in Canada. Adler’s prior Canadian representation was at Circle Productions while We The Grimshaws were previously at Frank. In the U.S., both Adler and We The Grimshaws are repped by Ruckus. With the additions of Adler and the duo We The Grimshaws, The Salmon’s comedy strength has increased significantly. Adam & Dave, the comedy duo who founded The Salmon in 2022, quipped that they are now closer–thanks to the signing of Adler and We The Grimshaws–to their benchmark of being put on a government watchlist for hoarding a dangerous level of comedic talent. Adler’s body of work spans such clients as Geico, Gain, Progressive and most recently, Manscaped. Prior to her commercial film career, Adler was a founding creative and head director at The Onion’s Peabody Award-winning web series and IFC TV show, The Onion News Network. Her award-winning short comedy New Media premiered at Sundance, and her short documentary Unattached won a Student Academy Award. Although Adler is the founder of the U.S.-based Ruckus Films, she began her career shooting commercial films in Toronto, which basically makes her an honorary Canadian. The We The Grimshaws duo consists of Craig Brownrigg and Brenna Horrocks who bring highly discerning eyes and years of experience (Horrocks initially as an ad agency creative, writer and designer) to their wonderfully detailed comedy worlds, showcased in their campaigns for Progressive, Rite Aid, Axos Bank and Zillow….
Phantom Power, a Los Angeles-based production music company that supplies music for major feature film trailers, has signed exclusive agreements with composers Michael Maas and Jordi Rica. Maas’ work, known for blending electronic and orchestral elements, has been featured in major trailers promoting such films as Guardians of the Galaxy 3, Jurassic World Dominion and Dune. Meanwhile Rica’s credits include his cover of California Dreaming featured within the trailer promoting the film Ambulance, and his version of California Love for the Legacy: The True Story of the LA Lakers TV series. Phantom Power is under the aegis of founder Doug Brandt….
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