CLIENT
Franklin Templeton Mutual Series Funds.
PRODUCTION CO.
Pandemonium, San Francisco. Richard Kizu-Blair, director; Don Smith, DP; Stelio Kitrilakis, executive producer; Chris Whitney, senior producer. Shot at Custer Avenue Stages, San Francisco.
AGENCY
Collaborate Inc., San Francisco. Robin Raj, creative director/ copywriter; Kurt Lighthouse, senior art director; Mike Leonard, copywriter; Illani Matisse, executive producer.
EDITORIAL
Western Images, San Francisco. Alan Chimenti, creative editor.
VISUAL EFFECTS
Western Images. Jimi Simmons, digital effects supervisor/digital effects artist; Chad Husbumrer, Mac graphics designer; Alan Chimenti, creative editor; Sally Carter, producer.
AUDIO POST
Crescendo! Studios, San Francisco. Jay Shilliday, engineer.
MUSIC/SOUND DESIGN
Elias Associates, bicoastal. Chip Jenkins, composer, "Divided Board"; Christopher Kemp, composer, "Find the Bone"; Danny Hulsizer, sound designer.
THE SPOTS
Two :30s—"Find the Bone" and "Divided Board"—feature metaphors for "digging agressively" and "undervalued securities" to underscore Franklin’s investment philosophy. "Find the Bone" shows extreme close-ups of a determined dog search for a bone. In "Divided Board," fidgeting hands represent an anxious board of directors meeting at a troubled but promising company.
Spots broke Nov. 15.
Tim Burton Discusses His Dread Of AI As An Exhibition of His Work Opens In London
The imagination of Tim Burton has produced ghosts and ghouls, Martians, monsters and misfits — all on display at an exhibition that is opening in London just in time for Halloween.
But you know what really scares him? Artificial intelligence.
Burton said Wednesday that seeing a website that had used AI to blend his drawings with Disney characters "really disturbed me."
"It wasn't an intellectual thought — it was just an internal, visceral feeling," Burton told reporters during a preview of "The World of Tim Burton" exhibition at London's Design Museum. "I looked at those things and I thought, 'Some of these are pretty good.' … (But) it gave me a weird sort of scary feeling inside."
Burton said he thinks AI is unstoppable, because "once you can do it, people will do it." But he scoffed when asked if he'd use the technology in this work.
"To take over the world?" he laughed.
The exhibition reveals Burton to be an analogue artist, who started off as a child in the 1960s experimenting with paints and colored pencils in his suburban Californian home.
"I wasn't, early on, a very verbal person," Burton said. "Drawing was a way of expressing myself."
Decades later, after films including "Edward Scissorhands," "Batman," "The Nightmare Before Christmas" and "Beetlejuice," his ideas still begin with drawing. The exhibition includes 600 items from movie studio collections and Burton's personal archive, and traces those ideas as they advance from sketches through collaboration with set, production and costume designers on the way to the big screen.
London is the exhibition's final stop on a decade-long tour of 14 cities in 11 countries. It has been reconfigured and expanded with 90 new objects for its run in... Read More