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TALENT POOL: Substance, not style, is the key focus of Dunhill’s new “Voice” advertising campaign that breaks this month. The ads feature men of accomplishment: television journalist Sir David Frost, artist Harland Miller and classical violinist Charlie Siem, who also happens to be screen-idol handsome. Black-and-white portraits shot by David Sims direct viewers to Dunhill’s Web site, which showcases profiles and video interviews of each talented personality. “We wanted to show an honest portrayal of masculine achievement, not a fake reality based solely on beauty,” said Jason Beckley, global marketing director at Dunhill. “It is about being who you are and trying your very best to achieve all you can, however unique and personal your goal may be.”
The campaign was created in-house and the media buy includes WSJ., T, Robb Report and BlackBook. Dunhill plans to run three campaigns a year — rather than the usual two — for the next three years, encompassing about 30 different subjects.
— David Lipke
This story first appeared in the January 11, 2011 issue of WWD. Subscribe Today.
LIFE IN PICTURES: Stepping out of the shadows for a rare public appearance Saturday at The Film Society of Lincoln Center, Peter Weir shed some light on his 35-year career. Unlike most Hollywood types whose freebies intake accelerates with fame, the Australian director prefers to cover his own costs. “A lot of the studios will fly you out to talk about films or for openings. I like to pay my own way,” he said.
Weir — whose portfolio includes “Witness,” “The Year of Living Dangerously,” “The Mosquito Coast,” “Picnic at Hanging Rock” and “Master and Commander: The Far Side of the World” — said he will continue to pursue difficult films. His first flick in seven years, “The Way Back” with Ed Harris and Colin Farrell, will be released widely later this month and tracks the 4,000-mile trek of gulag escapees. “It’s not just the laws of the jungle have changed but you must adapt. There are more children’s films or childish films. I just can’t pretend. By the way, with a final cut director like me, they know I could be trouble,” he said.
While Federico Fellini was “a high stylist,” Weir declared, “I am not a stylist.” But given his druthers, the 66-year-old would rather spend hours viewing silent films in the screening room in his home than doing anything else. “It was a different art form. I think something hypnotic happened with the close-up,” he said. “For me, the great discovery in film is the close-up — not the DVD, not sound, not color. It shows the part of a person that we don’t see that often.”
— Rosemary Feitelberg