Production house London Alley has signed Grammy-nominated director Colin Tilley for commercials. Tilley did not previously have spot representation but continues to direct music videos via his own company, Boy in the Castle Productions.
With more than 13 years of directing experience, Tilley has produced and directed music videos for Grammy-winning artists such as Justin Bieber, Megan Thee Stallion and J Balvin. Recognizing that relationships evolve, many of his partnerships with artists have created different opportunities for him as a director. This past year he directed collaborations with brands between Tim Horten and Bieber, McDonald’s and Balvin, and Under Armour and Steph Curry.
“I’m ready to take on a new challenge,” said Tilley. “I understand London Alley’s strengths when it comes to building and creating an empire as well as their strength to take on directors and position them strategically at a specific point in their career. This is 100 percent the path that my career needs to go down. I’m looking forward to starting this new chapter with London Alley and having the ability to combine our energies into projects and elevate each other.”
Tilley’s range of projects has shown his versatility and skill as a director and creative. In addition to directing music videos and commercials, he has also directed the Halsey film If I Can’t Have Love I Want Power for HBO Max.
Tilley’s relationship with L.A.-based London Alley goes back 10 years when he met company founder, Luga Podesta. The two grew together in the music video space before going their separate ways to evolve independently. Combining forces again, they are excited about their creative prospects and the work that is to come from this partnership.
“Having Colin join London Alley is a big deal for all of us,” said Podesta. “The beautiful thing about our relationship is that it’s rooted in friendship and we recognize the strengths of each other, that’s what made it an easy decision for us. With the way the entertainment industry is moving, we realized it was the right time to partner and build out the Colin Tilley brand.”
That brand includes a Best Music Video Grammy nomination this year for Bieber’s “Peaches” featuring Daniel Caesar and Giveon.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More