Global creative agency VCCP has tapped Jed Grossman as its first-ever chief creative officer in the U.S. This appointment comes hot on the heels of VCCP NY merging with its San Francisco-based creative agency Muhtayzik Hoffer (M/H) to create one entity earlier this year. Reporting to global chief creative officer Darren Bailes, Grossman will be the architect of the creative vision for VCCP US, driving the agency’s development and growth in the North American marketplace.
“VCCP US has seen solid momentum, bringing in clients including Mike’s Hard Lemonade, Nutribullet, and Native and welcoming a new CFO, Janisse Wong. Amidst that, a high-level creative perspective to unite both offices has remained the missing piece of the puzzle,” said Brett Edgar, CEO at VCCP US. “Now, with the merger of VCCP NY and M/H complete and Jed coming on board, we have the leadership in place to propel the agency to new heights. He has a challenger spirit that aligns with our values, and I look forward to seeing his impact on our business.”
Grossman most recently served as executive creative director at Arts & Letters, where he managed a cross-agency team and developed its overall creative vision. During his five-year tenure, the agency grew from 18 to 160+, solidifying itself as a global agency with clients like Google, ESPN, and Tito’s Vodka.
Prior to that, Grossman played an instrumental role in the transformation of B-Reel by leading its New York office toward operating at the intersection of culture, technology, and storytelling. He spent the bulk of his career at Mother New York, where he began as art director in 2008 before ascending to the position of creative director over his eight-year tenure. His career began at Crispin Porter + Bogusky.
Grossman’s work has received recognition from major advertising competitions including Cannes Lions, The One Show, The Clio Awards, D&AD, and the Art Directors Club.
“VCCP US embraces bravery and openness in its approach to creativity, and those values ultimately drew me toward the agency,” said Grossman. “I look forward to partnering with leadership to inspire this team of dreamers toward developing work with our clients that transcends traditional advertising.”
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