Seemingly thousands and thousands of spools containing different colored threads cascade down the sides of a pyramid. The threads unspool and hug the structure, livening up the ancient wonder of the world. This makes the multi-colored pyramid stand out from its fellow pyramids, the sharp contrast most evident when the spot adopts the visual perspectives of people in the nearby village looking out at the pyramids from their windows and streets.
This striking sight is the latest ambitious demonstration of “live color creation” to further brand the Sony Bravia line of TV sets as providing the most colorful and well defined images.
“Threads” was directed and shot on location in Egypt by Keith Rose of Velocity Films, Cape Town and Johannesburg, for Y&R Singapore.
The Y&R creative team included regional executive creative director/copywriter Rowan Chanen, art directors Kirsten Ackland and Scott McClelland, copywriter Edward Ong and producer Kim Lim.
Karen Kloppers produced for Velocity.
Editor was Ricky Boyd of Deliverance, Cape Town.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More