News // 7 News by rankinfilmreps
Every seven seconds, a girl's clitoris is cut off. Without anesthetization. In most cases without medical aftercare treatment, and most importantly, without legal consequences. Each year, 3.5 million girls are victims of this insane practice. Not only in Africa but here as well. Rankin’s new commercial against the mutilation of women was commissioned by Coco de Mer and features model and activist Waris Dirie with her Desert Flower Charity.
'The aim of this film is also to collect 10 million signatures by the end of 2019 to finally eradicate FGM indefinitely. British lingerie brand Coco de Mer has always stood for true female empowerment and aims to support this in as many ways possible. Waris is also the model and the new face of Coco de Mer’s ICONS range launched on 11 March (S/S '19), and a percentage of all proceeds from sales of the Icons collection go to Waris’s charity.'
Manifesto : The term “icon” can be bandied about all too easily. But that’s exactly what Waris Dirie is. Born in Somalia in 1965, Waris was subjected to FGM aged 5 and fled the country aged 13 to escape an arranged marriage. She went on to maximize her position as a model and actress to speak about her personal experience and her commitment to ending FGM globally. She founded The Desert Flower Foundation in 2002 to do just that. The intention of the film this trio has made together is that it resonates globally with people and communities. Coco de Mer and the Desert Flower Foundation have a shared ambition, fighting for gender equality and to stop FGM.
18.03.2019 // show complete article
#GetSnogging is a film-based project by photographer Rankin and creative agency THE FULL SERVICE to celebrate International Kissing Day and spread a lot of love in these testing times (Hard Brexit. Hung Parliament. The President of the United States of America). They have called on some of the industry's most creative talent, and all of you, to snog, kiss, peck, smooch and slobber in the name of love. Here is Part 1, the filmed compilation of pro moments, for you on GoSee, published on time for 6 July, one of 365 official kissing days. And you'll get your chance on Valentine's Day 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...”
And here the official PR from creative agency THE FULL SERVICE for you on 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 favorite 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 favorite 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 center 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
If one were to describe London Director Vicky Lawton in a single sentence, it would most likely go like this: Vicky Lawton is a visual fanatic. In the somewhat longer version, you will learn that Vicky has worked for renowned photographer Rankin for nine years already, where she has supported shoots for brands and world-famous celebrities such as Heidi Klum, Rita Ora or Miley 'Darling' Cyrus as Art and Creative Director. In 2011, HUNGER** magazine was born with Vicky als CD. What the magazine is all about? Vicky’s answer is as always to the point: “Fashion Baby!” (I guess with Baby she means us – which we find quite flattering). The mag comes out biannually, is chock full of celebs including Daniel Craig, Monica Bellucci or Idris Elba, and has a great website for you with an uber-cool newsletter to boot.
In 2013, Rankin and Vicky launched THE FULL SERVICE*** - their own in-house creative agency. As Creative Director, she has produced campaigns for Belstaff, Versace and French Connection among others, as well as Rolls Royce’s centenary celebration book and Ford Mustang’s launch into Europe. All in all, it's no wonder Vicky Lawton has established herself as a sexy bright light in a new wave of both female photographers and directors. This woman stands behind campaign spots for Bourjois, House of Fraser, John Frieda V Pure or Coco de Mer, the last of which we have already presented you on GoSee. Next to classic advertising, her heart throbs for the beat – and music videos for Dua Lipa, Charlotte OC or George the Poet are just her thing.
Rankin on Vicky: “She brings an edgy and provocative flair to work.” You can see this for yourself in her two short films starring up-and-coming actors Augustus Prew and Toby Kebbell, who can be seen in the Fantastic Four, Dawn of the Planet of the Apes and the Ben Hur remake. And her previous short film, Ablution, was longlisted for the Best Short Film at the BAFTAs.
In 2016, Vicky won Silver at the Young Director Awards in Cannes, and in 2017, she won the Creative Circle Award for Best New Female Commercials Director. We were able to win over multi-talent Vicky as a juror for our GoSeeAWARDS17**** in the category ART PROJECTS – to which you can submit almost everything you want from photos, collages, films... just as long as you truly believe it is an art project. Now Go & See our 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 them 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 about? 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 favorites 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 life during 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 it 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 overweight, 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 colors. I LOVE Guy Bourdin, obsessed with Erwin Blumenfeld and have a soft spot for William Klein.
*creativecircle.co.uk **hungertv.com ***thefullservice.co.uk ****GoSeeAWARDS.com - Register now, it's free !
14.06.2017 // show complete article