Director Kathi Prosser, who had been handled in the Southern Hemisphere by The Sweet Shop, has gone global with that production company except for Canada where she continues to be repped by Partners.
Prosser, who shifted her U.S. representation from Moxie Pictures to The Sweet Shop, explained, “With board flow now from agencies all over the world, it feels great to be managed by one boutique style company, a kind of macro micro approach to today’s global market.”
Prosser has directed work for assorted clients, including Guinness, Molson, Lux, Dove, Tresemme, Apple, AT&T and JCPenney. A graduate of the Ontario College of Art and Design, she got her start in graphic design creating award winning album art for companies like BMG, Sony Music, EMI, and Columbia. This recognition allowed her to quickly move into motion graphics work where she created and designed opening title segments for CBC, CTV, and UPN. From there, Prosser took a leap into the director’s chair and created the Grammy nominated “Mega Mix” videos for Moby’s album, “Play”.
For four years, Kathi ran the multimedia firm The Wing Group. While there, she made several projects including the short films Death’s Fable, Fly or Fall, and the globally toured Horses Never Lie which won an American Choreography Award for Outstanding Achievement. Her television spots included a pair of Bessie Award winning, Partners-produced PSAs: The Looking Glass Foundation’s “Scales,” which cast a sobering light on eating disorders, for DDB Vancouver, B.C.; and SickKids’ (The Hospital for Sick Children) “You Got It” from JWT Toronto. Both spots additionally earned nods from Cannes and D&AD.
“Kathi brings a power to her work that is truly unique and expresses itself through all the elements of her craft,” said Paul Prince, The Sweet Shop’s CEO and founding partner. “It’s a privilege to be a part of this passion. I’ve been honored to be on Kathi’s management team for over ten years and am very pleased that this now continues globally.”
Rom-Com Mainstay Hugh Grant Shifts To The Dark Side and He’s Never Been Happier
After some difficulties connecting to a Zoom, Hugh Grant eventually opts to just phone instead.
"Sorry about that," he apologizes. "Tech hell." Grant is no lover of technology. Smart phones, for example, he calls the "devil's tinderbox."
"I think they're killing us. I hate them," he says. "I go on long holidays from them, three or four days at at time. Marvelous."
Hell, and our proximity to it, is a not unrelated topic to Grant's new film, "Heretic." In it, two young Mormon missionaries (Chloe East, Sophie Thatcher) come knocking on a door they'll soon regret visiting. They're welcomed in by Mr. Reed (Grant), an initially charming man who tests their faith in theological debate, and then, in much worse things.
After decades in romantic comedies, Grant has spent the last few years playing narcissists, weirdos and murders, often to the greatest acclaim of his career. But in "Heretic," a horror thriller from A24, Grant's turn to the dark side reaches a new extreme. The actor who once charmingly stammered in "Four Weddings and a Funeral" and who danced to the Pointer Sisters in "Love Actually" is now doing heinous things to young people in a basement.
"It was a challenge," Grant says. "I think human beings need challenges. It makes your beer taste better in the evening if you've climbed a mountain. He was just so wonderfully (expletive)-up."
"Heretic," which opens in theaters Friday, is directed by Scott Beck and Bryan Woods, co-writers of "A Quiet Place." In Grant's hands, Mr. Reed is a divinely good baddie — a scholarly creep whose wry monologues pull from a wide range of references, including, fittingly, Radiohead's "Creep."
In an interview, Grant spoke about these and other facets of his character, his journey... Read More