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NORTON Motorcycles, Cafe Racer
Advertising Agency: Stockenhuber Design
Project: Print Ad Campaign Presentation “Englands Chromjuwelen”
engl. “Englands chrome jewels”
Concept/Idea/Text: Daniela Stockenhuber
Art Director, CD: Daniela Stockenhuber

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Marvel’s “The Watcher” host lorrainecink heads over to Avengers S.T.A.T.I.O.N. at Discovery Times Square to talk with Writer/Director, Joss Whedon, about Marvel’s “Avengers Age of Ultron”!

Big Eyes poster, 2015

Tim Burton to Adapt ‘Miss Peregrine’s Home for Peculiar Children’ : Master storyteller, Tim Burton has signed on to serve as director for the film adaptation of Ransom Riggs’ young adult thriller, Miss Peregrine’s Home for Peculiar Children. The novel is filled to the brim with twisted realties and dark story lines that deem Burton as the perfect director to helm such a project. Read more (x)

Yeah ! Tim is back 

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MOTO GUZZI
Project: Office Interior Design, Presentation Material, Posters
• workstation
• workbench
• sideboard low (5 drawers)
• sideboard high  (11 drawers)
MATERIAL: cottonwood, chrome tubes
Design Studio: Stockenhuber Design
Art Director, Ind. Designer, 3D Artist: D. Stockenhuber

We went to the set and someone walked over with the sonic screwdriver for me to have a look at. She didn’t know I’d seen one before quite a lot, but it’s a new one. So we held the new sonic screwdriver. There were lots and lots and lots of children in the shot, and we waited and waited. He was very busy and someone said, ‘I’ll take you over.’

I go, ‘No, no, no, no, no.’ He’s obviously running lines in the corner.’

And then he came on set and he spotted me. He went, ‘Oh. Oh! Oh!’ like that. Grabbed my hand, hauled me behind him up some stairs onto the console. He said, ‘Stop, stop, stop, everyone. Stop!’

I could see the director. She was like, ‘we’re half an hour behind, I was going to get this shot.’

He’s going, ‘Stop! Stop! This is Louise Jameson! She played the character of Leela in 1977 and 1978.’ He had it all in his head. Then someone gave him a yo-yo which he started playing with and then he went, ‘Photos. I must have a photo!’ he said. So we had photos, which was lovely.

Then I met Jenna, which was great. What a sweet woman she is. Really lovely.

Then as I was leaving he went, ‘Hey, would you like to be in this?’ I went, ‘Would I?!’ It’s like, is the Pope Catholic? Yes! And then said, ‘Ahh, I’ll see what I can do.’

—  Louise Jameson recounting her visit to the TARDIS (Dimensions, Newcastle)
‘Cart’ producer Bu Jiyoung talks about working with Kyungsoo!

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▶ Truthfully, there were a lot of big concerns that [the cast] was all proven actors, except Do Kyungsoo from EXO.

Myung Films has great experience with casting idols, and little bias. They are a film company who really knows how to work with idols. Of course, Do Kyungsoo’s self as an actor was good too. I liked his image and gaze. During his first leading, he had a calm unlike novices. When he was given directions, I saw his potential with how quickly and immediately he expressed them. Myung Films’ discernment, the ability of the actors themselves, and the casting director’s choice meshed together triply.

▶ What were your first impressions of Do Kyungsoo?

I first saw him through pictures, and they were all bright. I thought he was the type to fool around and be childish, but upon meeting him he had less talk than I expected. My first impression of him wasn’t what I thought it would be, and it was a good one. He had atmosphere and a good look in his eyes, and potential during the leading. I feel ‘Unexpected You’ is just the right way to express it.

▶ Did you give him separate guidance?

I had private meetings with the other actors two, three times, but I met with D.O. around ten times. We watched the film together, talked about the characters too, and met with his partner Jiwoo for indispensable practice. I told him we should practice extremely hard like this so he doesn’t get nervous at the filmsite. It wouldn’t do to have to reshoot after.

▶ Perhaps because of this special training, Do Kyungsoo is getting considerable amounts of great praise now.

I advised Kyungsoo many times to focus. Losing focus for even a second shows. Actors can have a character that allows them to gain experience with every take, but still since this was a first time, one can forget to look back.

© enews24

Keira talks feminism & more with The Edit (October 30th, 2014)

One look at the cover of this issue of The EDIT and it’s clear that Keira Knightley is perfectly cast as the bewitching heroine of our fashion fantasy. So it’s a shame that she doesn’t believe in fairy-tales. “I left them behind,” she shrugs. “Why should you be told to wait for some f***ing dude to rescue you?”

It’s a subject that Knightley says she has been discussing a great deal of late: gender equality and Hollywood’s double standards. “The people who make movies, whether it’s directors or producers or money people, look for things that they can identify with,” the actress explains, “and if they’re all predominantly middle-aged white men, then what you see are things that middle-aged white men can identify with. And you don’t get anything for anybody else.”

She may still be shy of her 30th birthday, but Knightley’s near 20 years of acting (she made her film debut in 1995) has given her insight into the issue to accompany her vested interest. Not that she claims to have the answers, just an increasing desire to try to find them. “A friend of mine just had a daughter,” says Knightley. “It’s a political thing, having a baby girl, in a way that it isn’t for a boy. You think, ‘Oh, isn’t this fairy-tale lovely?’ Then suddenly you worry, ‘What [expectation] am I planting with that? I don’t want her to be waiting around for a man to fix her problems.’ Maybe it’s a bit silly, but because [gender] equality is going so hugely the other way, I think it probably does take being silly to try and swing it back round.” 

It’s a divisive subject, feminism. As many women (and men) have pointed out, all being a feminist signifies is the belief that females should have equal rights to their male peers. Nothing objectionable there, surely. And yet there is a fear around it, because not all of us are entirely sure what we should be getting riled up about, what is acceptable and what isn’t. We’re so used to witnessing inequality that sometimes our reactions aren’t as politically perfect as we want them to be, no matter how good our intentions. Knightley knows exactly where we’re coming from.

“There’s a storyline in Borgen [the TV drama about the first female prime minister of Denmark] where her husband is freaking out because he’s not seeing his wife anymore and the wife isn’t seeing the kids because she doesn’t have enough time, so he’s going to leave her,” says Knightley. “And as a viewer, I went, ‘Oh my God, she has to give up her job! She needs to spend more time with her family.’ Then I realized, ‘Wait, if it was a guy playing the prime minister and his wife was freaking out, you’d go, ‘Shut up, woman! He’s the f***ing prime minister, give him a f***ing break!’ I’m a feminist, somebody who is saying there’s a f***ing problem, and I’m thinking that.”

For Knightley, though, there is no reluctance to discuss these issues. As you can no doubt tell from the swearing, it’s a subject she feels passionately about, and has done for most of her career. “I’ve turned a lot [of roles] down because of it, mostly because of really overt sex and violence that is just, in my view, not justified,” she explains. “I’m not saying that there can’t be really interesting stories about sex and violence, but a lot of it I just think, ‘This is gratuitous for the sake of being gratuitous, and you’d never ask a dude to do this.’ It’s actually a difficult question: how much flesh are you meant to bare? What are we saying is appropriate or not appropriate? We’re saying that we should be sexually liberated but then again not that sexually liberated. It’s confusing.”

It’s certainly true that Knightley is not known as a ‘sexy’ actress, but why should she want to be? She is far more interested, she says, in exploring the psyches of women trying to escape their confines. “I think I’ve specifically taken two roles in order to be the kind of female stereotype because I was just quite interested in it,” she says, “but everything else, even the period films, even The Duchess, were all about a woman that doesn’t fit into the mold and is being constrained by it and trying to break out of it.” Indeed, those period costumes that people seem to identify her with are an outward expression of that struggle. Knightley takes issue, laughingly, with the idea that she always seems to be in period pieces – “The 1700s and the 1940s really are quite different, you know” – but says that the elaborate outfits help her to identify with the role. “I like exploring [female suppression] within period pieces because the clothes are literally so constricting. And you’ve got the class thing…”

It seems a little trite then, to say that Knightley has found her own happily ever after, marrying her long-term boyfriend, Klaxons musician James Righton, in France last summer. The entire affair appeared as charmingly low-key as the couple themselves, the bride skipping down the steps of the local church wearing a recycled Chanel short tulle dress, flat pumps and sunglasses. 

Such lack of drama is par for the Knightley course. She ducked out early of a recent premiere to rush home and watch the finale of TV show The Great British Bake Off. She is also one of the few truly A-list actresses to regularly turn up to a shoot without an agent or an assistant. “Why not?” she laughs. “It’s nicer than coming in and being completely shut off. And it’s much easier to have a conversation yourself where it’s either, ‘Yes, I’ll do that,’ or ‘No, I won’t’.”

So it’s just her, in her inky jeans, oatmeal-hued sweater and beaten-up boots. In the flesh she doesn’t appear too thin in the slightest, and although undeniably beautiful, with a face-splitting smile that is pure Hollywood, it’s a beauty that is appealing rather than intimidating. In fact, there’s something about her that is so straightforward it’s almost childlike; perhaps the reason why director Lynn Shelton cast her in her upcoming film Laggies – Knightley’s character deals with her ‘quarter-life crisis’ by befriending the teenage Chloë Grace Moretz and her friends. With her own 30th birthday months away and a ring on her wedding finger, does Knightley feel grown-up yet? “I don’t know, what’s that meant to feel like?” she laughs. “There’s a concept of how you should be and I’m not sure anybody really fits into it. I hope they don’t, because I don’t feel like I do.”

Children, she agrees, could be one of the defining factors. “I’ve got friends in their thirties and they’re like, ‘I should have met the person and I should be married because I’m this age, and I should be thinking about kids.’ And you can’t say, ‘It’s OK,’ because there’s a clock with kids and that’s hard.”

Knightley herself has no qualms about ticking off another birthday. “I’m absolutely fine about it. I had a funny 22, I didn’t like that number. But 30, I’m alright with. With me, everything before 25 wasn’t so fun, but everything post has been great.” If pre-25 was so painful, did she ever think of quitting the film industry? “I can’t blame it totally on my career, it’s just the sort of personality that I was. Nothing that was designed to appeal to me at that age appealed, so I felt uncomfortable about everything – what and who I was meant to be. I felt totally outside everything.”


It was her own real-life version of a movie revelation that changed her outlook. “For some reason, on my 25th birthday I woke up and went, ‘Oh, actually, it’s alright.’ We went bowling and had lots of cupcakes and sang karaoke, which I normally hate, but it was something about doing a childish thing that was suddenly like, ‘This is really fun and I don’t have to pretend to be a grown-up or be sophisticated in some way that I really don’t feel.’ I wore awful clothes with no makeup and had a great time. The penny dropped.”

These days, having a great time involves friends, family, a good book and red wine. “I’m being educated on wine,” she grins. “I did a wine course earlier this year because I suddenly thought, ‘Cor, I drink quite a lot of this and I absolutely don’t know what any of it is.’ It was great fun. The wine was so nice that we didn’t spit it out, it seemed like a waste, so we got a bit drunk,” she laughs. “We were the drunks in the back of the class.” 

Occasionally tipsy, talented and a status quo-challenging feminist – she may not be a fan of fairy-tales, but Keira Knightley is most certainly a modern heroine.

SOURCE

Shak on a plane with musical director Tim Mitchell in 2009… / Shak en un avión con su director musical Tim Mitchell #TBT #Halloween ShakHQ

musinglink said:

What are the best ways to put illustration/art/drawings out there to help find work?

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Seriously, tho— Tumblr is the best platform for sharing art, since you can post multiple images in sequence in any size, and the feed/re-blogging features help your stuff spread.  It’s not uncommon for artists to be contacted by art directors/show runners who saw their stuff on Tumblr.  A good tandem supplement is Instagram— lots of artists there, too.

Blogger/Wordpress blogs are history.  Flickr is barely relevant.  DeviantArt’s site design makes for a messy presentation tool (Tho some pros ARE there and actively engage with fans).  Google+? …please.

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HYMER, Wohnmobile
Advertising Agency: Stockenhuber Design
Project: Print Ad Campaign Presentation
“HYMER. The million stars suite”
HL: ”Sicher könnten Sie auch in einem 5 Sterne Hotel nächtigen. 
Aber warum sollten Sie das wollen?”
Claim: “HYMER. Die Millionen Sterne Suite.”

HL:
"Sure, you could stay in a 5 star hotel.
But why would you want that?”
Claim: “HYMER. The million stars suite.”

Concept/Idea: Daniela Stockenhuber
Art Director, CD: Daniela Stockenhuber

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Coup de Grâce

Short Experimental Film - 
In Paris, a bewildered young man confides in his barber about an unusual encounter.

International Premiere - Centre Pompidou - Modern Art Museum in Paris (October 2013)
North American Premiere - San Jose Short Film Festival (November 2013)

Directed by Justin Wu
Written by Alessandra Ferreri
Starring Matthieu Charneau, Tara Jean, Michael Marenco & Frederic Quiring
Produced by Justin Wu, Duncan Way & Louis Le Bayon
Director of Photography - Kevin Foong
Assistant Director - Pierre Tringale
Editors - Pierre-Louis Guetta & Justin Wu
Music by Atrey
Costume Designer - Simon Gensowski
Sound Design & Boom Operator - Pierre-Louis Guetta
Lighting Assistants - Lauren Cooper & David Mcdonald
Make-Up - Mohammed Bouarib Ben
Hair Stylist - Michael Marenco
Graphic Designer - Joel Utter
Production Assistant - Lorena Villanueva

Special Thanks to:
The Barber Shop, Inda Prod, Jean-Paul Baptiste, Alexandre Vauthier, Charles Darnaud, Leo Freiz, Nicolas Lange, Tamara Akcay, Rodger Mikhaiel, Rodolphe D’argent, Success & Major Models