MICHAEL HAUSSMAN: GRAVITY – By Moholy Ground

This first person text by the artist examines gravity’s effect on human emotion, told through five high definition video sequences filmed at 2,000 frames per second. GRAVITY debuted in Los Angeles at Young Projects this past February as a video installation. MOH presents GRAVITY’s most dramatic moments in still images alongside Mr. Haussman’s exegesis and a video taken at the original exhibit.

Each of the five subjects is filmed in slow motion, floating upward then descending down to the earth, where they bottom out in gravity’s clutch. Yet each person is magically stationary. They do not move an inch. All that moves is their skin, cellulite, muscles, bones, and expression, creating a disturbing yet beautiful shift in body mass and emotion. Even the background stays perplexingly still. The total effect is that of a moving painting.

This slow motion study reveals the shocking effects of gravity upon our body. What is normally missed in the blink of an eye, is poetically recorded in extreme slow motion, as gravity takes hold and pulls the body down to earth, causing the skin, cellulite, muscles and facial expression to sag down, with a weariness, as if the subject has suddenly aged thirty years. It appears like a special effect, the force ripples from the legs up, turning the body wrinkled and saggy, with a worn, older face that is defeated and depressed. Then the exact opposite effect and emotion overcomes the subject as they are made weightless and set free. We observe the body becoming youthful, rejoicing in it’s expression and flawless skin texture, as it soars away from the earth. All physical and emotional expressions seem to float effortlessly upward in a positive, beautiful direction.

The lighting and color palette is created by a strong heavenly top light, used by Renaissance masters, which dramatically exposes the flesh as if it were moving brush strokes and reemphasizes the relation with the heavens, gravity and sheer weight of the world.

This emotional shift from optimistic youth to depressed old age provokes a very strong, emotional effect. Therefore, each person interacts with a simple, yet symbolic prop in order to gain more depth into this radical emotional shift.

Read the Full Article at Moholy Ground 


Rolling Stone: Madonna’s 20 Greatest Music Videos – Take a Bow – Michael Haussman

Express Yourself: The Making of Madonna’s 20 Greatest Music Videos

Since first storming MTV in 1983 with the poetic, lo-fi “Burning Up,” Madonna’s music videos have spent more than 20 years sparking conversations about fashion, feminism, sex, religion and what you could and could not show on television. To help her realize these 67 clips — one of the most rapidly changing visions in pop history — she teamed up with some video and photography’s most celebrated artists, including David Fincher, Jean-Baptiste Mondino, Herb Ritts, Mark Romanek, Chris Cunningham, Stéphane Sednaoui, Jonas Åkerlund, Luc Besson and more.

“Madonna was the one you had to get,” says Michael Hausmann, director of her mid-Nineties clips for “Take a Bow” and “You’ll See.” “That was the video that would be the most airtime. It was, in some ways, kind of more important than having a movie out. More people were watching it, that’s for damn sure.”

To celebrate our cover star, we caught up with many of the directors behind some of the most iconic (and controversial) images in music history.

Remembers director Michael Haussman about this love story filmed in Spain, “She said, ‘OK, Here’s the song: It’s about a girl in love with a public figure. Write something, but just don’t make it dark.’ So, of course I went and wrote something really dark.” Madonna and the director met at the Ritz in Paris, tabled the discussion about his dark idea until dinner and started making small talk. “She says, ‘Well, what have you been doing?’ And I said, ‘Well, I’ve been really into filming bullfights and stuff.’ And I just saw this sparkle in her eye and suddenly I just kind of went with it. Pretty sure the while thing was written [that] night.” The sepia tinged video mixes shots of real life bullfighter Emilio Muñoz with Madonna for a clip that’s sensual, majestic and features steamy footage of the pop star writhing in front of a TV. “I thought it was going to be [difficult to direct] but then it was one of the sexiest things that I’ve ever seen,” says Haussman. “She would just play the song through and go for it.”

Michael Haussman, director: It became epic in proportions to try and actually do that video because it was such a taboo subject. There were several times when it was gonna be cancelled because of PETA getting involved, saying, “We understand you’re going to film a bullfight?” And originally I was. I was gonna try to film a bullfight where the bull gets killed and everything, and that was kind of the idea to stay true to it. And [it] became kind of obvious…we can’t stage a bullfight for a Madonna video, that’s not going to go across too well….And sure enough, it was such a fiery topic that we had to have to have the police in my office in London opening our mail because a lot of animal rights groups send letterbombs to scientists and things. The producer had a rose taped to his door and it said, “Hasta la vista, baby!” All kinds of really scary shit. I had to check under hotel under different names, which I’ve never had to do, when I was in Spain.

The bullfighting world didn’t want anything to do with someone that’s gonna come in and [try to be] commercializing them. What helped was that I had a super passion about it…I knew enough that I could say, “Listen: I want Emilio Muñoz and I can tell you about every fight he had last year, every outfit he wore and where he fought.” It was kind of funny because everyone said, “Well, he’ll never do it, Emilio Muñoz — why don’t you look at these other guys that are seeking publicity. And those are the guys you didn’t want! So that was a whole trip in itself — literally sitting in hotels in Seville, waiting to meet this guy. Waiting for four days passing — and it’s only his guys coming to scope you out and see if it’s real and it wasn’t some television show where they do pranks on people.

One thing we had to promise was that we’d never harm the bull in any way. And that became a real touchy subject because a bullfighter can’t really fight a bull unless he’s been harmed in some way. Usually they do a pick to his shoulder and that makes his head go down so that he could go use the smaller, red cloth called a muleta. So, if suddenly, we were not able to pick him or have any trace of blood on the bull, so how is he supposed to use this red cloth? She was set to fly out in two days and he was set to come the following day — it was right down to the wire. So I posed him the problem and he didn’t really say anything except, “OK, let me think about this.” And he just kind of of disappeared for two days. No one could get him on the phone. She gets on an airplane to come out. So, the drama was just fantastic! So he finally arrives and says, to the Spanish press, “I’m going to fight this bull, I’m not going to pick or bandeira him. it’s going to be the first time it’s ever done and I’m going to do it. I’m going to do it for my friend Michael.”

I don’t think [the bullfighting community] ever really wanted it to get out because he was able to fight that bull fine and it was beautiful and the bull never got hurt…at all. But you have to understand the reason that can’t happen is, unfortunately, [bullfighting is] about the celebration about killing of a bull. So it kind of took away the reason it why it exists for the Spanish. And also, when you’re looking at the footage, it’s pretty outstanding what he does. He’s not just fighting it — he’s fighting it beautifully. It’s gorgeous. It was all cloaked in secrecy. He wouldn’t do it unless no one saw. It was just too weird that a bullfighter’s fighting a bull that’s not picked or bandeira’d

Read more: Express Yourself: The Making of Madonna’s 20 Greatest Music Videos – Take a Bow – Michael Haussman


The Powerful Effects Of Gravity On The Human Body Are Shown In Their Full Glory In This Artistic Video – By Lost at E Minor

For Michael Haussman’s Gravity installation at the Young Projects Gallery in Los Angeles last year, he revealed a beautiful video shot at 2,000 frames per second to show the powerful effects of gravity on the human body. The video was made by synching the camera to the movement, so it actually seems like the subjects are standing still as their body wobbles, and jiggles and does just what it’s meant to under the intense pressure of gravity.

As Haussman says: ‘Each of the five subjects is filmed in slow motion, defying gravity, floating upward, then descending downward, bottoming out in gravity’s clutch; yet each person is magically stationary’.

Read the full article on Lost At E Minor 


Haussman Boldly Goes for Norton

Majestic camerawork on global work for malware security giant Norton inspires us all to move boldly through life with our privacy intact …

Los Angeles, CA (June 4th 2014) – Person Films / HSI Productions have teamed up with Grey, San Francisco to release sweeping new work for malware protection giant Norton, breaking this week as part of the brand’s integrated global campaign.

Directed by Michael Haussman, “Boldly Go” features portraits of individuals moving through life with a sense of passion and adventure. Inspiring poetry plays alongside encouraging us all to move brazenly through life. It’s work that successfully personifies Norton in modern times – people busy living their technological lives in comfort, all along knowing that their security and self-assurance is intact.

“People’s intimate thoughts, cherished ideas and connections are shared in so many different ways – but all in ways that need to be shared safely,” explains Curt Detweiler, CCO at Grey, San Francisco on Norton’s modern demo. “It’s a different world than it was ten years ago.”

“Boldly Go” was shot in Rome through Person Films, Italy with an extensive list of characters, the city’s modern architecture and extensive locales imparting an attractive, international feel. “The agency approached me with an open script, the anchor being the poem,” explains Haussman on shaping the work. “The challenge became how to demonstrate the benefits of using the product’s intangible protection service. We recognized that Norton is selling a positive lifestyle and the action of people moving forward into the world would personify that.”

Haussman’s use of documentary-style filmmaking and hand-held camerawork also imparts an authentic feel to the work, while black and white photography adds a majestic feel – the only color used being Norton’s trademark yellow insignia in each spot.

“We all recognized Michael’s ability to stay focused and make decisions quickly without compromising on artistic vision,” notes Detweiler on the campaign, previously collaborating with Haussman while Regional Creative Director at TBWA\G1\Europe in Paris. “He knows what standard is needed creatively and gets to the story in a more emotional way, and creates work that is very honest and genuine.”

Digital spots from the campaign will be seen on YouTube plus sites including CNN, Inc., Forbes and CBS News. The work follows on from a slew of successful campaigns for Haussman this year including powerful spots for Budweiser and United Airlines.

Haussman is also in pre-production on “Good Guys,” the compelling tale of two Americans who meet in an Italian hotel. One dies, the other taking on his identity as a means to alter his bleak future – instead inheriting a life that changes him from a good guy to a bad guy. Stephen Dorff is set to star, while other casting is currently under way.

NORTON “BOLDLY GO” / CREDITS

Client: Norton
Agency: Grey, SF
Production Company: Person Films / HSI Productions
Director Michael Haussman
HSI Executive Producer / Managing Director Rebecca Skinner
Person Films Executive Producer: Cecile Leroy
Producer: Linda Masse
Line Producer: Fabiomassimo Dell’Orco
Cinematographer: Paolo Caimi
Editing Company: Union
Editor: Marco Perez

Simon Wakelin
Press Liaison
fastlens@icloud.com / t: 213.864.9439


PERSON FILMS & ANOMALY: “ALWAYS THERE” FOR BUDWEISER

FOR IMMEDIATE RELEASE

 PERSON FILMS & ANOMALY “ALWAYS THERE” FOR BUDWEISER

New Budweiser work reveals how integral baseball has been to American society

Los Angeles, CA (April 4th 2014) Person Films has teamed up with Anomaly New York to create “Always There” for Budweiser, an emotionally charged journey playing across multiple eras in baseball history.

Directed by Michael Haussman, “Always There” features pivotal events in the sport’s past with Bud close at hand. The spot continues the director’s relationship with Anomaly, previous Budweiser work including “Anticipation” and “Coming Home.”

“Always There” begins with a locomotive barreling toward us full of businessmen with newspaper headline: “Yankees Buy Ruth.” We then sweep seamlessly into a Brooklyn apartment as fans listen to Lou Gehrig’s famous speech. Sliding effortlessly into the next era we uncover an old timer seated at a bar, eyes welling with pride watching Satchel Paige on TV, the first African American pitcher to play in the majors.

Hank Aaron greets us next, on a color monitor at a swanky ‘70s house party rounding the bases to celebrate his 715th home run. Carl Ripken Jnr., follows, embodying pre-millennial baseball. The heartwarming spot ends with the Boston Red Sox celebrating victory at the 2013 World Series – their first since 1918 when Babe Ruth played for the team.

Academy Award winning costume designer Colleen Atwood (“Chicago,” “Memoirs of a Geisha” and “Alice in Wonderland”) was on hand to garner precise looks for each time period, while DP Paul Cameron (“Total Recall,” “Collateral,” “Man on Fire”) worked closely with Haussman to create overexposed flashes and pulsing movement to lavish scenes with an old-school camera feel.

The commercial reveals how integral baseball has been to American society and how Bud has also been there to celebrate the sport’s triumphs. “Anomaly came up with an amazing concept that was very distinctive and emotional – the history of Budweiser as told through the sport of baseball,” notes Haussman.

A global campaign for United Airlines rounds out recent work for Haussman, currently prepping on a Norton job through Grey, San Francisco. Anomaly, meanwhile, continue going from strength to strength, recently appeared in the highly touted 2014 “Agency A-List” report in Advertising Age.

Haussman’s emotional tour-de-force “The Audition” is also of note, work that competed at the Venice International Film Festival and currently in the Oscar- qualifying shorts competition at the Nashville Film Festival.

 

 

BUDWEISER “ALWAYS THERE” CREDITS

 Agency:                                              Anomaly

ECD:
                                                     Eric Segal

Copywriter:
                                       Johnny Dantonio

Art Director:
                                       Mark Sarosi

Head of Production:                          Andrew Loevenguth

Senior Producer:                                    Carrie Lewis

 

Production Company:                                  Person Films

Director:
                                                          Michael Haussman

Executive Producer: 
                                    Rebecca Skinner

Producer: 
                                                       Ron Mohrhoff

Editor:                                                             Biff Butler (Rock Paper Scissors)

 

Post FX:                                                         The Mill

DP:
                                                                 Paul Cameron

Production Designer:                                Jason Hamilton

Costume Designer:                                      Colleen Atwood

Makeup Artist:
                                             Brad Wilder

Hair Stylist:                                                   Martin Samuel

##


THE AUDITION TO SCREEN IN OSCAR-QUALIFYING SHORTS COMPETITION AT NASHVILLE FILM FESTIVAL

Live Action Shorts in Competition – Academy Award™ Qualifying Category

The Audition | Director: Michael Haussman. Italy. 11 minutes.
This scene begins as a playful challenge between two actors. What happens seems unplanned – as emotions become involved and they fall in love. The audience asks: Is this real? Or just really good acting?

Click here to read the article.


The Audition Wins Best Short At Byron Bay 2014

When the act of passion becomes reality

A sizzling power play between two actors falling in love, The Audition, which appeared at Venice Film Festival 2013, is a film that explores what happens when business unexpectedly mixes with pleasure.

This scene begins as a playful challenge between two actors, at first trading just words. But it soon transforms into a war of emotion, as they try to conquer each other in proposition. The weakest will fall in love. What happens is unplanned – the consequences of their game – as their real emotions become involved and they both actually fall in love. Both are losers, or winners, but neither is giving up. It is as if they had gone through an entire relationship in the time it took to read the audition – and now they must separate, as scripted, and end it. Like a break up, it is hard. The audience continues to ask themselves: Is this real? Or just really good acting? At this moment, it seems possible that even the actors themselves do not know, because the emotion between them is that real.

The Audition is a cinematically captivating short film by award-winning director, writer and artist, Michael Haussman who has directed music videos for Justin Timberlake, Madonna, Chemical Brothers, Kanye West, Usher, Shakira, Chris Cornell, Eric Clapton, and won several MTV and VH1 awards. Haussman’s commercial campaigns include work for Levi’s, Diesel, Absolut, Bulgari, BMW, Yves Saint Laurent, Guinness, Ray-Ban, Coca-Cola, and more.

Click here to read the article.


Examiner.com Coverage of New United “Athletes Aboard”

United Airlines set to debut rousing Sochi Olympics TV spot (Video)

The Sochi Winter Olympics begin Friday as athletes from all over the world convene for the opening ceremonies.

United Airlines will be there too as the Chicago-based airline debuts its stunning 60-second Olympic-themed commercial from ad agency McGarryBowen/New York. The spot will air for the first time during Friday’s Olympic opening celebration.

The Olympic Games are a big deal for United.  And the airline’s visually- and aurally-thrilling new TV spot is a major reflection of that.

United has been the official carrier of the United States Olympic Committee and Team USA for the past 34 years. In that official capacity, United has ferried America’s athletes to and from every Olympics, as well as related competitions, training events and Olympic Trials.

Titled “Athletes Aboard,” United’s Olympic spot was filmed on a United Boeing 777 widebody airplane parked in a United hangar at Los Angeles International Airport (LAX), as well as around the plane and at a boarding gate inside the Los Angeles airport.

“Athletes Aboard” features some of the prominent American athletes participating in the Sochi Games, including Chicagoan Gracie Gold, the reigning women’s U.S. figure skating champion, and Shani Davis, a gold medal-winning Olympic speedskater also from Chicago.

Viewers of “Athletes Aboard” will immediately discover this is no boring, run-of-the-mill commercial comprised of athletes sitting around an airplane. No way.

Click here to read the article.


Haussman’s “Athletes Aboard” Featuring Team USA 2014 Earns Ad of the Day from Adweek

‘Athletes Aboard’ to debut during Opening Ceremony

By  February 5, 2014

Now that the Super Bowl ad bonanza is (finally) over, it’s time we all take a well-deserved break from obsessively tracking TV spots created for major sporting events. Just kidding! The 2014 Sochi Winter Olympics is just a day away (although the opening ceremony won’t air until Friday—figure that one out), and while Sochi is still scrambling to finish preparations for the big event, here in the U.S., marketers have already kicked off an onslaught of Team USA-themed campaigns.

One of the latest comes from United Airlines, which, in case you were unaware, has been the official airline of Team USA for the past 34 years. In “Athletes Aboard,” a 60-second spot created with mcgarrybowen, we get a look at how the athletes are traveling to the Sochi Games. (That is, if their flights haven’t all been canceled. Thanks, weather!)

“Athletes Aboard” manages to fit an impressive amount of Team USA fervor into a single minute. Since Olympians aren’t nearly as much fun when they’re not actually competing, the various skaters, bobsledders, skiers and lugers featured in the ad arrive for their flight already suited up for the games in copious amounts of red, white and blue. (No word on how those razor-sharp skates were able to make it past the TSA officers.) For the soundtrack, we get the patriotic favorite “Rhapsody in Blue” because what’s more American than Gershwin? (Oh right, “America.”) And to narrate the spot, United hired the universally beloved Matt Damon.

“The spot playfully celebrates United’s unique familiarity with the needs of Team USA, and it evokes huge pride to see both athletes and employees—all real—who, each in their own way, ‘carry the hopes of a nation,’” said mcgarrybowen ecd Haydn Morris.

In addition to the TV spot—“Athletes Aboard” will make its prime-time debut during the Opening Ceremony on Friday evening, and two more spots are planned to follow—United has also invested in a heavy social media and native ad push. The company will be asking viewers to use the hashtags #AthletesAboard and #TeamUSAfriendly in their Olympic tweets, and will also be sponsoring interactive content on The New York Times’ website, videos on Yahoo Screen and BuzzFeed posts.

Click here to read the article.


PRESS RELEASE: HAUSSMAN’S ‘THE AUDITION’ TO SCREEN AT LONDON LIFT-OFF

HAUSSMAN’S THE AUDITION MOVES ON TO LONDON LIFT-OFF

Los Angeles – November 21, 2013 – Person Films director Michael Haussman today announced his newest short film The Audition is confirmed to screen at the third and fourth film festivals since its premiere. The Audition world premiered in September during the 70th annual Venice International Film Festival. This film’s public screenings thus far span the globe; premiering in Italy, then closely followed by a U.S. premiere in Los Angeles. Next up is 2013 London Lift-Off, held November 30.

This film is Haussman’s second short to premiere at an international festival. It is also his second film to premiere at a prestigious festival this year (his documentary Unsinkable Henry Morgan premiered at Sundance). Haussman’s first short scooped the first prize at the Berlin, Houston and Aspen Film Festivals. The Audition has received significant attention not only due to Haussman but also because it stars two famous Italian actors – Valeria Solarino and Marco Bocci – in addition to being shot at historic Cinecittá Studios in Rome. Haussman calls The Audition his “ode to acting” and considers the film to be a romantic homage to Cinecittá Studios.

“I set out with the question: Is it possible for two actors to become so wrapped up emotionally in their role that the feelings become real? This is the premise,” Haussman told Italian press.

Haussman says that Cinecittá Studios’ iconic status and surreal sets were integral to the spell created by the film. In his words the film is intended to “leave us asking the questions:  Did these two people know each other from the past? Will they have a story in the future? Or was it all just very good acting?”

The Audition was selected to close the “Identity” program during the 2013 L.A. Shorts Film Festival, and was one of few films selected for the Orizzonti Competition category at the Venice Festival. VanityFair.it called the film an “intense black and white.”

The Audition is written and directed by Michael Haussman. A feature interview with Haussman appears in the current issue of SHOTS Magazine.

Cecile Leroy and Rebecca Skinner produced the film for Person Films.