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    Home » Street Talk for May 10, 2024

    Street Talk for May 10, 2024

    By SHOOTWednesday, May 8, 2024Updated:Sunday, July 7, 2024No Comments2972 Views
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    Jeffrey Max (l) and Zachary Johnson, aka the directing duo Fatal Farm
    --

    Two-year-old Toronto production company The Salmon has added the directing team Fatal Farm to its growing roster. Fatal Farm consists of Zachary Johnson and Jeffrey Max, a self-described couple of “‘ol Texas high school friends” with a fondness for bizarre visual humor who have been working together for the better part of two decades. Their work with brands including Old Spice, Snickers and Skittles has been well-received, with their appropriately offbeat work on Skittles’ “Apologize the Rainbow,” a parody of corporate apologies, winning at several major awards shows including D&AD, Cannes Lions and Clios, as well as the AICP Show. The directing duo had previously been repped by Spy in Canada and continues in the U.S. with Neighborhood Watch….

    Production studio Harbor has appointed Thom Berryman as its U.K. managing director for features and episodic. Berryman will oversee all feature and episodic operations in the U.K., including business development, staffing management and financial performance. He will engage directly with clients, talent, and creatives to drive premium production and expand the global network of partners. Upon joining Harbor in 2019, Berryman played a key role in the establishment of the company’s U.K. postproduction studios that now include dailies, offline editorial, online editing, color grading, sound editorial, mixing, and ADR, spanning two locations in London and Windsor. Furthermore, he has led development and implementation of Harbor’s proprietary set to screen media review system, ANCHOR™, while continuously enhancing the technology platform to provide a holistic postproduction workflow tool driven by AI. During his time at Harbor, he has overseen postproduction and delivery of notable projects including HBO’s True Detective: Night Country, Netflix’s Heart of Stone, Lucasfilm’s The Acolyte, FX + BBC’s Great Expectations, and the 2023 Palm d’Or nominated film, Firebrand. Prior to Harbor, Berryman had a tenure at Pinewood Studios where he oversaw the implementation of automated VFX pulls, DI and deliverables. Most notably, he built the largest dailies offering in the U.K. based out of Pinewood and Shepperton Studios. Moreover, Berryman was instrumental in setting up Pinewood’s worldwide on-location dailies setups which included the U.S., Korea, Japan, South Africa, and New Zealand. 

    Quad/Graphics, Inc. (NYSE: QUAD), a global marketing experience company, is introducing Betty, a creative agency named after the late Betty Quadracci, fearless trailblazer and co-founder of Quad. The new offering will integrate all of Quad’s creative business lines including creative agency Periscope, Quad Creative and Content Studios under one brand. All former Quad Creative, Periscope and Content Studios leadership and staff are moving to Betty, including Cari Bucci-Hulings, who has assumed the role of president, and Mike Caguin, its chief creative officer. Favorite Child will retain its name as Quad’s brand design practice while remaining part of the larger Betty agency. Betty will serve as creative agency of record for Cacique Foods and Raw Sugar Living, and was tapped by Desert Creek Honey, Heckova! and Walgreens for design and packaging work from Favorite Child. Joel Quadracci–son of Betty Quadracci–serves as overall Quad chairman, president and CEO…..

    Digital creative agency Barbarian has promoted Jo Hayes from director, data insights & analytics, to executive director, strategy. Hayes will spearhead strategic approach for new business opportunities, aligning client business needs with the agency’s offering of innovative data capabilities, strategic insights and customized solutions. While working to transform data into creative fuel for impactful strategies and innovative digital placemaking for clients, she will also be responsible for leading the integration of technology into every aspect of the agency’s work to maximize efficiency and impact across the board. In her new role, Hayes will continue her commitment to nurturing talent, fostering a collaborative and supportive environment where individuals can thrive and contribute their best work….

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    Category:Street Talk
    Tags:BarbarianFatal FarmHARBORQuad/GraphicsThe Salmon



    Jane Schoenbrun Jolts Cannes With Queer Slasher Movie “Teenage Sex and Death at Camp Miasma”

    Friday, May 15, 2026

    "A good electric chair" is how Jane Schoenbrun describes their first Cannes Film Festival premiere.

    "I really felt like my body was in a state of convulsion," says Schoenbrun.

    The day after the premiere of "Teenage Sex and Death at Camp Miasma," a bold, bloody queer slasher film starring Hannah Einbinder and Gillian Anderson, Schoenbrun and their co-stars were still buzzing from the ecstatic response. The movie, one of the most prominent American films in Cannes this year, gave the festival a gonzo jolt.

    For Schoenbrun, the leading trans filmmaker of their generation, the film extends their intensely personal exploration of gender and the movies that defined their youth. But their first two films — 2024's "I Saw the TV Glow" and 2021's "We're All Going to the World's Fair" — were the raw, burning products of Schoenbrun's transition. "Teenage Sex and Death at Camp Miasma," drawn from Schoenbrun's happy, exploratory post-transition life, isn't that.

    It's about desire and sex. It's a biting satire of reboot-mad Hollywood. It's a schlocky and subversive slasher movie homage. It's a lot of fun, and quite tender, even when bodies are blood-spurting geysers.

    "This is the first movie that feels like it represents the fullness of who I am," Schoenbrun says.

    But Wednesday's moment of triumph in Cannes was hard-won. Ten years ago, Schoenbrun, now 39, was working in the film industry in a job they hated.

    "The first time I came here, I just felt like, 'Oh my, god. I can't believe I'm in Cannes.' I went to, like, 'The Lobster,' at the Palais in my boy tux. I was like: 'This is it. I've done it,'" says Schoenbrun. "Then the next year I came back and I was so depressed. I decided to quit my job. If I'm depressed at Cannes,... Read More

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