Using the torrent of production data in today’s advertising and content industries and how to cope with it all as a starting point, ‘What The Business Needs’ is rather more than the usual white paper. The culmination of 5 years of working with clients, agencies and their suppliers in the brave new ‘digital’ domain, Mark Andrews doesn’t pull any punches. Instead of just loftily suggesting to the advertising and online world what urgently needs to be done like thousands of consultants and pundits currently are, it tells them HOW it can be done. There, we’ve said it!
Following on from ‘Don’t Kill The Messenger‘ (on TV Commercial Production) and ‘Decoupling TV Production‘ (on Decoupling), this is our ‘State of the Nation’ address for 2013. Download your copy here.
We are delighted to be featured in Campaign today – both Campaign Magazine (print) and Campaign Live (digital) – for our work on the US launch of Fisherman’s Friend, which airs on 132 stations on the US East Coast and New York from Monday 12th. Based on original work created by CDP in 1986, Mark (Andrews) asked M-A-D-E represented director Ubbe Haavind to update the piece for the 2012 season.
‘The sound of one hand clapping – Decoupling TV Production’ – a sensitive issue that is currently ramping up the gas from simmer to boil between clients and their ad agencies. They’ve done it in print, can they do it in TV?
Mark Andrews and Olly Ravaux present their explicit views on the subject In a short and incisive piece. The key issues are confronted and outed. Frankly, important though the deal is, it’s not just all about the money!
Come on everyone industrywide – comments please!
Download your copy here now.
Jack’s world-famous iconographic imagery for Gary Oldman as the George Smiley character in John Le Carre’s ‘Tinker Taylor Soldier Spy’ is astonishing. He just captures that moment of supreme vulnerability yet hardness, evoked by Gary Oldman’s Oscar-nominated performance.
Now on general release in France following a special screening at Cannes, Bruno Rolland’s first feature entitled LÉA is the portrait of a young woman walking a fine line between euphoria, disillusionment, excitement and humiliation but who, at the end of the day triumphs whilst maintaining her self-respect. It manages at one and the same time to deliver that very tricky combination – sex with dignity.
LÉA lives in provincial Le Havre but dreams of moving to Paris to study at the prestigious Institute d’Etudes Politiques. Success in her exams offers the opportunity. There is just one major dilemma. She has been looking after her grandmother who is now suffering from Alzheimer’s. She finds a decent old people’s home for her but can’t possibly afford the fees.
LÉA decides to become a stripper.
Produced by Nathalie Trafford with sophisticated and intimate photography by Dylan Doyle, LÉA features a phenomenal character portrayal by young actress Anne Azoulay in the title role, with powerful support from Ginette Garcin as the grandmother. It is a master class in direction from Rolland who extracts the most intense performances imaginable from each character. But apart from achieving a deeply emotional atmosphere, there is also much humour with some tremendous turns from a supporting cast of real quality.
Dir: Bruno Rolland, Prod: Nathalie Trafford.
Currently on general release in France, length 93mins.
© 2012, Paraiso Production Diffusion, Paris.
Jack English’s astonishing photograph of Gary Oldman as George Smiley somehow sums up everything about the character in one profound shot. Could that be why it was chosen as the centrepiece for the film’s poster?
Interview with Tinker, Tailor, Soldier, Spy film stills photographer Jack English.
This is an edited version of an interview that appears on:
by kind permission
Legendary musician Eric Clapton calls him his ‘favorite photographer [who] does great work’. Now Jack English has another lifelong fan in actor-director Gary Oldman who describes him as ‘a true artist with a camera’. This British artist has worked his ever-evolving creativity worldwide in a number of areas, including fashion, music and film photography.
In fact English’s big break into film stills came after Oldman saw a blues album that English had done for Clapton in a record store back in the 90s, and the debut director contacted the photographer to discuss doing the stills for his 1997 semi-autobiographical and harrowing drama, Nil By Mouth. With no experience of film photography, but a major passion for movies, English describes how it all happened as a major gamble.
“Gary, who I thought was very hip, took a huge risk by hiring me, as I’d never worked on a film set before,” says English. “But part of the brief was that he didn’t want film stills – he wanted quite abstract images.”
English always thinks about the style and context of any film he works on, and how to replicate this in his pictures. He decided to bring an element of painter Francis Bacon’s vision to Oldman’s debut feature images to portray the character’s hardship.
“Fujifilm made Tungsten stills film back then and I actually shot on this,” adds English. “Bacon’s work influenced the stills with its colour, movement and the subject matter.”
From that moment onwards, English found his unique eye was in great demand on the international film scene. On Oldman’s recommendation, renowned French film-maker Luc Besson came calling on English to work his magic on the stills for his new sci-fi action thriller, The Fifth Element, starring Bruce Willis. It was quite a challenge and a change of environment, admits English.
It was on Tinker, Tailor, Soldier, Spy that English – who got his first professional photography break in 1989 after photographing jazz musician Chet Baker with a borrowed camera after a chance encounter in Cannes, followed by a portrait of artist Andy Warhol which was published in The Sunday Times magazine – could explore his appreciation for the detailed and iconic black-and-white film portraiture work of late American portrait photographer Irving Penn, who died in 2009.
English who is also a fan of Alfredson’s work on 2008 fantasy horror Let The Right One In, met with the Swedish director and Tinker, Tailor’s producer Robyn Slovo, after another recommendation from Oldman – who stars as espionage veteran George Smiley in the Cold War thriller, opposite a star-studded cast that includes Colin Firth, John Hurt, Tom Hardy, Ciarán Hinds and Mark Strong. Alfredson, Oldman and Slovo were instrumental in helping English do what he wanted, with reference to Penn, using the “winning combination of” Hasselblad lenses and Fujifilm Acros 100 ASA black & white film.
“I thought the feel of film would suit the time period. When you’ve got great faces like John Hurt’s, Ciarán Hinds’ and Mark Strong’s, it’s not hard work,” admits English. “I just put someone in front of a camera and I know if it’s going to work, or I think I know.”
“The distributor wanted to go a very different way with Tinker, Tailor, with people shot against white backgrounds, but I didn’t want to do any of that,” says English. “I was even told by a publicist on the film not to shoot any black-and-white because they couldn’t use it. Then there were five pages of my Tinker, Tailor stills in the last issue of Empire film magazine – all black-and-white.”
English first came across Fujifilm Acros in Los Angeles, and has just done a black-and-white shoot with Oldman for Italian Vogue’s September issue, as well as with singer Will Young for the October magazine using the same stock. That said, a photographer is only as good as his printer, and although English uses London lab Bayeux for colour printing, he relies on one printer in particular for black-and-white.
“I go to a very, very good black-and-white printer who specialises in black-and-white called Klaus Kade, one of the few black-and-white printers left in London,” praises English. “You build up a strong relationship with a printer over a period of time, particularly with black-and-white film. They get to know what you like, and how you want the print.”
English has a lot of prior talent and experience to aspire to, citing Oldman as the “best director he’s ever worked with” as “Gary has a very good eye. He shoots on film and he’s great at getting the very best performances out of his actors.”In the meantime, Jack English can be found sweltering in the New Orleans heat, doing the film stills photography for crime thriller Parker (out 2012), director Taylor Hackford’s adaptation of Donald E. Westlake’s novels, starring Jason Statham, Jennifer Lopez and Nick Nolte.
“I just shot a picture with Jason using a Leica M2 and Fujifilm Neopan 400 black & white. Jason was as good as gold – as was the film stock.”
For more information and to view Jack English’s work for Nil By Mouth and Downtown LA, please visit: www.jackenglish.co.uk/ contact: Mark Andrews email@example.com
M: +44 7770 775117 W: www.filmgaze.com
Stunning photography by Jack English for the eagerly anticipated ‘Tinker, Tailor, Soldier,Spy’ on release from mid-September. Jack’s realisation of mood, visceral texture and his almost sculptural composition eerily catch and evoke the atmosphere of the period. But his pictures also capture the calm, introverted, but extremely powerful performances of what are a group of British actors of the highest quality at the peak of their powers. A wonderful treat in store.
At the start of the 21st century, a vital part of the $311bn* advertising industry – TV commercials production – is still largely managed by thinking and processes that would be recognisable to a 19th century administrator.
It can’t have escaped anyone’s attention that things are changing and fast. Change is an implicit and essential element in dynamic businesses. However, managed change or evolution, is surely preferable to change that is forced upon us after all the available options have expired.
Don’t Kill The Messenger is Mark Andrews’ polemic on the state of TV production for agencies clients and production companies. It’s an insider’s strategic view on where the business is right now and where it is headed. It’s about why keeping on top of things is going to separate the survivors from the rest.
Mark’s career via Warner Music, CDP, Propaganda Films and his own production company Tsunami have brought him to the realization that we need a new approach in TV production and we need it now.
Its purpose isn’t to be critical. It’s an attempt to open up discussion of the issues to a wider participation than has recently been the case. Currently, we don’t have any kind of non-partisan forum in which to air such concerns as these. It’s no good for any one of the three parties involved in the relationship to unilaterally decide policy and dictate it to the others. It must be three out of three if it is to have any chance of working. These issues aren’t owned by any one part of the business or its trade organisation. They are interdependent and affecting us all equally.
Receive a free download pdf of the full document: Don’t Kill The Messenger
*Bird ‘Advertising Industry‘ p28, 21/03/03.
Jason McGlade has recently completed a 12 page shoot for Quintessentially Magazine. This is his second shoot for this quartertly magazine – the first being for Christmas gifts in last year’s winter edition.
Jason McGlade was born north of England in 1974. After school he studied documentary photography at the University of Wales under Clive Landen and Martin Parr. While studying he was awarded a Royal Photographic Society commission to cover the Bath Music Festival and then won the ‘Observer ‘Young Photographer of the Year’ award. Jason was talent-spotted and garnered a postgraduate scholarship to study in Italy at the Benetton-funded art school Fabrica under Olivero Toscani. After completing his studies there he moved to Milan and started working in Fashion and Advertising. Since then he has traveled extensively and currently lives between Berlin and London. He has recently shot stories for ETRO and Quintessentially magazine.
View more examples of Jason’s work.
John Clayton has joined the M-A-D-E line up. Click here to view a small sample of John’s work for EOS, Toyota and Nissan
Rome-based fashion show AltaRoma saw a show sponsored by New York-based cosmetics brand AVEDA featuring Ecoture by fashion designer Deborah Milner. Milner, well known for her collaboration with Philip Treacey and for her Deborah Milner label designed a stunning range of couture pieces based on ecologically renewable and recyclable fabrices. Some fabrics came from India and China alongside others found by Milner as a result of her trip into the depths of the Amazonian jungle where she collaborated with the Yawanawa tribe to develop sustainable fabrics from local sources. The show also highlighted couture based on astonishing examples of recycling such as a white ball gown made from melted plastic bags.
M-A-D-E’s Mark Andrews and Olly Ravaux designed and organized the show which took place in the 2nd century AD Tempio Di Adriana in Rome’s historic Piazza di Pietra. The staging of the couture pieces was an ‘installation’ in a dramatic ‘forest-glade’ setting, created by lighting, Brazilian music and forest sound effects.
Mark Andrews and David Hughes also produced a short film which formed the backdrop to the show. Based on footage shot by Deborah Milner on her journey to the heart of the Amazon, it features photography of each of the Ecoture pieces by Manuel Vason.
Watson formerly divided his time between the US and the UK, but has moved back to Britain and is looking to devote more time to the British market. He began at Limelight, moving to the West Coast office of RSA before settling at Millennium Films, who still rep him in the US. He has shot award-winning spots for brands including Nike, Coca-Cola, Sprite, Fanta, Chevrolet and Mazda as well as a series of short films and documentaries for British television.
Rob Kaplan started out as a BBC researcher, swiftly moving into producing then shooting factual and entertainment programmes including Top Gear, Modern Times and Cutting Edge. He moved into commercials with a Wrangler test in 2002 that was runner-up in the test category ot the cfp-e Young Director Award and shortlisted for the Saatchi & Saatchi Young Directors Showcase of the same year. Most recently signed to Outlaw, he has shot for Coca-Cola, Rover, Nytol, The Samaritans and Hyundai and was runner-up in the inaugural 2004 Viral Awards for a Mates Condoms film.
His latest music video for Dannii Minogue is currently airing.
M-A-D-E SIGNS TOP FASHION PHOTOGRAPHER JIM LEE
Jim Lee began his career shooting for the best fashion magazines such as Harper’s Bazaar, Elle and Vogue, developing a particularly close working relationship with Vogue chief Anna Wintour. He shot seminal editorial and ad campaigns for Yves St. Laurent, Versace, Guinness, Valentino, Saks 5th Avenue, BMW and American Express amongst many others.
Jim set up his own production company in the1980s directing hundreds of spots starting with blockbusters for British Airways. The culmination of this period was directing his first feature film entitled ‘Losing Track’ which starred Alan Bates.
Jim’s London retrospective ‘Eye For Images’ took place at close of 2005. The show was his re-entry to the European fashion world. It was widely reviewed in the press and on television, featuring a BBC1 TV interview and an 8-page feature in The Sunday Times Magazine. The show moves on to Paris in the spring of 2006, Milan and then to New York in the autumn. The prestigious Hamiltons Gallery in London represents Jim for picture sales and he has just been selected, along with Nick Knight, David Bailey & Rankin for the fashion section of the permanent collection at the V&A.;
Jim now shoots projects for selected clients and intends to specialize in shooting advertising photography and film imagery for clients in the areas of fashion, beauty and cosmetics.
After four years working for the BBC and ITV as a graphic designer, Mark joined the advertising industry in 1978 as a television producer. FM&M; had no television department. Mark rapidly established one. As well as commercials, he produced many music-promos for the agency client, WEA Records for acts such as C’Est Chic, Sister Sledge and Rod Stewart. This was then a nascent business, allowing much scope for creative experimentation, resulting in his winning an industry ‘Gold Disc’ for million-album seller Rose Royce in 1979.
In 1980 Mark joined CDP – then the UK’s leading creative advertising agency – as a television producer. Over the next ten years, he worked on some of the most famous and award-winning television commercials ever made, including Hamlet Cigars, Hovis and Cinzano, collecting many Cannes and BTA Gold and Silver ‘Lions’ in the process as well as numerous other accolades.
In 1986, he was promoted to Head of Television, the youngest in London. He joined the agency board in 1986 and the group board in 1987. Whilst continuing to direct the activities of the television department, Mark launched international production services company Production Network a decade ahead of its time.
He was invited to join the board of production company Playback (Talkback Productions & CDP) and then co-founded Independent Image, which became one of the industry’s leading television programme suppliers, specializing in drama, news, current affairs and tele-drama.
In 1991, Mark was appointed managing director of Propaganda Films’ European operation. Los Angeles-based Propaganda, a PolyGram company, was the largest, most influential commercials and music-video production company in the world at that time. It represented over 40 directors, including many famous names such as David Lynch, David Fincher and Michael Bay.
Propaganda produced hundreds of commercials for leading brands such as Nike, Adidas, General Motors and Stella Artois and music-videos featuring superstars such as Madonna and Michael Jackson. Propaganda won the Palme D’Or at Cannes for four years in the 1990’s.
In 1994, Mark Andrews was asked to chair the Pliatsky Committee. This was the joint industry initiative of the IPA, ISBA and the AFVPA, which established current working practices for the UK commercials industry.
In 1996, Mark left to establish his own production company, Tsunami Films. Tsunami quickly won a reputation for discovering and developing new directing talent from very diverse backgrounds. It also made an immediate impact in the worlds of commercials, fashion and music by winning the Brit Award for best music video of 1998 for the All Saints launch hit ‘Never Ever’. Tsunami produced commercials for clients as diverse as Airbus, Fox TV, Sony Playstation and BT as well as
music-videos for Blur, Moloko, Garbage and many others.
Mark is currently involved in developing a number of new projects to service the film, television, advertising and music industries. Mark’s current initiative is M-A-D-E (Mark Andrews Digital Emporium), a creative image producer and talent agency. M-A-D-E has developed a new and unique ‘open-architecture’ business model based on its ability to act as an agent, production company, executive producer or consultant as required. Its focus is the provision and management of creative talent and the development, production and delivery of creative solutions for clients in all media: cinema, television, computer-screen, mobile phone and print. Recent clients include
19Management, Universal Records, Mercedes USA, The Really Useful Picture Company and advertising agencies worldwide.
See also: Debrett’s ‘People of Today’.
Tel.: +44 20-7462 7875
Cell: +44 7785-791429
M-A-D-E Ltd., 67-69 Whitfield Street, London W1T 4HF.
London-based production company M-A-D-E has signed a representation and management deal with Oslo’s Motion Blur for certain directors. The move sees Motion Blur directing team Nic & Sune join the rosters of M-A-D-E and its partner company Dog Productions in Paris.
Dog Productions has also signed Thai director Wisit Sasanatieng for commercial representation. Sasanatieng began his career in the industry as an advertising agency art director before joining Bangkok production company Film Factory in 1997. His 2000 feature Tears of the Black Tiger was the first Thai feature invited into competition at Cannes, winning the Un Certain regard section. he will be repped in the UK by M-A-D-E.
Following hard on the heels of M-A-D-E’s signing of directors Roenberg last week, London-based production company M-A-D-E and Oslo’s Motion Blur have concluded a representation and management deal for certain directors. The pact will see both companies work in close co-operation both creatively and finacially. The immediate fruit of this integrated approach will see star Motion Blur directing team Nic & Sune follow Roenberg onto the rosters of M-A-D-E in London via Luc Besson’s DOG Productions in Paris. Nic & Sune, an English/Norwegian duo are enjoying a highly successful run in Scandinavia. They are currently posting Nokia for Finland and preparing to shoot Volkswagen in Oslo. M-A-D-E’s Mark Andrews said “this isn’t the usual director swap or representation arrangement. It’s recognizing a shared set of values and a statement of intent. Every director knows that in order to develop his or her career they must work away from home. We take the same view with our entire companies. Talent now needs to be managed right across international, national and personal boundaries. Instead of having to sign individual deals all over the place, we think they ought to be able to rely on producers who know them and who can help manage their careers on a worldwide basis. A bit like not having to leave home really! The benefits to the directors will be very real. By establishing partnerships such as this – and the M-A-D-E/DOG deal is a perfect example – you are able to present their work simultaneously in all major markets but speak with one voice. Directors can then make the most informed and sensible choice for themselves rather than have to consider conflict of interest between different companies or internal politics. They can just focus on the work. This strategy will benefit us all out of all proportion to our collective size in the industry”. Motion Blur’s executive producer Espen Horn said “I think this is a great opportunity for Nic & Sune to expand their reel by following Motion Blur’s strategy of doing work for the whole European market. We are absolutely thrilled on behalf of the Roenbergs and Nic & Sune with Motion Blur’s relationship with M-A-D-E – it’s a win win situation for us all.
Roenberg, the Norwegian-based directing duo, has signed to Mark Andrew’s production company M-A-D-E. The signing comes as a result of the partnership deal between M-A-D-E and Paris-based Dog Productions, and sees Roenberg reunited with Andrews, who formerly repped them through Tsunami. Roenberg are in post-production on their first feature film, Bandidas. Produced by Luc Besson through Europacorp and starring Penelope Cruz and Salma Hayek, it is planned for release shortly.
More info on M-A-D-E is at http://www.m-a-d-e.net
London Production company M-A-D-E has announced an affiliation with Zurich and Vancoucer-based manifesto Films. The deal will gain Manifesto helmer Reto Salimbeni representation in the UK market by M-A-D-E. In return, M-A-D-E ‘s directors will be represented by Manifesto in Switzerland and Canada.
M-A-D-E’s Mark Andrews announces tie-up with Zurich and Vancouver based Manifesto Films. London’s M-A-D-E has sealed a representation deal with Zurich and Vancouver-based Manifesto Films. This arrangement will see Manifesto helmer Reto Salimbeni represented in the UK market by M-A-D-E.
In a reciprocal arrangement, Manifesto will platform M-A-D-E’s directors in Switzerland and Canada.
Comedy specialist Salimbeni, well known in Europe having started the highly successful Glass Films – winner of numerous awards at European and New York festivals – is preparing to shoot his third feature ‘Blaze’ in Toronto in October with an all-star cast.
This year so far he has shot campaigns for Kraft and Swiss Tourism to add to the previous year’s tally of Pepsi, Nike, MTV, Panasonic and IKEA amongst many others.
Founding Manifesto three years ago with the specific intention of developing his international career, he opened the Vancouver office last year to manage the demands of the increasingly important Canadian market.
Said Andrews “I think the Swiss market produces some important work, particularly out of Zurich which has become a pretty cool creative destination itself. That’s proven by the quality of agencies that have opened there recently. I want my team on the ground there; particularly New York based Suk & Koch.
And I think the Canadian market is now very important since it has become a centre for a significant part of Hollywood production.
This is a perfect fit with my strategy of searching out a network of like-minded people and partnering with them. I’ve developed a concept in that I call the ‘open-architecture’ operation. That means it is designed to adapt to the new ways of working that are going to be required of us if we intend to grow internationally.
What directors want and need is consistent career management. M-A-D-E intends to provide that. Our tie-up with Manifesto is a significant step, following as it does hot on the tail of the deal with DOG in Paris”.
London production company M-A-D-E has announced a tie-up
with Zurich and Vancouver-based Manifesto Films.
The move follows announcements last month of a mutual
representation deal between M-A-D-E and Luc Besson’s company Dog
Productions, and will see Manifesto helmer Reto Salimbeni repped in
the UK market by M-A-D-E. In return, M-A-D-E’s directors will be
represented by Manifesto in Switzerland and Canada.
Salimbeni has recently shot ads for Kraft and Swiss Tourism, and is
currently preparing to shoot his third feature, Blaze, in Toronto. The
tie-up with M-A-D-E sees the director reacquainted with MD Mark
Andrews, who formerly repped him at Tsunami.
“This is a perfect fit with my stategy of searching out a network of
like-minded people and partnering with them,” said Andrews. “I think
the Swiss market produces some important work, particularly out of
Zurich, which has become a pretty cool creative destination itself. I
want my team on the ground there, particularly New York-based Suk
& Koch. And I think the Canadian market is now very important since
it has become a centre for a significant part of Hollywood production.”
More info on M-A-D-E is at . http://www.m-a-d-e.net
Directing duo Suk & Koch have signed to Mark Andrews’s
production company M-A-D-E.
Based in New York, Violet Suk & Martin Koch founded their company
Suk & Koch Media Inc seven years ago to work on everything from
commercials and music videos to broadcast and motion design, art
installations and short films.
“They have developed a style all their own and have built an
outstanding and very powerful body of work,” said Andrews. “They are
one of the most original teams I have come across in my whole
career. Above all, with them, it’s about good taste.”
M-A-D-E will rep Suk & Koch exclusively in the UK, Europe and Japan,
and in the French market through Dog Productions. More info on the
team is at . http://www.m-a-d-e.net
Mark Andrews, executive producer of M-A-D-E is delighted to announce the signing of New York-based directing team Suk & Koch for exclusive representation in the UK, European and Japanese markets and in the French market through DOG Productions.
Violet Suk and Martin Koch founded their company Suk & Koch Media Inc. seven years ago to cover fields as diverse as commercials, music-videos, broadcast and motion-design, art installations and short films.
The pair met at Vienna’s University of Applied Arts in 1992, moving to New York in 1998. Their talents complement each other perfectly; producing work collaboratively that is stronger than either could produce alone. They are a team, but their work has a singular clear vision.
Said Violet and Martin “we’re extremely excited to join M-A-D-E. Mark has a deep understanding of our creative vision and great experience and insight for expanding into new markets in this fast changing commercial landscape”.
Having run their own business as well as achieving the acclaim of many of their contemporaries has enabled Violet and Martin to truly understand the complexities of delivering effective results in a challenging marketplace.
Mark Andrews said “Suk & Koch have developed a style all their own and have built an outstanding and very powerful body of work. They are one of the most original teams I have come across in my whole career. I am very excited and flattered to be given the chance to represent a duo of such exceptional quality.
Above all, with them, it’s about good taste”.
London-based production company M-A-D-E has announced an
exclusive mutual representation deal with French company Dog
Dog, founded by Luc Besson in 2001, is a subsidary of EuropaCorp, Europe’s
first fully-integrated movie studio, and reps directors for both features and
M-A-D-E and Dog have joined forces to develop business together in
London, Paris and also worldwide. The two companies are keen to promote
a different way of thinking about the industry.
“Creative business is not a precise art and demands some new thinking,”
explained M-A-D-E’s executive producer Mark Andrews. “For instance, we
aren’t convinced that the rather limited term ‘production company’ is going
to be an accurate description for us, given the way the business is going.
We now need to act as production company, executive producer, agent or
all three as circumstances demand of us.”
“And the techniques required of us to manage and develop creative artists
are evolving fast,” he continued. “We need to be ready to take advantage of
all sorts of opportunities as they arise and to be able to offer clients what
they really need in today’s more open media environment.”
M-A-D-E currently reps directors Slipmode, Suk&Koch; and Bruno Rolland,
but will be announcing more signings in the forthcoming weeks. Dog’s full
roster can be viewed online at . http://www.dogproductions.fr
Mark Andrews’ London-based M-A-D-E is delighted to announce an exclusive mutual representation deal with French company Dog Productions.
Founded by Luc Besson in 2001, Dog is a subsidiary of EuropaCorp, Europe’s first fully-integrated movie studio. Dog’s development manager and producer Alexandra Roussel has built an impressive inventory of world-class directing talent in Paris.
M-A-D-E, the agency representing international creative talent across digital and celluloid platforms which launched last year, will be announcing signings to its roster from New York, Oslo, Zurich and Paris in due course.
The two companies declare their mutual intention to develop business together in London, Paris, and Worldwide.
M-A-D-E and Dog share the view that a different way of doing things is now needed. “Creative business is not a precise art and demands some new thinking,” says Mark Andrews
“For instance, we aren’t convinced that the rather limited term ‘production company’ is going to be an accurate description for us, given the way the business is going.
We now need to act as production company, executive producer, agent or all three as circumstances demand of us.
“And the techniques required of us to manage and develop creative artists are evolving fast. Even the ways in which that talent is being defined are changing.
“They can be directors, image-makers, motion-communication artists – all three at once. We need to be ready to take advantage of all sorts of opportunities as they arise and to be able to offer clients what they really need in today’s more open media environment”.
Mark Andrews, former managing director of Tsunami and Manifesto, launched London-based prodco M-A-D-E (Mark Andrews Digital Emporium), to offer representation to directors, photographers and multimedia designers. Initial signings include motion-graphics design collective Slipmode, photographers Jack English, Terry McGough, Eugene Adebari and Jason McGlade and commercials director Bruno Rolland.
HOTLINE Mark Andrews, the founder of TSUNAMI Films and the former Managing Director of Propaganda Europe, is setting up a new company, Mark Andrews Digital Emporium, to represent film-makers and fashion photographers. His initial signings include the commercials director Bruno Rolland, whose credits include Polaroid and The Army……