Rattling Stick’s Pete Riski directs campaign for Oululainen through Directors Guild Helsinki and Miltton Creative.
EDITOR: Mikko Savinainen @ Grade One
POST PRODUCTION / VFX
COLOURIST: Henri Pulla @ Pullapost
ONLINE ARTIST: Mikko Löppönen @ James Post
PRODUCTION COMPANY: Directors Guild Helsinki
PRODUCER: Juha-Matti Nieminen
DIRECTOR: Pete Riski
DOP: Jean-Noël Mustonen
SOUND ENGINEER: Timo Anttila @ Humina
ADVERTISER: Fazer Bakery
CREATIVE AGENCY: Miltton Creative
CREATIVE DIRECTOR: Erkko Mannila
COPYWRITER: Maria Hakala
PRODUCER: Elena Virolainen
CLIENT DIRECTOR: Minna Berg
From: Little Black Book
Back in the day, I would wait with the VCR remote control in hand,waiting for this to pop up and press REC. So I could watch it again and again and again and again. Until the tape would break!
This is probably the best music video I’ve ever seen. 2019 and the ’10s are coming to a close as I write this, but this still is THE best.
This is brilliant! Makes me want to make an adfilm right now!
WRITER/DIRECTOR: Ben Callner
PRODUCER: Adam Callner
DP: Doug Chamberlain
PRODUCTION DESIGNER: Christian Stone
EDITORS: Ben Callner, Joe Kell, Alex Pirrone, Ben Suenaga
CAST: Ted Cannon, Jocelin Donahue, Judy Kain, Dar Dixon, Jarrod Crawford, Tim Karasawa, Josh Covitt, Erick Chavarria, Bill O’Neill, Sam Carson, Niko Posey, David Aaron, Paul Vinson, Michele Lainevool, Adam Nemet, Harrison Polo
REMIX the film via individual spots at the official website!
“It’s a rather ingenious approach, and while the hit-rate isn’t perfect, creativity abounds—it’s astonishing how good some of the spots are, as well as how familiar—its clear how many of the tactics and techniques of the medium Callner has absorbed and re-appropriated. Yet within the jokes there is a tension. Advertising is designed to provoke feelings, and to be relatable to lived experience, but when grafted onto a life’s story arc, complete with joy and tragedy, the result is unnerving. How the film experiments with context in the way the scenes are shot and arranged within the story arc, and the juxtapositions therein, is compelling and slightly subversive.” S/W Curator, Chelsea Lupkin
From the creator’s website:
Hyper-Reality (total runtime approx 6 minutes) is a concept film by Keiichi Matsuda. It presents a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. It is the latest work in an ongoing research-by-design project by Keiichi Matsuda.
Our physical and virtual realities are becoming increasingly intertwined. Technologies such as VR, augmented reality, wearables, and the internet of things are pointing to a world where technology will envelop every aspect of our lives. It will be the glue between every interaction and experience, offering amazing possibilities, while also controlling the way we understand the world. Hyper-Reality attempts to explore this exciting but dangerous trajectory. It was crowdfunded, and shot on location in Medellín, Colombia.
A 360o film by Keiichi Matsuda.
Rather simplistic and too much “on the nose” monologue for my tastes, but a very interesting aesthetic approach.
Welcome to The New Normal, a journey through America’s complex history with cannabis. Directed by Spike Jonze.
Learn more about George Washington’s hemp production.
Explore the policies of Stop and Frisk and mandatory minimums.
Learn more about “Reefer Madness” and other government sanctioned propaganda.
Find out about more about the treatment of military veterans.
Learn more about the cost of prohibition and the black market.
Discover cannabis’ role in the counter cultural movements of the 60’s and 70’s.
Director – Spike Jonze
Featuring – Jesse Williams
Written by – Spike Jonze, Jesse Williams, Tommy Means
Cinematography – Bradford Young
Production Design – James Chinlund
Music Composition – Frank Dukes
Music Editor – Ren Klyce
Wardrobe – Jennifer Johnson
Creative Director – Tommy Means for Mekanism
Executive Producers – Co-Founder and President Andrew Modlin, Co-Founder and CEO Adam Bierman, Chief Marketing Officer David Dancer for MedMen
Producers – Amanda Adelson, Laura Klein, Emily Skinner, Eriks Krumins for MJZ; Annie Uzdavinis for Mekanism.
Editor – Joe Guest for Final Cut
Assistant Editor – Dillon Stoneburner
VFX Supervisor – Alexander Thomas for FrameStore
Colorist – Beau Leon
Sound Engineer – John Bolen for Formosa
Back in the early 00’s (how do you pronounce that?) (awkward innit?) I completely changed my life’s direction, leaving behind a pretty damn successful Medicine degree and deciding to become something else, something that has to do with images. I am not trying to be poetic, I just didn’t know what I wanted or could do for that matter! I wasn’t into movies, I had zero knowledge about art, theatre, design, film, and no one even in my family or in my circle of friends was in any way related to any of that stuff. But I wanted to drop Medicine and be involved in images.
When I was little my parents sent me to learn the piano which as an effect had me hating piano and music altogether. However after a few years I picked up my dad’s guitar and learned how to play on my own, fantasising I was Slash or C.C. DeVille (for those in the know).
While studying Medicine in Hungary I didn’t have others to play with so I bought a Fostex tape 4-track recorder and a primitive drum machine and would record on that. When I learned that you could do that better with a PC, I bought my first PC and a MIDI keyboard that came with version zero (sic) of Cubase.
Apparently I had a great ear for music and even if I never studied it formally, I could listen to it and play it back almost all of the times. My problem with music has always been that I couldn’t create, I couldn’t improvise. If you asked me to play something I would ask you what. And this bothered me.
At some point, I don’t know how, I got my hands at Adobe Premiere version sub-zero and started playing with it. That was it! I knew how to work on a sequencer because of Cubase and when I got my hands on Premiere, I had a 4 minute learning curve and a great revelation. I could be creative with moving image. Finally!
Even though I loved Medicine and all the cool stuff I was learning there, as soon as I got into the hospitals I knew that this was a job that wasn’t made for me, but didn’t know what to do instead, so I kept on going trying to figure it out. When I discovered editing and making little montages out of random crap vacation footage I had an exit strategy. Cross out strategy. I had an exit sign in front of me. So I exited.
At that moment, Lock stock and two smoking barrels came out and then Snatch. I think I don’t have to tell you how much I loved these films especially at the moment I saw them with regards to what was happening inside me! And this is how I got started. Trying to do Guy Ritchie films!
This interview with Joe Rogan is a must see for any lad who wants to learn how to move around as a proper lad. It’s cool Britannia at its core.
I love this song. I first heard it in a pretty dark and stressful period of my life and it just stuck with me. Then, in the summer of 2000 I made my first feature film by kidnapping around 20 friends and going to the south of Greece to shoot a road trip adventure movie, where no one had anything to do with movies, and especially me. The movie had some great moments but it was completely crap if you look at it objectively. However it is in my heart for being the first time I ambitiously tried to tell a story with moving images and my greatest school in filmmaking. Londinium was part of its soundtrack.
Today is early 2019 and I am in the process of making my 3rd proper feature film, a story between Athens, London and who knows where else, so I figured Londinium is definitely something to listen to while developing it.
Well, not much to say. It’s Jonathan Glazer after all…