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    Home » Patrick Jones joins Compadre as exec creative director

    Patrick Jones joins Compadre as exec creative director

    By SHOOTThursday, August 11, 2022Updated:Tuesday, May 14, 2024No Comments1007 Views
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    CULVER CITY, Calif. --

    Creative marketing agency Compadre has brought Patrick Jones on board as executive creative director, creative. He will work closely with Curtis Doss, executive creative director, design, overseeing projects and campaigns for Compadre’s existing clients, as well as helping expand the agency’s footprint into new verticals and markets with his expertise in social media, Web3/Metaverse, and experiential. 

    Robert Blatchford, Compadre co-president, said of Jones, “He’s a big-picture conceptual thinker with strong experience in innovative 360 initiatives. That, coupled with Curtis’ beautifully designed storytelling, will lead the way in shaping and elevating the ‘big idea’ for our clients.”

    “Compadre has a strong footprint in the world of entertainment marketing–from leading names like ESPN and CBS to tech-forward brands like Netflix, Amazon, Apple, and Meta that have emerged as big players in the space,” added Jones. “I’m excited to help build on that legacy and help break new ground as we harness the exciting things that are happening at the intersection of media, tech, and storytelling today.” 

    Jones joins Compadre following a tenure at modern marketing agency Known, where, as group creative director for growth & innovation, he spearheaded campaigns and projects for HBO Max, Netflix, Spotify, Paramount Pictures, and CNN, to name just a few.

    Another highlight from Known was the Promax-winning, immersive transmedia campaign for the TBS comedy series Chad, which saw Jones develop an in-world cross-platform social campaign where the titular awkward teen attempts to become a social media star. This allowed Jones and his team to collaborate with the show’s creator and star, SNL’s Nasim Pedrad, creating wholly original comedy content that ran parallel to the show’s first season.

    “If a fan is going to follow our marketing, we want it to offer a deeper experience that builds on the world of the IP and rewards their investment,” observed Jones. “That’s the sweet spot, especially for Gen Z, who have infinite options to spend their attention and time on.” 

    Another particularly innovative campaign of Jones’ saw Postmates team up with TikTok for an L.A.-exclusive experience, where local restaurants whipped up the platform’s most popular recipes for delivery, like whipped coffee and pancake cereal. The campaign, launched at the height of COVID-19, helped raise funds for local restaurants during lockdown and led Rolling Stone to comment, “Postmates launching a menu based on TikTok trends is the most 2020 thing ever.” 

    Originally hailing from New Orleans, Jones studied both advertising and psychology at the University of West Florida–a perspective he sees as key to his marketing perspective. After beginning his career in NYC where he worked on numerous brands like Heineken, Charmin, Reebok, and Verizon, he relocated to Los Angeles in 2015 and transitioned primarily into entertainment marketing. Since making this shift, he has done everything from using bleeding-edge Adobe motion capture tech to host a livestream Q&A with Sherlock Gnomes, to launching the biggest continuous grid takeover in Instagram history for HBO Max, to writing and producing interactive video content with John Cena for Peacemaker (a career highlight for the WWE fan).

    “Ultimately, the best creative is all about paying attention to shifts in the ways that audiences consume what you’re putting out there, and really asking yourself why fans care about something in the first place,” concluded Jones. “Once you know that, you can start to figure out where people will be in a few years, and get in on the ground floor. Plant your flag early, so that you’re not trying to play catch-up. Out on the edge is where the coolest stuff is typically done.”

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    Tags:CompadrePatrick JonesRobert Blatchford



    Review: Director Edgar Wright’s “The Running Man”

    Wednesday, November 12, 2025

    It's always interesting when time overtakes the dystopias of the past. In Stephen King's 1982 novel "The Running Man," the United States has fallen into a totalitarian state, divided between haves and have-nots, where all movements can be surveilled and realistic video propaganda is easily generated. King's book was set in the year 2025. Edgar Wright's new big-screen adaptation is fittingly but awkwardly timed. Arriving in the year of King's imagined dystopia, its near-future has little in it that isn't already plausible today, making this "Running Man" — while fleet of foot in action — feel a step, or two, behind. "The Running Man," of course, has already begat one movie. Paul Michael Glaser's 1987 film starred Arnold Schwarzenegger as Ben Richards, the young father who out of financial desperation auditions for a lethal reality show where survival for 30 days means a $1 billion payday. (The movie was set in the distant year of 2017.) Times have changed, though. Wright's film stars Glen Powell as Richards, a fairly exponential upgrade in smirking charisma. This is, for sure, a dystopia with a genial spin. That's not only the case with the dashing and overweening Powell but with Wright, a playful genre practitioner whose approach to apocalypse ("Shaun of the Dead") is, by nature, comic. From the start, the darkest shades of King's book have been snuffed out of this blandly entertaining remake that swaps out the brutalist 1980s nihilism of the Schwarzenegger movie for a satirical portrait of America lacking in bite and prescience. It's not like the 1987 "Running Man" was so great, either. But at least it locked into a tone and stuck with it. Wright's movie has flashes of flamboyance that help, but it struggles to balance such violent science fiction... Read More

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