Production house Twist, headed by exec producer/president Jim Geib and EP Amyliz Pera, has added director Eduardo Vietiez to its roster for spots and branded content. The U.K.-based Spanish helmer joins other multi-lingual filmmakers at the company, including Igor Borghi (English, Italian. Spanish) and Marc André Debruyne (English & French). Vietiez helps Twist to better service the growing U.S. Hispanic market. Additionally his visual style and experience have proven appealing to global clients.
EP Pera said that Vietiez is one of several moves the company will be making this year. “We’re restructuring at Twist to be able to offer our clients more in products and services and to further our reach.”
Vietiez had not been repped in the U.S. immediately prior to joining Twist. Earlier he had been handled by Boxer Films.
Vietiez made the transition to directing after having been a creative director at Euro/RSCG agency Solero & Solero in Madrid. He then had a six-year tenure at Lee Films International, a production company in Spain, where he directed for such clients as Nike, Greenpeace, Heineken and McDonald’s. Vietiez then opened his own postproduction and motion graphics company Frame Storm. He later moved to the U.K. where he is currently seeking representation. He continues to work extensively internationally with affiliations such as Mamma Team in some European countries, including Spain, Santos Films in Mexico, Procine in Chile, Museum Films in Korea, and Four Eyes Films in India. Vietiez has worked in the U.S., Germany, France, The Czech Republic, China, Sweden, Belgium, The Netherlands, Turkey and Bulgaria. He’s collaborated with agencies including BBDO, TBWA, McCann, Grey, Publicis, Y&R, and Ogilvy. He also continues to paint and illustrate and has had numerous exhibitions in Madrid.
Twist’s directorial lineup includes Vietiez, Borghi, Debruyne, Marcos Zavitsanos and Scott Pitts. Twist also handles production and marketing for the global creative collective Tomato.
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