Creative studio 3AM, a division of entertainment marketing agency Wild Card Creative Group, has recruited former Cashmere Agency VP/group creative director Tynesha Williams as executive creative director.
“Tynesha is a daring creative and problem solver with a history of creating culture-shifting work,” said Tara DeVeaux, managing director, 3AM. “She not only builds creative departments with that same mix of fearlessness, but also consistently builds strong creatives. We have long been a fan of hers, specifically her iconic social campaigns, a discipline we officially merged into 3AM this year.”
Williams has a strong background in brand and entertainment marketing. With the L.A.-based agency Cashmere, Williams led creative teams on entertainment and brand accounts, creating award-winning, attention grabbing social and 360 campaigns for Amazon, Google, Facebook, Netflix, HBO, Starz, TNT, FX, Freeform, Universal, Paramount, McDonald’s, Coca-Cola, Chevy, MINI, Doritos and adidas, among others. At 3AM she will be tasked with integrating Wild Card Creative Group’s social team into 3AM, expanding the creative department, nurturing creative leaders and teams, and growing the brand business.
Williams said of her new roost, “They have a great reputation in the industry for creating amazing campaigns for entertainment properties and brands, and for being home to some of the brightest minds in the business. I’m hoping to extend their super high standards into new services and clients. I’ve always had a lot of success collaborating with female leaders. When we lead the way, women have a way of empowering, teaching and growing.”
DeVeaux along with Wild Card CEO Alison Temple, COO Onna Mahoney, director of social Noelle Neis, SVP editorial producer Felicia Sandoval and now Williams, constitute a formidable female leadership team at the Wild Card Creative Group.
Williams skill set extends beyond the advertising space, and includes directing, screenwriting and a one night only, stand-up comedy career. Although her standup gig was short-lived, Williams still maintains a strong sense of humor. “Hey I’m a girl from Detroit,” said Williams. “Everybody’s funny in Detroit. After all, this is where they filmed the romantic comedy 8 Mile.”
3AM’s recent work includes “Embrace the Grind,” an integrated campaign for the adidas x Ninja collaboration that included a Twitch activation with Influencers JuJu Smith-Schuster of the Steelers and rapper Pusha T, as well as high profile campaigns for Hulu’s “Helstrom” and Season 3 of “The Handmaid’s Tale.” For Warner Bros. and Legendary Entertainment’s upcoming feature Dune, 3AM helped launch a Twitter activation with Stephen Colbert, and for Universal Pictures’ Freaky with Vince Vaughn and Kathryn Newton the agency executed the social campaign. 3AM also created “You Will See Me,” a well received PSA campaign in partnership with the Ad Council and CDC. The campaign features prominent Black celebrities inspiring and empowering Black Americans whose communities have been disproportionately affected by the coronavirus to wear face masks.
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