Brown Entertainment Blog

Brown Director, Jonathan Desbiens, talks about inspiration, taking the leap into commercial film, and the beauty of carte-blanche creative direction

2011-01-31T13:23:00.000-08:00

"It’s not a passion; more of an obsession, really," says Jonathan. He began “playing” with Photoshop, After Effects and a VHS camera at age 11, but didn’t put down the Lego until age 14. His work has become a continuation of that play, and he is dead serious when he says his 24/7 job is to keep that childlike creativity alive. After establishing himself in the music video scene, Jonathan made the jump to commercials in the Montreal market. He has enjoyed a busy year shooting spots for Bell, the Government of Quebec and a gorgeous music video for Deftones.

What was the first ad you shot?

The Bell commercials for the Montreal Canadiens’ games.

How has a music video background helped you with your commercial work?

To simplify complex ideas that can't be expressed with words. It's obvious and cliché, but commercials are short and need to send a clear message, but most importantly to me, this message has to be charged with clear and perfectly aimed emotions to make sure the product connects with the viewer. I think that music videos are a good way for me to resume these really abstract emotions and it allows me to develop an efficient cinematographic language based on that.

I love the CREA spot. Tell me about how the project developed

and did you contribute or shape the creative direction?

First off, this project was a co-direction with a Montreal director I respect a lot, Yan Giroux (we have complete opposite directing styles and I like that). The client, Infopresse, gave us a blank card. We simply brainstormed crazy ideas and were kind of studying the concept of portraits, and came with this idea concerning identity, and about what's real and not, since advertising is all about playing with the perceptions. So that's why we decided to play all the characters by ourselves and digitally paste the faces of the juries over our green masks and outfits.

Where did you go to school?

I studied french literature, arts and communication at the college Laflèche in Trois-Rivières (for a DEC diploma), and have a degree in fine arts from the UQTR (University of Trois-Rivièr

es). I tried to study cinema in Montreal but got turned down by all the universities there, I was frustrated for 24 hours then I realized I didn't want to study cinema, but make my own cinema. So, I went to a bank and ask for a mortgage and bought a camera the next week. I told myself that one day I will gladly turn their teaching proposal down. This experience taught me that if I am to "purely" create, make a living out of it and offer valuable content to the viewer, I have to free my mind of all pre-built concepts. I can explore the technical aspects by myself without problems.

Do you have a particular approach when you are planning out and shooting a project? Take me through that process.

The last answer explains it partially. First off, when possible, I always go out and drive my car in the countryside to think about the project, it's a way of making my mind feel in continuous motion! Then images, colours, rhythm and actions are automatically taking place in my mind according to the brief. Then I come back home and write everything down. Then for the shoot, I have only one rule: to make sure it's fun and intense. I don't mean it has to be a party, but it has to be an intense experience to make sure every single person feels involved and important, because they are! The most simple shots have to be intense and valuable, cause otherwise they'll end up being used as fillers in the edit.

Live action, or graphics/animation - what comes first when you are planning a project?

Technically live action, but from a creativity point of view, it's all the same to me. Paintings, drawings, 3D, traditional animations, live footage, are all ways to express something through images. I'm interested by images in motions. But live action is more important to me, first of all because it's a lot more fun and intense. It's the moment in a project where you can create a momentum and take of advantage of it!

Who in your life has directly inspired or motivated you?

My girlfriend is the person who allows me to be myself everyday, but from a creative and professional point of view, nobody in particular. I'm a lot more interested by what's going on around me, by the simplicity and beauty of life. I think mountains and trees inspired more emotions, stories and images than anybody could.

I think I'm motivated by the simple fact that I have a vision and opinions about life that I haven't really seen elsewhere. But don't get me wrong, I don't pretend to invent new ideas, concepts or techniques cause we are all influenced by movies and art that is all around us, but I deeply pretend that I can bring people into worlds of my own that will make them feel emotions they have never felt before. Maybe this is something that I haven't been able to do so far in my work, but that will happen soon.

Finally, it also means for me that the technique will never become a concept, simply because that's not how my brain work: technique will always serve a purpose and not the opposite. To put it simply, impressions are timeless and last; techniques will always get old.

Any new projects you'd like to talk about?

I'm working on a music video for Underoath, a Grammy-nominated band I've been listening to for years. It's like a teenager dream that became true, and I also had a great time discussing, hanging out and shooting with them in the freezing cold of Montreal (they're from Florida). They gave me a blank card so it's gonna be very personal.

For more information on Jonathan Desbiens or Brown Entertainment, visit http://www.brown25.com/

PRODUCTION COMPANIES BEEF FILMS AND BROWN ENTERTAINMENT FORM INDUSTRY AFFILIATION

2010-12-07T10:57:00.000-08:00

TORONTO, CANADA – December 6, 2010 – Brown Entertainment and Beef Films today announced that Brown will be marketing Beef Films’ roster of directing talent in Canada.

The affiliation between Brown, known as one of Canada’s top production houses, with Beef Films, a leading production studio based in Los Angeles, creates new creative possibilities for advertising agencies looking for spot-helmers.

Brown executive producer David Cranor has a longstanding relationship with the founder of Beef Films, Nick Spooner, dating back to 1999. David comments, “Nick and I have stayed in touch over the years and appreciate the common ground we share both professionally and personally. There’s a good vibe between our companies and we’re thrilled to align with Beef Films.”

The new relationship between Beef Films and Brown will focus on delivering agencies the best talent for an advertising or interactive campaign. “Beef Films executive producer Ashley Adams says, “By working together, we will offer the global advertising business a great line-up of directors. We’re excited at the possibilities!”

ABOUT BROWN
Based in Toronto, Canada, Brown is a commercial production company with a roster of international directors including Mike Clattenburg, Eddy Chu, Simon Cracknell, Dean Fourie, Henrik Lagercrantz, Michael Maxxis, Joseph Nanni, Vincenzo Natali, Robert Nylund, Micky Suezler, Jamie Travis, Sean Wainsteim, Jamie Way, Scott Otto Anderson and Jack Wung. Brown launched Cartilage in 2010, a company that specializes in the production of integrated digital advertising campaigns.

More information may be found at www.brown25.com.

ABOUT BEEF FILMS
Beef Films is a collective of filmmakers who all share a common goal: to do the very best work. Built largely on their passion for the arts, the people behind Beef Films are quickly turning the traditional perception of production into one of sophistication without evident effort. The overall concept is simple, but offers exactly the kind of flexible production capabilities to which today’s clients are attracted.

Beef Films’ intent is to partner with its clients from start to finish, elevating the creative and delivering a product that is truly exceptional. As part of their business model, they represent both commercial and long-form directors and, depending upon a clients’ needs, can seamlessly package TV, web demands and editorial solutions of any size into a single budget, setting them ahead of today’s constantly evolving production curve. Beef Films offers a wide range of directorial talent, production veterans, top-notch editors and creative minds, delivering the full scope of the production experience. Each and every person at Beef Films plays a distinct and significant role in the process, contributing to a collaborative culture that integrates their varied backgrounds and promotes shared success. Beef Films’ directors include Pascal Franchot, Michael Pescasio, Nick Spooner, Danny T., and directing collective LITTLE RED ROBOT.

MICHAEL MAXXIS DIRECTS MUSIC VIDEO FOR HOT HOT HEAT’S SINGLE "GODDESS ON THE PRAIRIE"

2010-11-16T10:12:00.000-08:00

Brown Director Michael Maxxis recently directed a music video for Canadian Indie rock band Hot Hot Heat’s single titled "Goddess on the Prairie." In the video, a man smuggles Mexican women in the U.S. and sells them out of an ice cream truck. A band, drinking and driving, buys one of the women and takes her into their trailer one by one.

Commenting on the controversial subject matter, Michael Maxxis says, "I’d say that more than anything what happens in the video is a tongue in cheek portrayal of the issue. It’s basically portraying Mexicans as alien commodities, much like how they are portrayed by mainstream media. In the news it seems like these people are dismissed as aliens, so that’s how I portrayed them in the video. The video is ridiculous, much like the portrayal of Mexicans in the media."

"Goddess on the Prairie" is the second video Maxxis has directed for Hot Hot Heat (the first was "21@12"). Maxxis incorporated a combination of stylized aesthetics and raw, natural cinematography into the video to give it a classic 70’s cinematic look.

Steve Bays of Hot Hot Heat says, "Goddess on the Prairie is, by far, the best looking video we’ve ever been a part of. Similar to our other video we did with Mike, it looks like a snippet from a classic film you’ve never seen. Mike sets up a bunch of bizarre elements and then simply asks you to be yourself. It’s sort of like throwing chemicals in a beaker and seeing if something explodes."

Michael comments on working with Hot Hot Heat, "The group and I share the same sense of humor, aesthetic tastes, and general approach to creating art, whether it be film or music. This production was a true collaboration and an absolute pleasure."

For more information on Michael Maxxis or Brown Entertainment, visit http://www.brown25.com/

BROWN DIRECTOR SEAN WAINSTEIM LENSES YOU SAY PARTY'S LATEST SINGLE 'LONELY'S LUNCH' ON LOCATION IN INDIA

2010-11-02T10:32:00.000-07:00

Brown director Sean Wainsteim’s visual storytelling skills are tapped for a second time with a new music video for the Canadian dancepunk band, You Say Party’s new hit single, "Lonely’s Lunch". Sean is interviewed about his creative process and shooting on location in India below.

Q: How did you get involved in this project for You Say Party?

A: The band, whom I’d collaborated with previously on "Monster" shot in Prague, approached me with the notion that they wanted to take their videos in a different direction. Lead singer Becky was less interested in doing performance pieces and more interested in opening up their videos to artistic collaborations - letting filmmakers freely explore a visual pairing to accompany their musical narrative. They offered a level of trust that was very inviting (and a great track) and lured me out of music video
retirement.

Q: Can you describe the creative concept for the video?

A: The conceptual genesis was two-fold. Firstly, I wanted to create a piece that reflected the discomfort associated when an armed police force casually (in some cases) occupies an urban center (found in London, Tel Aviv or my own Toronto during the recent G20 summit). Secondly, I wanted to collaborate with Shanker Raman, an Indian cinematographer I had worked with a decade ago and kept in touch with as he moved on to features. Since those police forces (and ensuing gradual erosion of civil liberties) often operate under the guise of working for the public good or are masked by religious doctrine, it made sense to transpose that scenario into another culture so it would stand out as foreign even more starkly. This gave way to India and the elephant headed masks. It all made sense.

Ultimately my goal was to create an engaging and driving visual that worked with the mood of the music, and to use that military presence as more of a backdrop than as a soapbox.

Q: What was it like shooting in India?

A: With an extremely tight budget, I set off … during the monsoon season.
Smart. I slept on floors (belonging to my gracious cameraman and some of his friends) and spent time exploring cities in between trying to figure out how to pull off this production and dealing with a touch of "Delhi Belly" - you know something is wrong when you’re shivering in India during the day and asking people if they feel cold too. I went to shoot in Pune, a few hours away from Mumbai, depending on traffic, where a local producer and his casting director wife worked tirelessly to accommodate the needs of a challenged production budget.

Steve Manale, another frequent creative collaborator joined me in India to help out with art department, second unit and many assorted other things that needed aid. He slept on a floor too.

Q: Did you face any challenges during the shoot?

A: The first day of shooting was on my birthday. There were issues (why weren’t the cameras rolling when the elephant went by? Why are you telling me now that Indians don’t like to run?) but by the time the sun set on the first day, production and language issues went away and the scotch tasted
mighty fine (it was my birthday… I deserved that scotch). We had two more days of shooting that went incredibly smooth - much of it not being possible in most countries (like taking over people’s kitchen’s to shoot out a window at a moments notice, or rope-tying an injured guy to the back of a motorized rickshaw so he could hang on to the guy holding the camera, promoting someone to AD so we’d have an AD -- y’know… fun stuff). I encountered so much friendliness and warmth. So much spirit of life and positivity under very, very adverse conditions.

Q: What was the most rewarding aspect of filming the music video in India?

A: Overwhelmed with kindness and hospitality, exhausted I left India. I learned how to eat with my hands but not how to wipe with my hands… and I was okay with that. Thanks to the incredibly generous help of my post-production team and scotch, the project was completed. I’m thrilled
with the edit, the colour correct, sound design and effects (some of which I did) - provided by friends who are damn good at what they do and damn kind to work with me (sometimes on multiple occasions).

It was one of the most challenging, yet also least stressful and most fun times I’ve had shooting. The band and label have been totally positive and encouraging throughout the process. I can’t thank them enough. It means a lot when you go all out on projects and have that kind of appreciation. That’s the best reward. That and not having Delhi Belly.

For more information please visit www.brown25.com

Brown Director Michael Maxxis discusses his creative influences, film-making style and recent big win of Director of the Year at the MuchMusic Video Awards

2010-11-01T12:03:00.000-07:00

Brown director Michael Maxxis’ original, raw style of filmmaking that employs in-camera visual effects has penetrated the music video scene and created an identity that stands on its own. Recent works have garnered him three MuchMusic Award nominations and five Alberta Film Awards. In 2010 Michael was named the MuchMusic Video Awards Director of the Year.

Interviewed here, Michael speaks about his first break into the advertising business, his creative and aesthetic approach to directing, and working with the late David Carradine on his most recent film ‘8 For Infinity.’

How would you characterize your approach as a director?

I would just say that I take every production very seriously all the way up until the shooting day… then during the shoot, I’m very relaxed and loose. Once we hit post, I’m back to being very serious again.

What aesthetic movements influence your filmmaking?

Well, to be honest, my favorite movies growing up all starred Van Damme, Seagal, Stallone, and Arnie. I was never into art as a kid… most of my influences come from real life and my own hands on experimentation with cameras and film.

What was your first break in the advertising business? How about
filmmaking?

My first break in advertising came last year in nyc, when I was shooting a music video there for Jimmy Gnecco. It happened to be the same week as a Boards conference. I snuck into a party and that’s where I met the folks from Brown.

I can’t say I had any breaks that launched my film career in general though. I’ve had to fight tooth and nail for every bit of ground I’ve gained.

Do you have a ritual or particular approach when it comes to fueling a creative brainstorming session?

Yes, but it’s top secret.

What was the coolest thing about winning the MuchMusic Director Of The Year Award in 2010?

It’s always a great feeling when your creative work is acknowledged and appreciated. 3 years ago I went to my first MMVA’s and I remember thinking how amazing it would be if I could be nominated in the next 10 years. Well, the next year I was nominated and the year after that I won. It was pretty surreal.

In your filmmaking, we see a consistent use of heavy guitar sounds, is there a hidden basement guitarist inside MM?

I actually couldn’t be any LESS skilled when it comes to playing music. I do however place great emphasis on its importance on setting the tone in projects I direct.

What's your favorite industry website?

www.edmontonoilers.com

What is your favorite place to unwind and what do you wear?

Unwind? What does that mean? That’s a foreign word in this business.

Last year you worked on David Carradine's last short film. Any stories you might want to share as it relates to '8 For Infinity'?

It was an experience I appreciate very much. It was such an honor and a pleasure to work with him. We shot the film 3 hours outside of Edmonton, and after the shoot, david and I drove back to Edmonton together. It was a drive I will never forget.

After the Sweet Thing "Change Of Seasons" music video, who got to keep the inflatable instruments?

We shot that video in a very poor part of downtown LA, so after the shoot, we actually gave away all the crazy props to street kids.

What post-production techniques were used on your Muchmusic Rock Video Of The Year for Billy Talent's "Saint Veronica"? Any other cool things to note about the production?

The only post effect in that video was the creation of fuzz under the doll’s wool skin. Everything else was done in camera. I’m a fan of achieving everything I possibly can in camera. I’m not a post guy.

Whose idea was it to create and/or use the fabric covered girl in the your MuchMusic Rock Video Of The Year for Billy Talent's "Saint Veronica"?

It was my idea. The concept however is based loosely on the meaning of the song. The band didn’t want something too literal. The song is based on a novel about a woman who attempts to kill herself.

In your film "Steak and Milk", we see multiple individuals flirting with Naughty things. Do you see your life in a voyeuristic way since you are behind a lens so often?

A lot of my work is based on real life experiences and dreams, and a lot of the time I’m casting friends of mine. As a filmmaker, it has always been my goal to base my style on my own perspective of the world. My work is actually a pretty solid view into my real life.

Your film "Steak and Milk" is inspired by a true story, can you elaborate on that?

It’s primarily based on my cousin, Morgan, who is the lead in the film. He is a very unique guy and we were very close growing up as kids. He’s one of the most interesting people I have ever met. The cowboy in the film is played by my best friend ever since eighth grade. That character is based our an awfulsense of humor we share.

What is your advice for up and coming filmmakers?

Be patient.

For more information please visit www.brown25.com

SUNDANCE 2010 AWARD WINNER AND DIRECTOR JIM OWEN JOINS BROWN

2010-08-18T09:20:00.000-07:00

Canada-based commercial production company Brown has recently added award-winning director Jim Owen to its team. Jim has written and directed numerous short films that have played at various film festivals around the world. Most recently, his short film "Can We Talk?" premiered at the Sundance Film Festival 2010. Written, directed, and edited by Jim, "Can We Talk?" is about a guy who tries to dump his girlfriend... again. The 10-minute short was incredibly well received by audiences everywhere and won an Honorable Mention in Short Filmmaking at Sundance.

Larry Charles, the director of "Borat", "Bruno", and "Curb Your Enthusiasm", described the film as, "Hysterically funny. Brilliant performances. Cuts so close to the bone that the laughs come at a price."

To watch "Can We Talk?" click here

As a commercial director, Jim has created ads for several brands in the UK, including BlackBerry, O2, Innocent Drinks and Howies. With a talent for infusing understated comedy and irony into his work, Jim produces films that are both compelling and entertaining.

For more information please visit http://www.brown25.com/ and www.jamesowen.tv/work.

BROWN DIRECTOR JOSEPH NANNI'S SHORT FILMS GARNER HUGE APPLAUSE FROM HORROR FANS

2010-08-16T09:03:00.000-07:00

Two of Brown director Joseph Nanni's short films are enjoying immense success on the horror film festival circuit. The first short, titled "Elder Sign", is a spoof infomercial for the cure you need "when suffering from an overwhelming sense of dread brought on by the realization of your own insignificance in the universe." After appearing in nineteen festivals in 2009, it is still being selected for festival screenings worldwide.

"The Necronomicon" has been selected to screen this year at over twenty festivals, including the Chicago Horror Festival, the NYC Horror Festival, and ShockerFest LA. Another spoof infomercial inspired by horror writer H.P. Lovecraft, "The Necronomicon" satires an old commercial for the Book of Mormon. Two characters seated in a diner discuss books they’re reading, and one pulls out a book to show to the other. This time, instead of the Book of Mormon, it’s the Necronomicon Spellbook.

DreadCentral.com describes "The Necronomicon," screened at Fantasia Montreal 2010, as "a hilarious infomercial length satire…A perfect bite-sized joke with pitch perfect marketing-speak dialog. Tailor made for horror fans."

This past Friday "The Necronomicon" was the opening film at The Toronto After Dark film festival.

To view both films, click here

For more information please visit www.brown25.com

BROWN DIRECTOR SCOTT OTTO ANDERSON LENSES NRMA INSURANCE TV SPOT

2010-08-10T13:25:00.000-07:00

Brown Director Scott Otto Anderson recently directed a TV spot for NRMA Insurance with Photoplay productions.

The title of the commercial, "Effortless" inspired the production design as Anderson filmed the entire spot including four set changes in one long take. The result has the family of actors casually sitting in one place as the set transforms around them from their station wagon, to their living room, to a rental car and back to the now-repaired station wagon in one sweeping gesture.

To achieve his characteristic seamless, flowing style here, Anderson employed rear projection, forced-perspective set builds, printed flats, miniatures and real props. His skills in creating these playful scenes can also be seen in his past work with high profile companies like MTV, Canon, Cadbury and Honda.

Take a peek behind the scenes here.

To view Scott's reel click here or to learn more about Brown visit our website.

BROWN DIRECTOR JAMES TRAVIS'S NEWEST WORK "THE PATTERNS TRILOGY AND OTHER SHORT FILMS" FEATURED IN THE NEW YORK TIMES ARTSBEAT

2010-08-10T08:54:00.000-07:00

The Patterns of Jamie Travis in the NY Times

DIRECTOR SEAN WAINSTEIM JOINS BROWN FOR COMMERCIAL REPRESENTATION

2010-07-21T08:05:00.000-07:00

Commercial production company Brown has just signed award-winning director Sean Wainsteim. Sean has directed TV commercials for major worldwide brands such as Sony, Budweiser, Nickelodeon as well as a soon to be released animated short film, "Lost for Words".

Watch the video above and you can hear an interview with Sean describing the creative process and the inspirations for his unique style of combining cutting edge animation with classic stop motion and collage.

For more information on Brown and Sean, visit http://www.brown25.com/ and http://www.seanwainsteim.com/

SPLICE FEATURE FILM Q&A: DIRECTOR VINCENZO NATALI

2010-07-08T09:32:00.000-07:00

Interviewed here, Brown director Vincenzo Natali speaks about his new feature length sci-fi thriller, Splice. The recently released film follows superstar genetic engineers and couple Clive Nicoli (Adrien Brody) and Else Kast (Sarah Polley) through their research splicing DNA to create new hybrids. The ambitious pair put their career on the line as curiousity pushes them into their boldest experiment yet, to splice human and animal DNA. The result is Dren, an amazing strangely beautiful creature of uncommon intelligence and an array of unexpected physical developments. At first, Dren exceeds their wildest dreams but as she grows and learns at an excellerated rate, her existence threatens to become their worst nightmare. The film questions our relationship to technology and science’s ambiguous moral territory.

Natali discusses the film’s context in contemporary culture, the creative process and how it fits into his directorial career.

Interviewer: Congratulations on Splice. Do you want to talk a little bit about the film starting at the beginning? I’m curious, what inspired you to do the movie?
Vincenzo Natali: Well, Splice was inspired by a mouse.

I: A mouse?
VN: It was a very special mouse because it appeared to have a human ear growing out of its back. It was, an MIT experiment and while it not a genetic experiment in the strictest sense, it looked like one. It was a very shocking image. I immediately felt there was a movie to be found in this mouse. That’s where it began.
That was fifteen years ago. Since then, the amazing thing is that the real science has caught up with my fiction. A lot of the ideas that were pure fantasy when I started writing the script with Antoinette -- Terry Bryant, my co-writer, were just things that we were inventing. And then to our shock and delight, some of those things actually came to pass. It's been a long journey for a variety of reasons.

I: Does it feel like the film fits into today -- I mean, as it kind of catches up with the times. Would you say it taps into our cultural political zeitgeist right now as it relates to gene mapping and DNA splicing?
VN: Oh yes. Totally. That's why it happened now. I think when I first tried to make the film ten years ago, it just was not in the popular consciousness. I don't think it felt as relevant. By the time we actually came to shooting the film, they had in fact legalized the creation of animal-human hybrids in the UK. So it was very much in the air and I think that the ideas are much more poignant because of it.
It was a confluence of things including that the film technology had evolved in such a way that I was finally able to make the movie for an independent movie price and do it really well.

I: Yeah, to that point about the kind of CG and visual effects. It’s pretty stunning stuff and all the evolution growth sequences look impressive, expensive. Do you want to talk a little bit about the visual effects or CG?
VN: I’m a wannabe visual effects artist really. I have always been fascinated by effects and have a very close relationship with CORE Digital Pictures, which is the Canadian company that did the majority of the effects work. Part of the joy of making this film was always going to be creating the creature, Dren, and doing it in a way that hopefully yielded something that you really haven't seen before.

I: Right.
VN: To that end, we surprisingly didn't use any or invent any technology. We didn't do what James Cameron did with Avatar. We were using off-the-shelf stuff, but I think hopefully where we were clever was that we applied it in an unusual way. We made our prime directive be for Dren to be always real, a creature that you could believe in rather than a movie monster.
So yeah, that was really one of the reasons I wanted to make the film in the first place. In a sort of art-imitating-life or life-imitating-art way, it allowed me to be the mad scientist and make my own monster.

I: I love that. Director as mad scientist.
VN: There is really a fine line.

I: I wanted to know what your favorite moment in the film is, that what makes it particularly cool or notable to you?
VN: I think what makes a movie notable is the sex. Pure and simple. And I think that was for me, in many respects, the raison d’être for making the film in the first place. Because we have seen Frankenstein movie stories many, many times before.
What I felt we had never seen was a bizarre love triangle with the creature, and that's what Splice evolves into. And I felt that far being it from just a shocking idea, it weds into the whole notion of what Dren is, as a kind of genetic utilization of the mythical chimera. She reminds us of an angel or of a siren, some sort of mythical creature that thousands of years in the past, men would have fallen in love with. That's, of course, precisely what happens to Clive, Adrien Brody.
So I just felt that there was something very shocking and new, yet simultaneously archetypal and resonant about that whole idea. I truly believe that that's what people talk about after they've seen the film.
I mean, that's kind of the scene that separates the men from the boys, if you will. There is a certain segment of the audience that just won't go there. In that moment, the movie becomes untenable for some, just grotesque or ridiculous. But for another segment of the audience, I think it's just magical because you are shown something that truly no reasonable, mainstream film would ever be allowed to show you.

I: For sure. It's true. Which is what kind of makes it lovely.
VN: Oh thank you.

I: Earlier in your career I know you directed the film Cube. Can you tell me about your other films in between these two. And talking about yourself as a director, is there anything about Splice that represents your evolution as a director?
VN: Yeah, absolutely. I really think my other films are very situational, they're about characters who are basically normal people who find themselves in extraordinary, bizarre circumstances and have to somehow find a way out. In Splice the characters create their situation, create their own bizarre circumstances. And in that regard, I think the story grows from the characters, it's more of a character relationship-based film, while also a science fiction movie.
I hope that's kind of a sign of maturity.

I: Yeah. That comes through.
Any behind-the-scenes stories from the movie that you might want to talk about?
VN: You know, I get that question once in a while and I’m always embarrassed because I can never think of like some clever anecdote about what happens as it’s not like there was an incident. Every day has sort of a series of disasters, misfortunate and good fortune, but no single event that is especially exciting. It's more like the whole idea that was just so outrageous. The fact that it got made that is in itself a kind of extraordinary event.

I: Why is that? Because you felt like people weren't really willing to understand your vision or it just felt like too much of a risk?
VN: Yeah. This film should never have been made. I mean, for an independent film, it's a higher-end budget and has this crazy stuff in it. It’s a transgressive, subversive movie with really has no right being on 3,000 screens. Based on our box office, it probably shouldn’t have happened but that is why I feel so lucky. It’s outrageous that I actually got to make the movie, and that on top of that it got mainstream exposure through a major studio. This just doesn't happen very much anymore, and sadly I think it will happen less and less in the future, so I feel, you know, blessed to have been able to have that opportunity.
If you were sitting where I am right now and you're seeing how the film industry is, it is clearly changing and in many ways being ghettoized, the middle is disappearing. They either have these gargantuan tent-pole films which are, four-quadrant movies made to reach every man, woman and child on the planet.

I: Yeah, the lowest common denominator.
VN: I don't actually even mean to put these films down because I think when it's done well, like if you look at a Pixar film, it's kind of high art.

I: True. True.
VN: But on the other hand, that does sort of limit what is available out there. And then you have independent films, which I think are still very much alive, but in terms of their scope, scale and distribution rapidly shrinking. So sadly, it's in the kind of middle that Splice belongs, but that is just vanishing. I just feel lucky, because Splice is probably one of the last movies of that kind that you're going to see for a while.
The days of like finding a Crying Game or even a Slumdog Millionaire are kind of over. We’re kind of entering into a flashback moment – like during the Great Depression when people just wanted to see Ginger Rodgers and Fred Astaire dancing around and everyone being rich and happy, you know, while they were miserable and poor and destitute. That's what we're faced with for the next little while but it will pass.

I: Yeah, it's kind of true. Sadly it's true. There was an interesting article in The New York Times section a couple of weeks ago about how advertisers are co-opting all of this kind of music from the 50s and 60s that are like show tunes, feel-good music. The point was just kind of to your point, that, it's been miserable the last 24 months, 30 months or whatever, and people like these kind of comforting sounds, you know like comfort food sounds.
VN: Right, so true.

I: We need more guys like you willing to take some risks, to keep things interesting.
VN: Thank you. Yeah, unfortunately, it's just that I’m right in the epicenter of it, right in Hollywood.
I can see which way the wind is blowing.

I: Yeah. Well, blow the other way if you can.
VN: Yeah.

I: Is there anything creatively that you bring to bear on your advertising campaigns from a film like Splice.
VN: Well, what excites me about doing spots is that I have total control, more so than I do even when I'm making a feature film. I think that's where I excel as a director because I come from a very technical background and being a storyboard artist for animation, I am good at pre-visualizing. What I like about the commercial world is being able to create something from the ground up and execute it with absolute precision, which frankly in the independent film world is not always the case because you have very limited time and money. I think also commercials afford me an opportunity to really push my abilities to their very limits. I think what I'd be offering somebody who I am doing the work for is a very distinct style which you can see in all my films and a perspective that is very much in the the cutting, bleeding edge kind of contemporary technological view of our world and I use bleeding edge technology to then put it on screen.
That’s where I come from and anyone who sees one of my films will, I think, very quickly identify the kind of work I could do. It’s not that it’s my desire to do commercials in order to do just anything. I have very specific tastes and I think anyone who would want to work with me would have very specific designs that they're looking for.

For more information on Vincenzo or Brown please visit Brown25.com.

BROWN SIGNS UP DIRECTOR SCOTT OTTO ANDERSON

2010-07-06T10:15:00.000-07:00

Toronto-based commercial production company Brown announced recently the company signed new director Scott Otto Anderson to its roster. The Sydney-based filmmaker, artist and designer directs music videos, television and commercial programming. Recently Scott completed lensing a feature-length documentary entitled Hairtales. Currently Hairtales is traveling through numerous international film festivals.

Scott’s professional experience as a commercial director includes working with high-profile companies such as MTV, Honda, Lexus, Canon and Cadbury while also directing the cult music show, Alchemy, on SBS TV in Sydney. He also directs music videos for popular bands and musicians including Lady Sovereign’s ‘Those Were The Days’.

Brown EP Chilo Fletcher comments, "Scott’s filmic style combines play and pop culture through vivid, eye-catching color and dream-like imagery. Welcome Scott!"

Scott is a founding member of the directing collective Family and in 2009 he formed the company Photoplay Films with long-time collaborator Oliver Lawrence. His work for Wateraid was recognized in 2006 with a Bronze Lion at the Cannes Lions International Advertising Festival.

To view Scott’s reel click here or visit Brown's website.

CANADA-BASED BROWN ADDS DIRECTOR SIMON CRACKNELL

2010-05-25T09:39:00.000-07:00

Director Simon Cracknell was recently signed to Brown for representation in Canada.

He was recently interviewed about his professional background and the creative process on a recent Trident TV commercial. To view his reel click here.

For more information please visit SimonCracknell.com and http://www.brown25.com/

BROWN LAUNCHES SISTER COMPANY CARTILAGE

2010-05-17T07:25:00.000-07:00

Production house Brown is making its official entrance into the digital world with the launch of sister company Cartilage. Cartilage will offer advertising agencies a crack team of talented artists, each specializing in the creation of integrated advertising campaigns.

At a time when a single campaign may span a gamut of media - television, Internet, mobile phones, games - Cartilage responds to ad agencies' need fora creative company that understands digital marketing, and does it all in one collaborative atmosphere.

Cartilage's unique website showcases the company's facility with interactivity while also outlining its appeal to agencies. The homepage features a group photo of creative directors from nine agencies, from DraftFCB to Ogilvy London. As you click on each director, he or she offers a thoughtful analysis on the need for Cartilage's services in an evolving media world.

William Cranor, executive producer and founder of Brown and Cartilage, explains, "Whether you're making a TV or cinema spot, or shooting digital elements necessary for an immersive website, or creating more digital files that would be used as floating ads or directly targeted websites, Cartilage understands the business of digital content creation. We offer creative and strategic leadership from the beginning of the production process."

"Cartilage provides creative, technical and production experts for the creation of integrated advertising campaigns. Each carefully picked teamworks together to deliver a seamless multi-platform initiative from the ground up," Brown executive producer/head of sales Chilo Fletcher says. "By offering a range of experts from a single production house, Cartilage makes integrated marketing easy: It's a lot of top chefs in one kitchen - in the most positive sense of the phrase."

One of the top commercial production companies in Canada, Brown is known for its consummately professional but laidback approach with clients. "We're the teenage rebel who gets straight As," continues Fletcher. "We're fun, but we understand the business." The company boasts directors like Jaime Travis, hailed by the Toronto Sun as "one of the most original voices in Canadian cinema." Travis won wide acclaim last year for his spot called 'Scooter' which played at the Worldwide Short Film Festival and won Silver at the One Show, Silver in Cannes, a Gold Bessie, Gold ADCC Award, Bronze Marketing Award and a Clio nomination. To see Scooter go to http://www.brown25.com/recent-work

The Cranor brothers (William and David) founded Brown in 2003 and William Cranor founded digital asset management company adbeast. Cartilage is a natural byproduct of the two projects, merging the world of production with the Internet.

For more information please visit http://www.brown25.com/ or visit the Cartilage Digital Vimeo page.