Farm League has added director Ryan Thielen to its roster for U.S. representation. Beginning his career on the video team for the Minnesota Vikings, where he worked as an editor, producer, and director, Thielen quickly identified an opportunity for sports teams to elevate the film content they were creating to better activate their unique fan bases and player personalities. Working closely with a range of professional American sports teams, including the Baltimore Ravens, Golden State Warriors and Tampa Bay Lightning, among others, Thielen has created immersive cinematic worlds in dozens of original films, including team season anthems, in-game stadium content, and NFL player Pro Bowl campaigns. He has worked with the top echelon of athletes, including Tom Brady, Steph Curry and Karl-Anthony Towns. Thielen has also translated his work to brands outside of sports, as seen in several upcoming independent feature and short film projects in narrative and documentary genres, and recent spots for clients like Geico. Thielen has received a slew of regional Emmy Awards and nominations for his innovative work in sports. Other accolades include a Clio Sports Bronze and Shortlist Honors, and Best Show Open & Best Hype Video at the IDEA Conference’s Golden Matrix Awards. He has also won two Hermes Creative Awards for his television commercials and has had work selected for several film festivals. He is currently wrapping up a short form documentary about female surf culture in New Zealand, as well as co-directing a coming-of-age short film. Both projects will be released by the end of the year. Most recently, he has been developing a proof-of-concept for a feature film called Temple, which has now moved into postproduction….
Max Sherman, known for his unique comedic style, is now represented by Somesuch in the U.K. and the Netherlands. Writer and director Sherman launched his career in film with award winning But I’d Really Have To Kill You, and made his name in the advertising world with his trademark painfully honest brand of comedy and characteristically wry humor, that never leaves beauty behind. Sherman’s touch has led to commissioned work recognized by the likes of Cannes, D&AD, Clios, The Webbys, The Advertising Design Club, and more, working with clients such as Google, Amazon, McDonald’s, Snickers, and the NFL….
CZAR Amsterdam has added Diek Pothoven to its directorial roster. The Amsterdam-based director has a body of work which spans the fashion, film, and commercial worlds: having worked as both a show designer (for brands such as Iris van Herpen & Swarovski) and as creative director for countless projects (including his own fashion brand MARTAN and the Eurovision Song Festival). He is a graduate of the ArtEZ Academy of Art & Design in the Netherlands…
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