By MCN Editor editor@moviecitynews.com

Ginsberg/Libby Expands, Adds Lisa Danna, New Interactive Team

Posted Friday, February 18th, 2011 - Comments Off on Ginsberg/Libby Expands, Adds Lisa Danna, New Interactive Team
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Ginsberg/Libby adds interactive team as well as new Director, Film and Corporate Entertainment Lisa Danna

About Lisa Danna / Director, Film and Corporate Entertainment

Lisa Danna began her career working in publicity for GS Entertainment Marketing group working on publicity and marketing campaigns for such clients as Lion’s Gate and Paramount Classics

From there she worked at Block-Korenbrot PR on film and awards campaigns for such films as Woody Allen’s You Will Meet a Tall Dark Stranger, Another Year directed by Mike Leigh, Barney’s Version starring Paul Giamatti, Broken Embraces, directed by Pedro Almodovar, and the Oscar nominee for Best Foreign Film A Prophet directed by Jacques Audiard.

GINSBERG/LIBBY INTERACTIVE TEAM

About Clay Dollarhide / Executive Director, Interactive Marketing and Public Relations
Clay Dollarhide focuses on offering GINSBERG/LIBBY entertainment clients robust and strategic digital marketing and PR campaigns.

Prior to joining GINSBERG/LIBBY, Dollarhide launched and oversaw MPRM Communications’ interactive marketing and PR practice working with such clients as Magnolia Pictures, Netflix, Roadside Attractions, Paramount Digital and ABC Family to ensure their properties make the best use of the interactive space and are able to organically and virally “spread.” Recently Dollarhide has headed online theatrical release campaigns for theatrical releases such as Client 9: The Rise and Fall of Eliot Spitzer, Monsters, The Romantics, The Girl Who Kicked The Hornet’s Nest, I’m Still Here, Freakonomics, Food, Inc., The Cove, Countdown To Zero, I Am Love, Winter’s Bone, Love Ranch, Let The Right One In, Red Cliff, District 13: Ultimatum and Howl.

Dollarhide previously headed the PR and promotions division of Deep Focus in its Los Angeles office, supervising such accounts as New Line Cinema, Roadside Attractions, Paramount Pictures, Fox Home Entertainment and Magnolia Pictures. Dollarhide began his career at MRC, working on theatrical and Award campaigns.

About Janeal Bernhart / Account Executive

Janeal Bernhart joins GINSBERG/LIBBY from MPRM Communications. As an Account Executive at MPRM with expertise in Interactive PR and social media strategy, Bernhart worked with clients such as Magnolia Pictures, Roadside Attractions, Netflix, Sony Pictures Home Entertainment, Freestyle Releasing and Strand Releasing.

Bernhart’s passion in the social media landscape has been instrumental on campaigns for the theatrical releases of films like The Romantics, Countdown To Zero, Food, Inc., Humpday and My One and Only, as well as Netflix’s national filmmaker competition “FIND Your Voice” and BMI’s Urban Music Awards.

About Brandon Nichols / Account Executive

Brandon Nichols joins GINSBERG/LIBBY from MPRM Communications. As an account executive in MPRM’s Interactive Marketing & PR practice, Nichols worked with clients such as Magnolia Pictures, Music Box Films, Freestyle Releasing, Anchor Bay Films, Roadside Attractions, Universal Studios Home Entertainment, Summit Home Entertainment and Sony Home Entertainment.

Nichols has been instrumental on online campaigns for theatrical releases, such as The Cove, The Girl Who Kicked The Hornet’s Nest, Freakonomics and Love Ranch, along with DVD campaigns for titles such as Away We Go, Knowing and District 9.

ABOUT GINSBERG/LIBBY
GINSBERG/LIBBY was formed in July 2009 by partners Lee Ginsberg and Chris Libby as a vibrant new entertainment public relations firm which specializes in film (festival, theatrical release and awards campaigning), television and corporate entertainment. The company’s current/recent roster includes ongoing work with corporate clients Endgame Entertainment, Anonymous Content, Mimran Schur Pictures, Millennium Entertainment and Film Independent (including The Spirit Awards and Los Angeles Film Festival); television campaigns for COMMUNITY, STARGATE UNIVERSE, CASH CAB, HBO Docs’ TEENAGE PAPARAZZO and the Sony Movie Channel; theatrical release campaigns for MADEA’S BIG HAPPY FAMILY, THE LINCOLN LAWYER, DRIVE ANGRY 3D, BEAUTIFUL BOY, RABBIT HOLE, FOR COLORED GIRLS, I LOVE YOU PHILLIP MORRIS, MONSTERS, THE KIDS ARE ALL RIGHT, SOLITARY MAN, THE EXPENDABLES, SAW 3D, THE LAST EXORCISM, PRECIOUS, 9 and THE HUMAN CENTIPEDE, among others.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon