Integrated production shop The Collective @ LAIR has added comedy director Matty Fisher to its roster. Fisher recently earned inclusion into SHOOT’s 2018 New Directors Showcase largely on the strength of his Kit Kat comedy spec spot “Kinvisible” meshing live action and effects.
Fisher has made a name for himself based on his penchant for uncovering stories in unexpected places and deploying off-the-wall ways in which to tell them. Fisher’s first entry into the Doritos Crash The Superbowl contest placed in the top 5 and his augmented reality GPS-based, scavenger hunt app was featured in The Wall Street Journal’s documentary series, Start Up of the Year. Integral to his ease with storytelling is Fisher’s experience owning his own production company, at which he worked on assorted industrials, commercials, and web-based videos with clients like Chevrolet, Southern Living and Lennox.
Currently, Fisher writes and directs in New York City where he’s developed and written multiple award-winning commercials and short films, including garnering a Gold Movie Award for The Tale of the Norwood Dragon. His prior clients include Verizon, Chevrolet, Suave, Simply and Zantac.
Fisher said he was drawn to LAIR for its “great pool of talent. They have immediately given me a creative home and have already proven to be a resourceful team of collaborators.”
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