Postproduction veteran Kitty Snyder has been appointed director of creative partnerships for the Atlanta branches of Beast, Company 3 and Method Studios, co-located Deluxe Creative Services companies. A longtime local, Snyder will cultivate existing client relationships, establish new ones, and match projects with the right artists and solutions. Well-versed in all aspects of production and post, she is equipped to readily address the challenges of varied projects.
Snyder comes to Deluxe Creative Services Atlanta from ad agency Huge Inc., where she served as a commercial producer for clients like Airheads Candy and often brought her projects to Beast, Company 3 and Method for post. She also spent more than a decade at post facility Crawford Media Services collaborating with a large team of artists and the production company now known as Chorus Films. Snyder got her start in the post industry as a coordinating producer and writer for HGTV and GPTV shows, and various freelance producers. She is also a singer-songwriter with her band called The Heart Wants What the Heart Wants, and can be seen playing out in clubs around Atlanta.
“Kitty is a really creative person who also understands the nuts and bolts of our operation. She’s the perfect person to talk to the community about the services we offer and the benefit those combined services can provide,” shared Billy Gabor, managing director of Deluxe Creative Services Atlanta.
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