News // 6 News by rankinfilmreps

#GetSnogging for international kissing day - die Londoner Agentur THE FULL SERVICE feiert mit den Regisseuren Ed Morris, MJ Delaney, AJ Smith, Elliott Wilcox, Kate Bones, Jenn Nkiru, Ozzie Pullin, Sing J Lee, Fenton Bailey, James Copeman, Kassandra Powell, Trevor Melvin, Sam Walker, Fern Berresford, Giles Lovell, Vicky Lawton & Rankin den Tag des Kusses

#GetSnogging ist der Titel des Filmprojektes von Fotograf RANKIN und der Agentur THE FULL SERVICE, geboren aus dem Wunsch den internationalen Tag des Kusses würdig zu feiern und so viel Liebe wie nur irgend möglich in diesen unruhigen Zeiten (Hard Brexit. Hung Parliament. The President of the United States of America) zu verbreiten. Hierfür luden sie talentierte Mitstreiter und tatkräftig-aufgeschlossene Menschen wie Dich und uns ein " to snog, kiss, peck, smooch and slobber in the name of love." Hier Teil1, der aus den Profi-Momenten zusammengetragene Film für Euch auf GoSee, veröffentlicht rechtzeitig zum 6ten Juli, einem von 365 offiziellen Kuss-Tagen. Deine Chance kommt dann am Valentinstag 2018: "The Full Service are asking members of the public to submit their snogging clips to social media using the hashtag #GETSNOGGING. The best of these will then be edited into a second film to be released on Valentine’s Day 2018. It’s a chance to share a little love around..."

Anbei die offizielle PM der Agentur THE FULL SERVICE für Dich auf GoSee : "Pucker up! The Full Service is spreading a whole lot o’ love this 6th of July. It’s International Kissing Day, folks. And creative agency The Full Service are bringing everyone together for a good ol’ fashioned love in. #GETSNOGGING is a collaborative project between The Full Service, Rankin, some of the industry’s top directors, Lizzy Graham, editor of the Oscar winning short ‘The Phone Call’, and YOU. 2016 was a pretty tough year all round. And 2017 isn’t showing that many signs of holding up any better. Hard Brexit. Hung Parliament. The President of the United States of America. So, the agency decided to create a visceral and positively emotive response to today’s crippling news headlines. They called on some of the industry’s most creative talents, who conjured up video clips of snogs, kisses, pecks, smooches and slobbers. The agency and Rankin then worked with Lizzy Graham at Marshall Street Editors to bring it all together and create one uplifting film…a ‘Love Revolution’.

The result is a universal, democratic, best of kisses,curated by The Full Service and shot by a host of globally acclaimed talent. But this is just the first stage. The Full Service are asking members of the public to submit their snogging clips to social media using the hashtag #GETSNOGGING. The best of these will then be edited into a second film to be released on Valentine’s Day 2018. It’s a chance to share a little love around."

Rankin: “The idea reminded me of a classic scene from the 1988 film Cinema Paradiso, probably my favourite film of all time. We wanted to do something compassionate and affectionate. Something that put smiles on people’s faces. We hope you enjoy it. Feel free to get involved. We almost had Donald Trump and Theresa May on-board, but they only held hands”.

Lizzy Graham, Marshall Street Editors: “As soon as I heard about the project I knew that I wanted to be involved. What appealed to me was how the project managed to pull together a huge roster of fantastic directors giving us so many variations on the simple ‘kiss’.”

Vicky Lawton, The Full Service: “This ensemble idea grew from Rankin’s archive of kisses. It was one of those truly collaborative things that happen at The Full Service; what starts as the gem of an idea in the office upstairs,
is soon being shot in the studio downstairs. This extended beyond that, bringing in some of our favourite talent to work with us on it”.

Maruska Mason, Managing Director of the Full Service: “What’s great about #GETSNOGGING is that it started as a concept that we all just believed in and it instantly flourished from there. It’s exactly why we are different from other agencies - we are all about turning powerful ideas into reality and keeping the quality of the work at the centre point. We’re also all about collaboration and bringing together best creative talent...and the proof is in the pudding.”

#GETSNOGGING is an ongoing collaborative process and the lineup of the talent involved is subject to change. The film can be viewed online on International Kissing Day, 6th July 2017, featuring work from: Ed Morris (RATTLING STICK) MJ Delaney (MERMAN) AJ Smith (1STAVEMACHINE) Elliott Wilcox, Kate Bones (TONIC REPSRESENTS) Jenn Nkiru (ICONOCLAST) Ozzie Pullin, Sing J Lee(PARTIZAN) Fenton Bailey, James Copeman, Kassandra Powell, Trevor Melvin (FREELANCE) Sam Walker (RIFF RAFF) Fern Berresford (FAT LEMON) Giles Lovell-Wilson, Vicky Lawton, Rankin (RANKIN FILM).
06.07.2017 // show complete article

'The Creative Circle Award* for Best New Female Commercials Director' geht an Vicky Lawton - lest das GoSee Interview mit der CD des HUNGER Mags, der erfolgreichen Regisseurin, der Jurorin der GoSeeAWARDS17 Kategorie ART PROJECTS auf GoSee

Sollte man die Londoner Regisseurin Vicky Lawton in einem Satz beschreiben, wäre das wohl dieser : Vicky Lawton is a visual fanatic. In der etwas längeren Version erfahrt ihr, dass Vicky bereits seit neun Jahren für den bekannten Fotografen Rankin arbeitet und hier als Art und Kreativdirektor Shoots für Brands und Weltstars wie Heidi Klum, Rita Ora oder Miley Darling Cyrus betreute. In 2011 erblickte das HUNGER** Magazin das Licht der Welt mit Vicky als CD. Worum es in dem Magazin geht? Vicky's Atnwort wie immer auf den Punkt: "Fashion Baby!" (mit Baby waren wohl wir gemeint - und fühlen uns sehr geschmeichelt). Das Mag erscheint zweimal im Jahr, ist gespickt mit Celebs wie bspw.  Daniel Craig, Monica Bellucci ode Idris Elba und kann auf eine tolle Webseite mit einem über-coolen Newsletter verweisen.

Bereits in 2013 gründeten Vicky und Rankin THE FULL SERVICE*** - ihre eigene in-house Kreativagentur. Hier betreute sie als CD Kampagnen für Kunden wie Belstaff, Versace und French Connection neben vielen anderen. Hier wollen wir noch ganz kurz das Rolls Royce’s Centenary Celebration Buch oder den Ford Mustang Launch in Europa nennen. All dies zusammengenommen ist es kein Wunder, dass Vicky Lawton sowohl als Fotografin aber besonders als Regisseurin längst ihren eigenen sexy Schatten wirft. Die Frau steht hinter Kampagnen-Spots für Bourjois, House of Fraser, John Frieda V Pure oder Coco de Mer, letzteren stellten wir Euch auf GoSee bereits  vor. Neben klassischer Werbung gehört ihr Herz dem Beat - sprich Musikvideos für Dua Lipa, Charlotte OC oder George the Poet sind genau ihr Ding.

Rankin über Vicky: "She brings an edgy and provocative flair to work." Dies könnt ihr selber überprüfen - so zu sehen in ihren zwei Kurzfilmen starring up-and-coming Schauspieler Augustus Prew und Toby Kebbell, der in Fantastic Four, Dawn of the Planet of the Apes und im Ben Hur-Remake zu sehen ist. Und ihr voriger Shortfilm, Ablution, war longlisted für den Best Short Film bei den BAFTAs.

In 2016 gewann Vicky Silber beim Young Director Award in Cannes und in 2017 wurde sie vom Creative Circle Award als 'Best New Female Commercials Director' ausgezeichnet. Wir konnten das Multi-Talent Vicky als Jurorin für unser GoSeeAWARDS17**** in der Kategorie ART PROJECTS gewinnen - bei denen man von Foto, Collage, Film eigentlich alles einreichen kann, von dem man selber der festen Überzeugung ist, dass es sich um ein Kunstprojekt handelt. Go & See jetzt unser Interview:

All these images in your films - where do they come from? Do you brainstorm and in the end you say: this we can do, this we should do – and this is a must? When it comes to coming up with ideas, for me it starts with music! Weirdly enough, I need to listen to something that I think is the right tone for the film I’m about to create. Gets me in the mood. Then I start a search of films, or blogs and books that I think are the right vibe. I pool everything together and start to see patterns. Then I usually get a good ol’fashioned pen and paper out to do some sketches. Rough ideas of how I see a composition coming together, or an idea for a set design piece.

When there is a client behind the project – when is the moment you involve him in the creative process? Usually I’m working from a client brief - so once I’ve worked on my proposal and shared with them they can feedback on bits they like, and which areas they want me to develop.

Has there been a client who was not at all amused when it came to your visual approach? Ha! I don’t think so - sometimes you might have a disagreement in the details - set design, styling etc. But you’ve got to trust your gut instinct on those bits, and push for them.

How many settings were the max you filmed for a commercial/ a film? It totally depends on the creative concept, but I like to make sure there’s lots of variety. On the V Pure shoot there must have been over 15 different scenes, actually maybe more! But we needed lots of options for that type of fast cut edit style.

What amount of time are we talking of? How many days including preparation? Preparation, preparation, preparation! It’s key. Once you know exactly what you need to cover off, it gives you more time and freedom to experiment and play. I’m very specific about all aspects of the production, so I try to keep an eye on everything (that’s not a good thing sometimes).

Do you work with the same crew or is there a chance to become part of team Vicky? I love working with new people. I have a few of my favourites of course, who I work with on a lot of projects. But there’s always room for more to join the team!

Does the film in the end come to live while editing? I have so much respect for the work editors do. They bring it all to life. I have just started working a lot with Cut + Run in London and with Jamie O’Donnell and Sally Cooper - they are so inventive and imaginative.

What happens to all the extra material? I am sure there are tons of outtakes, hilarious before’s and after’s ?There is so much that doesn’t end up getting seen. Well in the case of Project X - the Coco de Mer project we did a few years ago which was a collection of different directors work, I just had too much footage. So, I made my own directors cut, and I love that people can get to see the work that I contributed.

Isn’t it hard to choose the perfect sequence? Sometimes a matter of seconds…? How long does this process usually take? Compared to filming? It doesn’t take long actually, again - its about instinct. You know when you’ve found a juicy bit.

And considering all this - do you have problems with deadlines? I need deadlines. Otherwise I will just keep coming up with more set ups, more big shots, more costume changes and so on….I need to be reigned in!

The Hollywood Reporter stated: "Female Filmmakers Lost Ground in 2016 - women comprised just 7 percent of all directors working on the top 250 domestic grossing films in 2016. That figure represents a decline of two percentage points from 2015’s 9 percent. " Is this just accidentally or do you see a bigger picture?Support and Opportunity. That’s what we need. I have a bazillion ideas on films I want to make, I’m ready to strike. I am chasing the opportunities and I have the support of Rankinfilm to keep me pushing and developing as a director. But not everyone is so lucky.

Change is happening. We need people to speak out, like Nicole Kidman and Jessica Chastain. Hearing two iconic actors discuss the importance of female directors in developing stories that resonate with women was necessary. It makes people sit up and take notice.

So you are not part of a dying species as a female director? No. I’m part of the rising team of directors, who happen to be female, who are here to show you what’s been missing in film. Watch out. We are bold. We are unstoppable.

Is gender really the reason behind or do people like to 'discriminate' in all directions and we just do not have all the statistics (sort of there are hardly any tall people in front of the camera, men in film behind the camera tend to be overweighed, small men are often in superior positions, there is always a funny gay person on the set - look out for the make-up artist)... ?  I can’t begin to understand why people would discriminate because I live in a world where I believe anything is possible and I can achieve my goals with hard work and persistence. To think that there are people out there who would dismiss me for my gender isn’t worth contemplating.

What does your mom think about your choice of profession? Among all those men? My mum is very proud of me - I think !

Any websites you go to for inspiration? I love to research photographers who have a true love of bold, bright colours. I LOVE Guy Bourdin, obsessed with Erwin Blumenfeld and have a soft spot for William Klein.

*   **   ***   **** - Register now, it's free !
14.06.2017 // show complete article

Introducing Jil Sander’s dynamic 'View Bag' - der Film von Vicky LAWTON für das HUNGER Magazin, ein QUEST mit der Regisseurin für Euch auf GoSee

Zur Einführung von Jil Sanders neuer Auflage der kult-verdächtigen 'View Bag', kreierte das HUNGER Magazin einen mysteriösen Fashion-Film, begleitet von Still-Motiven. Der Fokus beim Launch der Tasche lag auf Movement und Präzision. HUNGER Kreativ Direktorin und Regisseurin Vicky LAWTON c/o RANKINFILMREPS nahm dies als Inspiration für ihren Film 'Point of View': "The film is all about doing something abstract and flowing in motion," und führt aus: "It not only brings the qualities of the bag to life in a beguiling way but I wanted it to stand alone as a provocative piece in its own right."

Im Mittelpunkt agiert Model Emily Meuleman, die aus einem Sockel in einer scheinbar geschlossenen Art von Galerie empor steigt und ihre Performance beginnt. Speziell wie immer wenn Kreativ Director und Regisseurin Vicky Lawteon ihre Finger im Spiel hat. Vicky arbeitet bereits seit sieben Jahre an der Seite von Rankin, angefangen als Assistentin stieg sie schnell zur Kreativ-Direktorin auf, dies sowohl für das Hunger Magazin als auch für 'The Full Service'.

The Full Service, das ist die von Rankin gegründete Kreativ-Agentur. "With our in-house film studio and production company, alongside our creative, strategy, editing and post-production teams, we can build your entire campaign under one roof", so Vicky zu GoSee.

So war Vicky Lawton die verantwortliche Art Direktorin bei vielen von Rankin's Mode-Jobs und kommerziellen Arbeiten, ebenso wie bei etlichen seiner Musik-Videos. Ihre Kreativkonzepte führten zu so mutigen Kampagnen wie bspw. die H/W14 French Connection ’Sketch to Store’ Kampagne oder auch das ‘Mustang Comes to Europe’ Kampagnenvideo mit der Schauspielerin Sienna Miller.

In den letzten drei Jahren wechselte Vicky mehr und mehr hinter die Kamera, eine Perspektive die ihr sowohl im Film als auch in der Fotografie durchaus gefällt. Sie führt Regie bei Modeprojekten ebenso wie bei Musikvideos oder im Bereich Drama. Sie arbeitete mit Künstlern wie Charlotte OC oder George the Poet, beide Male exklusive Hunger TV Premieren. Aber auch ihre Modefilme für so namhafte Marken wie Chanel Beauty, Chanel Cruise, Dior Beauty, DROMe oder MSGM die ebenfalls ihre Premiere auf HungerTV feierten, brachten ihr grosse Aufmerksamkeit. Wir fragten zum aktuellen Taschen-Spot bei Vicky nach:

Tell us the story – who came up with the idea? I came up with the initial concept after researching the view bag. I wanted to bring in lots of flowing moments with intersecting sharp cuts. Working with a choreographer to loosely map out the motions was an important step to bring the whole project together – across stills and film.

How long did it take from sketch to final film? Within a few months, it went from the initial idea to the final completed film. I find it always takes longer in the production stage, but the edit is usually quick. I’ve always got a clear idea of the edit from the very beginning, so it’s usually a smooth part of the process.

'Blade Runner' look? Intended? Oh I hadn’t intended that actually! But sci-fi and action films are HUGE influences for me, so if there are elements of that in the film, it’s just inherent to me and my style.

Women’s behavior in fashion films – is bizarre the new orange? There is a trend at the moment toward the peculiar. I think fashion is always looking for edgy, off-key, challenging visuals. With this film, I wanted it to feel very abstract and unusual – but still with a confident and strong female lead.

We see a lot of blue in your color pallete? What would you say is the Vicky Lawton signature? You’ve noticed... I do have a bit of an unhealthy obsession with the cool blue tone; it seems to be a bit of a signature look that’s developing in my work.

Wenn Ihr nach diesem kurzen Einblick ab sofort mehr Vicky Lawton in Eurem Leben haben wollt so empfehlen wir Euch die Seite
17.12.2015 // show complete article