Agency global network VCCP Group has launched a global content creation studio, Girl&Bear. The new venture becomes home to makers from across the VCCP network and will deliver world-class content creation, global production services and a bespoke technology solution.
The studio’s capabilities will include film, audio, design, print, photographic and digital production and brings together 250 makers with VCCP’s expertise and focus on craft. Alongside the makers within the studio, Girl&Bear will continue to work with production partners to continue access to the best talent in the industry.
Girl&Bear will service VCCP’s global network, offering clients borderless content production across eight markets including London, where it is headquartered, Madrid, Prague, San Francisco, New York, Singapore, Sydney and Shanghai. Girl&Bear will also offer cost-efficient production at scale in every region of the world through offshore solutions which will be run out of the Czech Republic, South Africa and Asia Pacific.
Girl&Bear runs proprietary software, “The Pathway,” which is designed to guide clients through the increasingly complicated world of multi-format, multi-language and dynamic creative production and enable the delivery of crafted work at scale and pace, across all channels. Bringing cutting-edge technology and automation into the production process in the right way, at the right moments, is billed as being able to help Girl & Bear’s makers around the world to work more efficiently as well as give clients a seamless delivery experience.
Girl&Bear will be led by managing director Claire Young, executive head of production Anthony Austin and global head of operations Dan Montalbano. Young has over 20 years of production experience working at creative agencies including Mother, exposure, JWT, and has led production for VCCP London for the last six years. Montalbano has led global operations for the VCCP Group for the last two years and brings both client-side and top-tier London agency experience from brands including National Geographic, Barclays and agencies Razorfish and AKQA.
The team is joined by new hire Austin, who brings a wealth of experience in building production studios within creative agencies, firstly at Mother London, before going on to found Black Sheep Studios at BBH, where he subsequently took the BBH London exec creative director role.
Girl&Bear’s senior leadership will report into VCCP London’s CEO Andrew Peake and VCCP’s chief creative officer Darren Bailes.
Girl&Bear launches with a portfolio of clients including Domino’s, O2 and White Claw.
VCCP founding partner and Group CEO Adrian Coleman said, “Content creation and production is something we have always offered to our clients and as the making arm of VCCP, Girl&Bear now elevates our production offering globally, bringing further cohesion to our Group, and a challenger proposition to other networks. All brought to the market by an extremely talented leadership team who all bring different skills to the table, working towards one common goal to bring fresh thinking and new ideas to how we make.”
Young stated, “For us ‘how’ we make things is just as important as ‘what’ we make for clients. I’ve always wanted to reimagine production and creating Girl&Bear has enabled us to supercharge our making offering and evolve the industry model. We know that creativity is a business multiplier and we believe that great production doesn’t need to be a choice between pace, scale and craft–we’re in the business of ‘and.’ World class integration is something that VCCP is famous for, and with Girl&Bear we are now in an even stronger position than ever to deliver on that promise.”
Austin noted, “VCCP has always produced beautifully crafted work. With Girl&Bear we will build on this legacy, while bringing a fresh approach to production through new ways of making, new technologies, new formats and always seeking out the best and most exciting talent. Girl&Bear empowers our makers to have a louder voice within the advertising ecosystem. They are an energetic, highly-skilled and passionate bunch, and I’m excited to be joining the team.”
Young added, “As the challenger content studio we also wanted to address other areas of production we felt weren’t working, and change them for the better. Our ambition is to put our people and the planet right at the heart of our business, and we’ve created what we call our ‘Be Nice’ policy which outlines our guiding principles. We’re committed to sustainable practices in all that we do and we’re excited to be working with Greenshoot and AdGreen to ensure all production is made in the most sustainable way possible.”
Girl&Bear is also working with VCCP Group towards achieving B-Corp status.
Committed to uncovering, supporting and attracting new and diverse talent both in front of and behind the lens, Girl&Bear is working with partners Free The Bid, BRiM, Justrunners, Brixton Finishing School and SCA to help create a diverse and inclusive workforce.
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