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shots a curious case rankin & chis cottam the brains in spain drawn together animation


113 march 2009

contents 0 6

8  virgin atlantic

10  t-mobile 

12  english national opera

14  dare coffee

35  contrapunto/BBDo

38  dionisio naranjo 

41  boolab

44  salmón

spain & portugal

49  cristiana miranda

68  rankin & chris cottam

76  ricky boyd SH113_p06-7.contents.indd 6

78  vw golf

81  middle east

85  shots ident 26/1/09 15:09:00

0 7 contents

17  patrick hughes

22  mike o’keefe

31 straight 8

25  coldplay

26  bruno aveillan

32  jef loeb

52  toyota scion

59  jon dunleavy

 creative   56   blogging

60  animatetv

animation 63  big red button

66  psst!

73  baileys

86 daisuke izume SH113_p06-7.contents.indd 7

87  jean-julien pous

 lucy tcherniak  88   & james willis

89 joseph pierce

90 mallorca 26/1/09 15:09:45

patrick hughes 1 7 director profile

patrick hughes


Who is Hughes? A geeky cineast who views films in strict genre order or a wild rover getting all blokey in the bush? Laura Swinton is confused...

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26/1/09 15:19:59

director profile 1 8 patrick hughes

Just when I think I’ve got Patrick Hughes pegged – an amiable blokey

friend. “It was a really amazing, beautiful experience,” he gushes. “You’re

Melbourne film buff with meticulous viewing habits and a geekish penchant

out in the bush, there’s no one around and you’re on horseback. You can just

for British comedy show Red Dwarf – he goes all rugged bushman on me.

disappear into the wilderness for days, weeks, months.”

So far we’ve been chatting about movies, a subject that inevitably brings

Listening to Hughes talk wistfully about the wilds and the anachronistic

out the nerd in any director. His father fed him ‘the wrong films too young’

mining towns that puncture the bush it’s no surprise that he’s planning to

– a six-year-old Hughes was terrified by Kubrick’s 2001 – but ever since he’s

shoot a film out in rural Victoria. Red Hill emerged from Hughes experiences

been methodically working his way through the greats and the not-so-greats

of the lonely, lawless Outback, and it’s due to be shot in May.

of cinema. There’s something slightly OCD about the way he picks a genre

“You go to these old gold-mining towns and it’s like going back in time.

and systematically ticks off every film in its back catalogue.

These towns are about 200 years old – which doesn’t sound like much to

Unsurprisingly, he’s itching for his two-year-old daughter to get past her

people in the UK – but in Australia that’s as old as it gets. There are these

Dora the Explorer phase so he can share the joys of geekdom with her.

wild outposts where one police station covers thousands of square miles.

“I can’t wait to play her some films. It’s almost like you get to be the DJ and

You can’t help but think ‘Jeez, there’s a western in there’,” he explains.

she’s the newbie who’s never been to a club and you’re playing the fresh

He describes Red Hill as a cross between High Plains Drifter and No Country

beats to her,” he enthuses.

for Old Men – a melding of his action man adventure streak and thorough

So just as a feature about Hughes alphabetising his DVD collection is writing

film buffery. It’s the story of a young police officer who arrives at a new

itself in my mind, the genial Aussie reveals himself to be a man of action, an

village from the big city with his pregnant wife. On his first day in the job,

adventurer. Surfing and motorbikes loom large in his life. He takes advantage

there’s a prison break in Melbourne and an old Aboriginal man escapes,

of international shoots to catch the world’s best waves and ride through the

returning to the village to wreak vengeance on the corrupt cops who sent

most challenging scenery on the planet.

him away for murder 15 years previously.

It’s not all boards and choppers though – back when he was 17, Hughes went

“I felt like Australia hadn’t had a modern day western but the mythology of

out brumbie chasing (going after wild horses) with his dad and a family

the landscape had been gagging for it for years. It involves the Aboriginals

Hughes immerses himself in the outback landscape he’s shooting, assuming various action-man guises

SH113_p17-21_hughes_sw.indd 18

26/1/09 15:20:21

photography 2 6 Bruno aveillan

fleeting moments Stephen Whelan is haunted by Bruno aveillan’s elusive meanings and unforgettable evocations of memory

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26/1/09 15:46:07

Bruno aveillan 2 7 photography

“The recurring theme could very well be that of

direct to film in order to capture fragmented

is fantastical and evocative; the images come

wandering, of traces, and, above all, of memory.”

and emotionally-driven “mental panorama”

to life as haunted moments that fleetingly pass

So says French director/photographer Bruno

deliberately devoid of prescribed meanings.

by the viewer, departing as soon as they emerge.

Aveillan of his latest collection, Diotopes, which

The assorted images gathered in Diotopes

“Mnemonic acquisition, such as memories, are

formed his first solo photographic exhibition last

eschew representation and illustration in favour

linked to their context and are therefore

year in Paris. Rejecting the over-determined

of an abstraction that blends light and location

incredibly selective,” embellishes Aveillan.

precision of digital photography, Aveillan shoots

into a seamless and uncertain whole. The effect

“Information that lacks a certain affective

SH113_P26-30_photographysw.indd 27

26/1/09 15:46:11

spain special 4 4 salmÓn

salmón director barcelona

spain SH113_p35-46_SPAIN_sw.indd 44

29/1/09 15:31:44

salmÓn 4 5 spain special

When it comes to spanish shooting talent, director eivind holmboe, aka salmón, is something of an oddity – most intriguingly because he is, in fact, not spanish at all. he grew up far from the costa del sol in the much chillier fish-rich climes of Norway, hence his spanish directing alias, salmón (pronounced sal–mon). add to this his former success as an agency creative in the Us, and the enigma deepens. but having inadvertently sealed his fate in the land of sun and sangria eight years ago, holmboe has capitalised on his otherness and become one of spain’s leading filmic lights. “My work obviously has a lot of spain in it, although i wouldn’t really know where that is,”


ponders holmboe, “but i think my work ethic comes from being in the Us and its

competitiveness, while i think i get my attention

From a spain-based

Norwegian former pro skier with a fishy moniker you’d expect nothing less than

quirky innovation – Isobel Roberts discovers a visionary director with global reach and a long list of dreams to detail and self-irony from my Norwegian side.” it was after a brief career as a professional skier that holmboe set in motion his desire to become photograph: albert roige & carlos garralaga

a director. a self-confessed meticulous planner,

SH113_p35-46_SPAIN_sw.indd 45

he armed himself with a rigorous strategy that began with a stint at art school in san Francisco, studying advertising and filmmaking. “i figured if you couldn’t cut it as a creative you probably couldn’t cut it as a director either,” he says, “but if you could be a creative, you could sit next to any director you wanted and learn, and shoot your own stuff when the opportunity arose. and that’s how i went about it from day one.”

29/1/09 15:31:52

the way i see it 6 8 rankin & chris cottam

How would you describe each other?

Describe your childhood.

Chris Rankin is a small boy trapped in a man’s

Chris My childhood occurred between four and

body: beautiful, innocent, charming and devious.

twelve years old. I tried to master magic and

Rankin Chris is one of the funniest people

music. I seriously found not being a competent

I know; he makes me laugh almost all of the time

close-hand magician really frustrating. I would

and he’s an incredible partner to have in life

calm down by playing a kazoo and drumming on

(without the sex, though he tells me he’s rather

a kit made out of trays and washing powder

good at that as well).

containers while wearing a full clown costume. It was clear I was either going to be a serial killer

Chris – how much pressure do you feel

or do something creative.

to be funny?

Rankin I loved every minute of my childhood

Chris I don’t really feel any pressure, but my

and was cotton-wooled by my parents from the

natural instinct is to dick around and I’ve found

day I was born. Basically, they told me I could

that I can actually get my way creatively by

achieve anything I would ever aspire to, which

making people laugh.

gave me an inbuilt belief in myself. It was a nice combination: they didn’t put pressure on me to

Rankin – why don’t you use your full name?

be something in particular, but at the same

Rankin Because my surname is Waddell.

time said to me, “You could do anything.”

I mean, would you use that if it was your surname? It makes me sound like a duck and looking like me you need all the help you can get!

the way we see it rankin & chris cottam Since joining forces in 1999, acclaimed photographer Rankin, 42, and filmmaker Chris Cottam, 35, have produced intriguing, sometimes controversial, ads for big clients including Rimmel, Elle Macpherson and Guinness, plus, a feature film, The Lives of the Saints. Diana Goodman talked to them about dicking around, ovaries, death, beauty, the Queen, Kate Moss and God...

SH113_p68-74_The Way&Baileys_sw.indd 68

26/1/09 16:31:09

middle east 8 1 regional focus


gulf Ed Jones, former regional creative director of saatchi & saatchi Middle east, examines why the region’s advertising has long languished in a creative desert and wonders who will put some gumption in the gulf

Every year or so, the worldwide CEO of each international agency network wafts into Dubai – seldom Riyadh, goodness me, no – and berates journalists and their own people about the quality of creative work in the Middle East. “Why, oh why,” they cry, as if they’re the first to have noticed it, “when the architecture is so inspiring and the construction projects so spectacular, is the advertising so drab?” Local agencies, it seems, must be staffed by talentless dolts too cowardly to tell their clients the work is crap. But do the CEOs have a point? Is advertising output in the Middle East crap? Well, yes, it generally is, as it is also in London, New York and Sydney. But a great deal of that crap work was

illustration: karl bielik,

commissioned (until the credit crunch – now there’s little work at all) by those very same clients whose iconic, imaginative projects so impress the CEOs. Curiously, not one of those ‘visionary’ developers supported interesting creative work during the boom years. And it’s not just the locally-based agencies that have failed to sell them good work. Charged with launching a world-famous project in Dubai, it was creative geniuses in the London

SH113_p81-84_middleeast_sw.indd 81

26/1/09 16:59:38

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