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    Home » Editor’s Note: Coming Monday, April 1st, SHOOT’s Spring Directors Series >e.dition

    Editor’s Note: Coming Monday, April 1st, SHOOT’s Spring Directors Series >e.dition

    By SHOOTWednesday, March 27, 2019Updated:Tuesday, May 14, 2024No Comments3282 Views
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    Spike Jonze with the DGA Award for Outstanding Achievement in Commercials (photo by Shane Karns/courtesy of DGA)
    --

    SHOOT will publish a Special Directors>e.dition on Monday, April 1, that will contain the entire Directors Series section from SHOOT’s March/April print issue (including extended versions of some stories).

    The mix of profiles spans world class talent along the lines of Sir Ridley Scott, Adam McKay and Spike Jonze. Scott reflects on his triumphant return to directing ad fare after an 18-year hiatus, and his first foray into helming U.S. series television. McKay’s just concluded awards season includes Oscar and DGA nominations for Vice, and a DGA Award win for the first episode of HBO’s Succession. And Jonze, who’s with MJZ, discusses his Apple Homepod’s “Welcome Home” for which he recently won the DGA Award for commercials.

    Another profiled director continues to make his mark in the DGA Awards. Matthew Heineman has twice won DGA Awards for his documentaries–Cartel Land in 2016 and City of Ghosts two years later. Just a couple of months ago, Heineman earned his third career DGA nomination–this time for his narrative feature directorial debut, A Private War. Heineman is handled by Superprime for spots.

    Also in the SHOOT Series lineup of profiles are Lauren Greenfield, Floyd Russ and Ramaa Mosley. Greenfield directs commercials and branded content via production house Chelsea while recently launching Girl Culture Films, a shop designed to open up opportunities in the ad/branded entertainment sector for accomplished women directors. 

    Russ this awards season saw his ZION not only make the shortlist for the Best Documentary Short Oscar but also win an IDA Documentary Award for Best Short Film. Russ, who’s with Tool of North America, has to his credit the Emmy-nominated Ad Council “Love Cam,” and Cannes Gold Glass Lion-winning “Marriage Market Takeover” for SK-II.

    And Mosley, who’s with Station Film for spots and branded fare, just made her primetime TV series directorial debut with an episode of NBC’s Blindspot. This came on the heels of the release of her second feature film, Lost Child.

    Meanwhile our up-and-coming ensemble consists of: a former agency creative director who’s landed her first production house roost; a director who’s made an auspicious debut in the U.S. market with a Grammy-nominated music video and an a Super Bowl spot; a filmmaker whose recent endeavors span 2nd unit feature work, his first primetime TV series, and ad fare that includes sponsor tie-ins to major Marvel theatrical releases; an accomplished illustrator with a stellar family filmmaking lineage, translating into a directorial debut on a short that takes us back and forth between reality and imagination; and a director whose “film school” consisted of a global real-people documentary campaign, eventually leading to a recent string of branded entertainment viral hits.

    And then in our Cinematographers & Cameras Series, we meet four DPs–one who recently garnered his first career Best Cinematography BAFTA Film Award nomination; another whose film made a major splash at Sundance; a cinematographer whose recent work on a Netflix series had him continuing a collaborative relationship with a director that has spanned short and long-form fare; and a lenser who reflects on a hybrid documentary/narrative series for Amazon Prime, which also contains elements of improv.

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    Category:News
    Tags:Adam McKayLauren GreenfieldRamaa MosleyRidley ScottSpike Jonze



    Review: Director Joe Carnahan’s “The Rip”

    Friday, January 16, 2026
    This image released by Netflix shows Matt Damon in a scene from "The Rip." (Claire Folger/Netflix via AP)

    Lines between cop and criminal get murky in Joe Carnahan's "The Rip," a crime thriller set across one foggy Miami night, starring Matt Damon and Ben Affleck. Damon and Affleck, of course, are so closely associated with Boston — most recently they produced the 2024 heist movie "The Instigators" there — that a detour to South Florida puts them, a little awkwardly, in an entirely different movie landscape. This is "Miami Vice" territory or Elmore Leonard Land, not Southie or "The Town." In "The Rip," they play Miami narcotics officers who come upon a cartel stash house that Lt. Dane Dumars (Damon) says may have $150,000 hidden in the walls. It turns out to be more than $20 million, though, and their mission immediately turns from a Friday afternoon smash-and-grab into an imminent siege where no one can be trusted. "The Rip," which debuts Friday on Netflix, is a lean and potent-enough neo-noir where almost all the characters are police officers, yet it's a mystery as to who's a good guy and who's not. It's a nifty and timely premise, even if "The Rip" literally tattoos its message across itself. When Dane sits down with the young woman (Sasha Calle) at the stash house who seems plausibly innocent, she looks at tattoos on his hands and asks what they mean. On one: "AWTGG": "Are we the good guys?" As much as the answer might seem a foregone conclusion in a movie starring Damon and Affleck, who are also producers, "The Rip" plays with and against type in ways that can keep you engrossed. (The cast also includes Teyana Taylor, Steven Yeun and Kyle Chandler.) However, the exposition is so light and hurried in "The Rip" that that's almost all it plays with. We know almost nothing about our characters outside of the action in the movie, making all the... Read More

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