Veronica Beach has joined Pereira O’Dell as director, production. In this role, she is charged with overseeing the production of all client work, including operational oversight of Barrelhouse, the agency’s in-house production company. Beach is part of the Pereira O’Dell executive leadership team, reporting directly to creative chairman and co-founder PJ Pereira.
One of the most awarded female producers in advertising, Beach has won a plethora of creative awards, including over 100 Cannes Lions. Before joining Pereira O’Dell, she was global head of production for Ogilvy Brazil’s heavily awarded DAVID The Agency and founder of the poolhouse, a creative producer and production community. Previous campaigns produced by Beach include the Dove “Real Beauty Sketches” and Coca Cola’s “Crazy for Good” campaign.
Beach currently lives in Miami Beach, Fla. She previously resided in Sao Paulo, Brazil.
Review: Director Nora Fingscheidt’s “The Outrun”
At some point during "The Outrun," it occurred to me that watching Saoirse Ronan act is a bit like looking into a magnifying glass: Everything somehow feels a bit clearer, sharper, more precise.
This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch — and would likely be too draining if not for the luminous presence at its core. Would it even work — at all — if Ronan, who also makes her producing debut here, weren't onscreen virtually every second?
Luckily, we don't need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words — sometimes poetic — of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.
Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona's hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona's mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.
There's a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when... Read More