CR gets serious about being funny featuring
Wes Anderson’s Isle of Dogs, Lisa McGee,
Naresh Ramchandani, David Kolbusz, Roz Chast,
Emily Oberman, Asterix, Stephen Collins,
Dominic Wilcox and the DLR
This year’s Creative Futures as illustrated for our latest issue by Miles Donovan
For nearly 20 years, CR has been giving the next generation of talented creatives an important shove in the right direction, thanks to our Creative Futures scheme. But this year, for the first time, we’ve done away with any categories: with the way in which people work today, it seems increasingly meaningless to define them so narrowly. Indeed, the unifying theme between all our winners this year is that they unashamedly try their hand at a range of disciplines, whatever suits the project. All six of our nominees for 2007 were chosen by the CR editorial team and their work makes up a 25-page special in our latest issue (Jan 08, out now). What follows is a preview of each of our winners this year. We hope you enjoy their work…
The latest batch of live action idents for Welsh channel S4C by Proud Creative all feature elements which respond to the voice of the channel’s announcer – thanks to 12 months of research and development, not to mention the code-writing skills of directors Minivegas.
The Return of the Real #1, 2007. All images courtesy the artist and Victoria Miro Gallery, © Phil Collins
The UK television industry has taken rather a pummelling lately, from the discovery that phone line and competition fixing was widespread practice, even on shows as homely as Richard & Judy and Blue Peter, to the seemingly daily emergence of a catalogue of other “viewer betrayals”, including the discovery that even the Queen is not above being manipulated by the editor’s hand.
Into this climate comes artist Phil Collins’ solo show at the Victoria Miro gallery, where he presents the outcome of a project that began as part of his contribution to last year’s Turner Prize exhibition. Collins has been exploring ideas around popular factual programming on television, most typically reality television shows, for four years now, and he used the high profile that comes with being nominated for the Turner Prize to engage with the media about some of the issues that arise from appearing on these shows. As part of his Turner Prize exhibit, he set up a fully-functioning production office at Tate Britain, the rather sweetly titled Shady Lane Productions, and appealed for people who felt their lives had been negatively affected by appearing in reality TV shows to come forward and tell their stories, with the promise that their contributions to his films would remain uncensored and unedited.
The Daily Show weighs in and uncovers a forgotten logo from the 1936 Berlin Olympics, “Nuzi, the world’s fastest Swastika”. (Link: Unbeige)
Still from the new Ford Mondeo spot, Desire, which aired for the first time last night. If you missed it, click here to watch it
In Desire, Bikini Films’ latest spot for Ford (which screened for the first time during the Champions League final last night), a host of superﬂuous old cars are lifted heaven-ward by bunches of colourful baloons. We find out how the ad was made as SFX supervisor Mark Mason of Asylum describes his role on the commercial…