By Ray Pride Pride@moviecitynews.com

Ridley Scott’s RSA Film and Wild Card Launch “Next Generation Marketing” For Global Audiences

RSA FILMS AND WILD CARD DEBUT JOINT MARKETING VENTURE: 3AM Supported by Ridley Scott’s RSA Films and Wild Card, New Creative Consultancy Offers Studios Next Generation Marketing

LOS ANGELES, CA, Oct. 30, 2014 – Wild Card, an industry leader in theatrical advertising, and RSA Films, Ridley Scott’s award-winning commercial production company, have launched 3AM, a new venture geared towards the development of new forms of content and marketing for modern, global audiences. As a specialized consultancy, 3AM will collaborate with Filmmakers, Studios and Brands in the early stages of film production to create integrated content and marketing extensions.

The new company will bring together an array of expert creative talent across film, advertising, and branded entertainment, offering partners an agile model for creating and delivering content.

RSA President Jules Daly and Alison Temple will both serve as Managing Partners of 3AM. As an almost 25-year veteran of RSA Films, Jules Daly brings both commercial and theatrical creative production management chops to 3AM. Under her leadership, RSA has established a reputation for excellence and innovation that is revered throughout the industry and has garnered the industry’s highest accolades.

Alison Temple, who will oversee the day-to-day operations of 3AM, is best known for her work at Fox Filmed Entertainment and her creation of its Creative Content Department in Domestic Theatrical Marketing. As Executive Vice President of the department, Temple is credited with generating groundbreaking content and working with the filmmakers and talent to create innovative marketing material for the projects. Temple was part of the core team that successfully launched campaigns for mega-franchise properties such as Avatar, X-men, Planet of the Apes, Alvin and the Chipmunks, Rio and Ice Age.

“Film studios have an entirely new and unique set of challenges when it comes to marketing movies,” said Jules Daly. “RSA and Wild Card realize that Hollywood marketing today is a beast of its own consistently challenged with capturing consumer interest. As a joint entity of such esteemed creative companies, 3AM can help alleviate those challenges and work with the studios to think outside the box and deliver groundbreaking creative.”

“Our goal with 3AM is to meet the needs of shifting consumer expectations around content” said 3AM’s Alison Temple. “To get there, we will work with the filmmakers, Studios and Partners before they start production to identify opportunities to align story and marketing. Combined with the strength of RSA filmmakers and artists we will be able to collaborate with the studios to create world-class marketing concepts across all platforms.”

Built on a partnership between RSA Films and Wild Card, the 3AM team’s vision is to help create tomorrow’s most exciting entertainment experiences utilizing the collective power of storytelling, advertising, culture, and technology. 3AM is headquartered in Los Angeles, California. For more information please visit:www.its3am.com.

 

 

ABOUT RIDLEY SCOTT AND ASSOCIATES

Founded by Ridley and Tony Scott in 1968, RSA Films is one of the world’s leading commercial production companies.  Headed by President Jules Daly, RSA is at the forefront of creating innovative groundbreaking advertising campaigns for some of the world’s most recognized brands.  Headquartered in Los Angeles, with offices in New York, London, Hong Kong and Shanghai, RSA has a roster of over 70 directors, including Kathryn Bigelow, Martin Scorsese, Sam Mendes, and Neill Blomkamp and has received numerous Golden Lion, Emmy, BAFTA, AICP, Clio, MTV and MVPA Awards since its inception.

 

ABOUT WILDCARD:

Wild Card is an award-winning entertainment advertising agency specializing in innovative theatrical film marketing. Located in Culver City, CA, Founder and Editor Nick Temple and his team make up this diverse group of highly skilled editors, graphic designers, and music supervisors. Wild Card works with filmmakers across all major studios to develop teasers, trailers, and TV spots for major feature films and television shows.  Wild Card has proudly worked on a range of titles including blockbuster franchises like Planet of the Apes, X-Men, Transformers and Avatar, animated titles like Rio 2 and Book of Life, and other projects including HBO’s True Detective, Disney’s Maleficent and Warner Bros’ Great Gatsby. Wild Card’s unique perspective and dynamic work environment allow creativity to flourish.

 

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One Response to “Ridley Scott’s RSA Film and Wild Card Launch “Next Generation Marketing” For Global Audiences”

  1. Dan says:

    Let me know if you need a Bearded actor who is a long time member of SAG. 🙂

Quote Unquotesee all »

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