shots a curious case rankin & chis cottam the brains in spain drawn together animation
113 march 2009
contents 0 6
8 virgin atlantic
12 english national opera
14 dare coffee
38 dionisio naranjo
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
26 bruno aveillan
32 jef loeb
52 toyota scion
59 jon dunleavy
creative 56 blogging
animation 63 big red button
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
PHOTOGRAPHY: CAMERON GRAYSON
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...
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
photography 2 6 Bruno aveillan
fleeting moments Stephen Whelan is haunted by Bruno aveillanâ€™s elusive meanings and unforgettable evocations of memory
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
spain special 4 4 salmÓn
salmón director barcelona
spain SH113_p35-46_SPAIN_sw.indd 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,
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.”
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
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, www.eyecandy.co.uk
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
The best ideas usually come from the most obvious places: shots
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