Skittles has been dazzling fans with Pride-themed packaging since 2020, reinventing their classic design each year to amplify awareness and spread joy. This year, the vibrant new pack, crafted by NERD’s dynamic LGBTQIA+ talents Shay Hamias and Esther Lalanne, bursts with fun and energy to honour the LGBTQIA+ community.
NERD, an eclectic team of directors, illustrators, and photographers, is renowned for their creative flair and commitment to diversity across various platforms. Their recent collaboration with Skittles on the annual Pride pack is a testament to their shared mission of celebrating and uplifting the LGBTQIA+ community with exuberance and style.
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For this project, Milana (NERDs Founder & EP) brought in visual artist Esther Lalanne, known for her dynamic style, to lead the design. Together with creative director Shay Hamias, Esther turned the Skittles rainbow into a lively scene inspired by Berlin’s Tempelhof Field. The design features hands, feet, and a single head, all engaged in different activities like roller skating, playing musical instruments, and forming a love heart with multiple hands. The design also includes an easel and a camera, symbolising creativity and capturing the moment. The vibe is confident and carefree, with the tagline: “When you find your community your colours shine.”
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Esther shared that balancing diverse identities in the design was a delicate and intricate challenge. The final artwork brilliantly captures a supportive and creative community spirit, using vibrant elements that resonate with everyone. Instead of individual characters, the design weaves together symbols that celebrate unity and self-expression, keeping the essence of togetherness at its heart.
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With Pride Month upon us, the limited-edition pack is now available to consumers, and Skittles has promised to donate $1 for every pack sold (up to $100K), as well as match donations up to $25k. These contributions will go to GLAAD, a non-profit LGBTQIA+ advocacy organisation that has partnered with Skittles for Pride Month every year for the last five years.
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We are beyond excited to introduce Karolina to our ever-growing talent roster. Karolina is an innovative filmmaker known for blending live action with analogue animation, creating a unique and textured visual style. We are excited to showcase her talent along with a strong commitment to authentic representation and inclusivity in the film and advertising industry.
We sat down with Karolina to chat through her career, favourite work and inspiration!
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Your approach to blending live action with analogue animation is truly unique. Could you share a specific project where this technique particularly challenged or inspired you creatively?
Definitely! Last year, I worked on a project that involved collaborating with a group of year 9 students from Riverside School in Barking. They had written a poem and a beautiful soundtrack, and with the help of the producer and DOP, had shot a lot of footage themselves. They had taken selfies, filmed their friends playing basketball, and recorded videos from music class. I wanted to showcase their creativity through the film, and analogue animation felt perfect to bring it all together. There was such a variety of mediums—Super 8, digital, disposable camera pictures, iPhone pictures—and this lent itself really well to the collage element of the film. To tie them together visually, I printed the footage frame by frame, drew directly on top of it, and scanned it back in to create a texture that ran throughout the film. It was really rewarding working in this way because I could draw from what the kids had already created, and this meant their personalities really came through in the film.
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Representation in the film and advertising industry is a pressing issue. How do you navigate the complexities of ensuring diverse voices are not just included but authentically portrayed in your work, and what impact do you hope this has on your audience?
A very important question! Personally, if I’m working on a project where I’m telling someone else’s lived experience, it’s crucial for me to have a constant back and forth with the subject to make sure they feel heard and that what they see reflected back at them feels like a true representation. I’m quite passionate about this topic—I’m Hungarian, and I was really sad to hear when Hungary passed a law suppressing LGBTQIA+ representation in the media. People NEED to see themselves onscreen to know there are others like them and that there are opportunities for them too.
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In terms of impact, I’m hoping for a change towards a more inclusive future where we don’t have to search far and wide for diverse talent because they’ll be right in front of us. It’s no secret that, at the moment, the industry is very white and male-dominated, making it difficult to find crew outside of that realm. I’m working on my first short film, and I wanted to make sure it had a fully female and non-binary crew so I could expand my network of talented women and non-binary folk—they’re out there and they want to be found but are often overlooked.
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Working with a range of clients from Netflix to Lovehoney must offer diverse creative challenges. Can you tell us about a project where you had to push the boundaries of your style to meet a client’s vision, and how this experience shaped your artistic approach moving forward?
Working on The Crown mini-documentary for Netflix was a creative challenge for me because it required an elegant, refined design to fit with the style of the series. My work is usually colourful and a bit chaotic, so I had to find a balance between honouring the tasteful aesthetic that the show is renowned for while making sure my style was still present. It was an honour to work with Netflix on this project, and I learned a lot about the immense amount of work and attention to detail that went into making the show.
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Your films often evoke nostalgia and have a tangible, textural quality that resonates deeply with audiences. How do you tap into this emotional connection while also ensuring your work feels fresh and relevant in today’s media landscape?
I think analogue techniques are more important and relevant today than ever before. The creative industry is fighting a battle with AI, and I’m personally quite worried about it growing to a point where humans are no longer needed to create! At the moment, though, AI animation is easily recognizable and is not yet able to recreate the look and feel of analogue media. I love that analogue techniques come with imperfections and unpredictability, which makes them more human and gives them a depth that AI content doesn’t have. So, I guess for me, to keep my work fresh, I’m looking backward to more old-school methods instead of forward.
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And to finish off, tell us a NERDy fact about yourself
I LOVE going to the cinema and getting all the cinema deals – at one point last year I had a cinema deal for every day of the week. I’m also quite obsessed with Letterboxd, the movie rating app – I log all the films I watch and rate them too.
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Today, join us for a conversation with Hayley Morris, the director behind the captivating stop-motion animation for MTV’s “How to Triumph Like a Girl.” Hayley shares behind-the-scenes insights and gives a glimpse into her creative process. We delve into her experience of navigating her first project as a new mother, adding a deeply personal layer to her artistic journey. Finally, we explore what Hayley has been passionately pursuing since then.
I was contacted by MTV to create a film for Women’s History Month through their “SEE ME, HEAR ME, KNOW ME” campaign. Their goal is to support underrepresented creatives by commissioning and paying for their creative concepts, providing funding for production, and by turning over their social and linear platforms to artists so the world can hear and see their unique voice and vision.
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It’s rare to create a project with such creative freedom and the support to make it happen. When brainstorming, I knew I wanted to create visuals for poetry. I researched many poets and writing and came across a poem titled “How to Triumph Like a Girl” by Ada Limón. I loved how it felt empowering and that’s the feeling I wanted to convey to the viewer. The MTV team contacted Ada and was able to license her poem for this piece. Once we had the go-ahead I knew I wanted to speak with other women and get their perspectives and interpretations of the poem along the way. During my storyboarding process, I spoke with colleagues, family and friends and wrote down many notes. Then I took their insights and my feelings and tried to translate them visually to Ada’s words. Working with the MTV team was so much fun. They were so kind, supportive and gave me really valuable feedback when I asked. This project won GOLD in the Fully Animated Piece category for the Telly Awards and was the 2023 Promax North America Awards Silver winner in Motion Graphics.
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Do you remember any specific life or creative lesson/s from this project?
This was the first big project I did after having my daughter. It had a different weight to it, and I think I brought this new perspective to the animation. I also had to lean on my mother and mother-in-law to help with my daughter while I dedicated time to the whole production process. The whole film and the behind-the-scenes of how it was made were possible through the help of other women. I suppose this project opened my eyes to how my creative process has changed since becoming a mom.
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I can no longer stay up until 4 am animating. I had to create a different schedule and lean on a lot of women and my husband for help. I was always resisting asking for help in a stubborn lone wolf kind of way. Now, I know it’s essential to get things done and to create good work. I had a fellow teaching colleague create a 2d animated sequence for one section that I translated into paper and worked with a compositor to compile my elements together in the final scene. It opened my eyes to the possibility of future collaborations and how to pull in other people in many ways, whether it’s in small ways like the brainstorming process or full-on collaboration.
How different was your style then compared to your style now?
I have been working on paper for a while. I love it as a medium for its endless possibilities as well as its constraints. For this project, I wanted to limit myself to watercolour paper and replacements. I discovered I loved the texture of the paper when it slightly wrinkled and went with that look throughout the piece.
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I feel like my style is always evolving and I’m always trying new things for every project… but I like to keep the same sensibilities when it comes to attention to detail, colour, symbolic representation, texture etc. Right now I’m venturing away from paper and exploring working with clay. I’m loving it! Right now, I’m creating a 1-minute animation that will be displayed on the Daniels & Fischer Tower in downtown Denver, Co. I’m excited to see my animation on this scale and how this can open my work to be shown in different contexts.
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We are absolutely delighted to introduce Manos to our continuously expanding talent roster. With his remarkable portfolio featuring delectable food photography, captivating portraits brimming with purpose, and the mesmerising landscapes of the Mediterranean, Manos brings a unique creative flair to our team. In an exclusive interview, we had the pleasure of discussing Manos’ portfolio, his award-winning image for the Portrait for Humanity, and the diverse array of influences that shape his distinctive style.
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Your portfolio reflects a deep appreciation for light, composition, and the intricacies of imagery. Could you share a moment that sparked your fascination with these elements and ultimately led you to pursue photography as a career?
Creative expression comes from diverse parenthood. So many things in one’s life, many of them unconscious, contribute to one’s style. I suppose growing up in Greece, being familiar with strong light and shadows plays a role. Warm sun, reflections, the softness of the evening. These kinds of things. Working with great people as an assistant is also quite formative. Observing art plays its role, I suppose, as does literature. One resonates subconsciously with certain elements, with certain techniques. I believe in observing the world closely and photography is pretty much the profession to follow if you are like that and a horrid draughtsman at the same time.
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Your food photography is described as natural yet inviting, every shot we look at just gives us that ‘yum’ feeling. How do you approach each food shoot to ensure the dishes not only look appealing but also tell a compelling story?
What’s important is to understand the food itself and what the shot is for. It’s like a portrait really, where you have to connect with the person at some level and convey something. I need to know what the food is about, where it comes from, and what traditions it’s connected with.
Then comes the technical part. Chat with the team if this is part of a production. Which bits need to be highlighted, how this particular food reacts with light and colour? And in the end, one has to have a story going. Where are we, where is this dish supposed to be, whose place is this? Even if it’s just a white background where the food is placed, it should bear the soul of the people involved in preparing it.
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Your Mediterranean cultural roots shine through in the textures, shadows, and colours of your work. How do you incorporate your cultural influences into your photography, and how do you believe it sets your style apart in the industry?
I believe that one’s style has to be true to oneself to have some significance. I’m equally fascinated by the South as I am by the northern crisp sunlight or the shadows of an object lit through a window on a gloomy day. Maybe having lived in Germany and the UK, being originally from Greece. I somehow came to understand and appreciate the southern narrative elements better and learn how to combine them with the northern ones. That might be one thing. And the other might be that I don’t particularly care for stereotypes and try to avoid them. Removing elements usually works better than adding.
‘Karpouzenia’ Preparation And Watermelon Juice
Winning the Portrait of Humanity award and being shortlisted for prestigious awards like the Pink Lady Food Photographer of the Year demonstrate the recognition your work has received. Can you tell us a backstory of your Portrait of Humanity winning image?
Oh, I love this image. The great thing about living in London is that you rub shoulders with all those cultures, all those different people. The shot was made in Stamford Hill, where most of the Jewish Orthodox community lives. I was working on a book about Jewish kosher cuisine at the time and Purim was going on, a religious celebration similar to carnival. People get totally bonkers there during the festival. It’s a wonderful thing to observe and interestingly not many Londoners know about it. I was roaming the streets, camera in hand and these kids were just coming out of their place to join the festivities. I took a shot, then they noticed me and as they gave me a shy smile I managed another two shots. One of them made the Portrait of Humanity competition. A lovely moment.
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And to finish off, tell us a NERDy fact about yourself 🙂
Here’s two: I love Superbad. When I edit photos I listen to weird, modular, glitch music. Or Frank Zappa’s mad guitar riffs.
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We sat down with NERD’s beauty photographer Chantel to chat through her favourite projects, her creative push and the importance of diversity and representation not only in her work but also on set.
What inspired you to pursue a career in beauty and portraiture photography, and how has your journey from art foundation to graphic design influenced your unique style?
I began my career exploring fashion photography. I was captivated by Tim Walker’s portraits. I love his wonderful, creative use of lighting and oversized props to enhance his images. Honestly, I began shooting beauty due to a lack of finding a brilliant fashion stylist, which is extremely important in fashion. To my surprise, I find so much joy in shooting beauty and portraits and wouldn’t look back. I love photographing all skin types well and capturing the realness of a person.
Your portfolio showcases a diverse range of projects, from soft and gentle portraits to bold and dynamic compositions. What is your favourite project to date and why?
There are many favourites of mine; however, if I had to choose one, it would be my ‘Synthesis’ series. I love this series because it’s not merely a portrait, but a collaborative piece involving makeup, hair, styling, and art direction. I shot the portraits alongside still lifes, which were then collaged together by the art director to form a new portrait, hence the title ‘Synthesis.’ These portraits have received much praise and recognition.
Your commitment to inclusivity and representation in photography strongly aligns with our values at NERD. How has being a black female photographer impacted your journey in this industry?
Representation is extremely important to me; being seen makes a huge difference in this industry. I address this message wherever I can. I also ensure that I have a diverse team, whether in front of or behind the camera. This diversity is reflected in my portfolio and the stories told through my work. I notice the significance of subtle surprises from models who recognise me as the photographer, and the fact that the majority of assistants who reach out to me are women of colour. They see themselves in me, which is deeply rewarding. Additionally, I strive to pay my expertise forward in various ways.
Experimentation seems to be a key element in your creative process, from playing with different lighting techniques to exploring various styles. Could you tell us about a particularly memorable experiment or project that pushed the boundaries of your artistic expression?
Yes, I love playing with light. The shoot where I pushed myself the most was in my ‘Art of Glass’ beauty series. For this series, I held different vases in front of the lens, creating a beautiful spherical viewpoint of the image that I simply could not recreate in post-production.
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And finally, tell us a NERDy fact about yourself 🙂
I absolutely love all types of puzzles whether it’s jigsaws, escape rooms, sudoku, or any puzzle where I have to solve something, I get so excited and even more when I complete it.
Catching up with Amanda, we took a peek into her creative journey and explored her sources of inspiration, her favourite work, and found out she really is a true NERD!
What has been the most exhilarating source of inspiration shaping your bold and playful style in illustration, and how has it evolved throughout your career?
I have always drawn from my own life and interests. I enjoy drawing the things I love, things I think would be clever, my surroundings, things inspired by memories, current happenings, or things I wish existed. Inspiration can really come from anywhere at any time. I have taken pictures of trash in the street because I liked how the colours looked together.
I think it’s very natural for an artist to continuously grow, and at the same time hone in on what makes them consistently and uniquely themselves. Over time, my style evolved naturally. I pretty much use the same base formula when I make new work, but expand it by tweaking things here and there. I just do what feels right to me at the time.
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Could you share with us a memorable project where you offered a clever creative angle to a concept, and how did you approach the process to achieve it?
Vice had me come up with some unique banners for each of the astrological signs for their horoscope section. This concept was inspired by a big corkboard I had in my childhood bedroom that had a bunch of my stuff stuck to it. (photos, drawings, stickers, tickets, small toys, crafts, trinkets, etc)
The creative process for this was very involved, but also very fun since they really let me run wild with this idea. I worked closely with an astrologer to come up with specific items to fill each sign’s ‘cork board’. Putting these together was meticulous since each item had a specific purpose behind it, which I still think is really cool when I look back on it.
As both an illustrator and a professor at the School of Visual Arts, how do you balance your creative pursuits with teaching and mentoring aspiring artists?
You have to make time for the things that are important to you. Both creating artwork and teaching are very rewarding to me. With my art, I do my own thing, and I guide each of my students to do their own thing, too.
I remember what it was like and how it felt when I was a student at SVA, I learned so much while I was there. And over the years, my career experiences and personal work have taught me things, too. I’m grateful to be at a point where I can pass my knowledge and help young artists blossom. Even as someone who now teaches others, my learning and development are constant.
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And finally, tell us a NERDy fact about yourself 🙂
I definitely have a bunch of niche interests, but some of my more ‘nerdy’ ones revolve around Japanese media. I have a few different old video game systems still plugged in. I never gave up playing games like Katamari Damacy and Dance Dance Revolution. I also still take care of Tamagotchi. I read manga and watch a lot of anime, too. ✌️
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Billelis’s distinct visual style serves as a testament to his unconventional inspirations. Drawing from a diverse array of influences including religious iconography, Tarot symbolism, sci-fi aesthetics, demonic imagery, Renaissance masterpieces, anatomical illustrations a la Da Vinci, classical Greek and Roman sculptures, Baroque extravagance, tattoo artistry, and adorned saints, his work resonates with a haunting beauty that defies categorisation.
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Bill’s recognisable artworks have captivated audiences across the world, propelling him into collaborations with industry titans such as Nike, Warner Music, Netflix, Red Bull, Sony, and Apple, among a myriad of others. Through these partnerships, he continues to push the boundaries of artistic expression, leaving an indelible mark on the creative landscape.
We sat down with Bill for a cup of tea, (yes he drinks tea… just like us 🙂 ) to find out more about the most prominent moments of his career and hope for the future.
What’s the most exciting place one of your artworks have lived in?
Choosing between Times Square and The Dart Milan art gallery is a tough decision! Both hold significant moments in my career and are iconic in their own right.
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What is something you’re looking forward to exploring or learning more about when it comes to your craft?
Discovering the fulfilment that arises from achieving a genuine balance between life and work has been a game-changer. Over the past decade, I immersed myself in work, but it took a toll on my personal life. Recently, I’ve made a conscious effort to prioritize my free time, and surprisingly, it has led to heightened productivity and inspiration. It’s as if setting self-imposed deadlines at the age of 35 has proven to be incredibly effective for me.
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Do you have any dream illustration projects? What are they?
We love a glass ceiling, don’t we? I have been so fortunate to work with many aspects of Hollywood and the gaming industry, coupled with the music industry and publishing book cover scene, I found myself spoilt for choice.
I have recently really enjoyed working on more collaborative projects like beer can artwork, stage art for bands and personal illustrations.
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I would love to create a coffee table book with my entire body of work, but focusing on commercial opportunities I would have to say more gaming projects and perhaps a curveball would be fashion. The tangible aspect of my work out in the world is very fulfilling.
Animators are the magicians of filmmaking – to animate means, quite literally, to bring to life after all. So today, we wanted to celebrate one of our animation directors Alicja Jasina, who fills our creative hearts every time we get to speak or see her work!
“A line is a dot that went for a walk”, as famously stated by Paul Klee, deeply resonates with Alicja’s artistic journey. For her, a line serves both as a medium and a distinct way of thinking – often defying conventional linear perspectives. Alicja’s films received many prestigious recognitions, including the shortlist at Oscars in the Animated Short Film category for her short film “Once Upon a Line”. With a blend of elegant designs, sharp wit, and a unique conceptual approach, Alicja’s boundless creativity consistently captivates and engages audiences. Commercially, her line animations have earned her campaigns for renowned brands including Google, Casper, Disney, and Airbnb.
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How did you first fall in love with animation?
Animation is part of my everyday diet, though I don’t always consume it as ferociously as in the picture below :D.
I vividly recall my first time at school at Kingston Uni when I crafted a few frames in Flash, creating the illusion of movement – it was truly mind-blowing.
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For me, in animation, the focus isn’t solely on a single frame, not even on the in-betweens, but also on what’s in between the frames – the flow, the potential, something hard to express, less defined, more ‘in the movement’.
At times, I catch myself getting caught up in the technical aspects of animation. That’s why I prefer to keep it simple – to stay grounded and remember the core essence of what I do.
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To this day, I remain intrigued by the concept of motion, and I sometimes conduct quick film experiments, treating my body as if it were an animation element – akin to being part of software moved by a cursor.
Tell us about the animation project that kick started your career?
It was my thesis project created at the University of Southern California, “Once Upon a Line.” It received numerous awards and was shortlisted for an Oscar. This recognition brought up many work opportunities and gave me the confidence I needed to pursue this career.
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From your perspective, what’s the key to animation that really lives?
Energy and thought behind it.
Show us your favourite or most impactful project that you’ve worked on – tell us, what is it that makes it special and what were the memorable moments or challenges?
“Turbo Love” was a fun personal film with a well-defined concept behind it – the kind of project I like. The real challenge for me was the shoot day.
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I asked the crew to redo certain shots many times to achieve the precise outcome I envisioned for my animation. There were moments when I sensed some frustration from the DP – you can see it reflected in his expression in the picture above :D. But perfection we did achieve!
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I learned that providing explicit instructions to our actress, Dominika, about each gesture might not be the most effective strategy for the most satisfying performance. Unlike my animated characters, who don’t require such independence. Although at times, they do take charge and start to take actions by themselves – that’s when the real magic happens, in my opinion.
Directing on a live shoot was a truly unique experience, quite distinct from my usual routine of drawing on my Cintiq. That’s when I feel I have proper control of my work. Just like in the illustration above, during the creative process, I like to be comfy and keep my feet warm 🙂
I also really enjoyed working on Swiss Life. Animate! With Alicja Jasina 138 - Nerd Blog
What sort of briefs or projects do you find more personally satisfying to work on?
Something “in line with my line”, which is a client hiring me specifically for my distinctive style. This was the case when I was approached to direct a commercial for Swiss Life bank. The client had liked my previous films a lot and desired the minimal, quirky, “smart” line animation that defines my work. When you see a big “chunk of yourself” in a bigger campaign like this, it is truly satisfying.
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Currently, I’m immersed in the creation of a short film with the potential to evolve into a show, supported by the Polish Film Institute and Pomeranian Film Fund. It tells a story of a 20-year-old Lotar who is crushed and overwhelmed by the reality around him and through immersing himself in rap music, he gradually discovers his voice. I’m lucky to be working with a talented crew of animators; without them, it would be hard to pull through – the aesthetics are much more intricate than my usual work. Even at the design stage, there were moments when I felt I might be buried under the layers of the project :D.
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Outside of the field of animation, what really inspires you?
Illustration and art. I love being outdoors as well – running, biking, roller-skating, hiking – that all gives me a breath of “fresh air”, inspiring new ideas to bring into my creative practice. Nature, traveling, spending time with friends – all that recharges my batteries.
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And to finish off, tell us a NERDy fact about yourself!
Recently, I enrolled in a course in Spanish law – pretty NERDy, right?
The winner of Portrait of Britain 2024 and now a part of the Museum of Youth Culture, we’re excited to welcome Ellie to our growing photography roster. From documenting British subcultures to partnering with brands like Adidas and Nike, Ellie’s work resonates globally.
Her unique touch lies in her use of film processes, adding a certain depth to her storytelling. She sparks conversations, challenges stereotypes, and crafts to create authentic narratives.
We sat down to chat about her inspiration and favourite pieces!
Portrait Of Britain 2024 ’Reiss Nelson – Versus”
Your focus primarily lies in capturing people, especially through portraiture. What draws you to this particular craft?
A fascination and interest in people, wanting to learn from and understand everyone & anyone around me!
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Tell us about your favourite project to date and why it has a sweet spot in your heart.
The first long-term project I worked on was photographing and interviewing women in the grime scene. I was in university when I started it and was still very much learning how to take photographs and had never interviewed anyone before. I learnt so much from that project, how to create a visual style through my imagery, how to organise shoots, how to design and self-publish a photo-book, as well as learning so much about myself, those I was photographing and the scenes I was immersed in. That project will always have a special place in my heart, and is a reminder of how far I’ve come as a photographer on my journey.
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Are there any emerging photography styles/trends you are currently interested in and looking to introduce to your work?
I’m interested in taking a deeper socially engaged approach to my work, making it a more collaborative experience. Whether that’s through adding elements they’ve created, such as their own artwork or writing, or working together to create an aesthetic that they feel honestly represents them in an authentic way.
What are your career hopes and goals for 2024?
I would love to start a new social documentary project, and to hopefully get it funded.
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And to finish off, tell us a NERDY fact about yourself.
I get very excited about alternative printing methods, for instance taking a two-day algae printing workshop with photographer Laura Pannack last summer. So much fun!
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Coming in hot is a new signing at NERD Productions – fashion, beauty & editorial director Rodney Rico. With an honors degree in Filmmaking from Kingston School of Art, Rodney made his mark crafting videos for top magazines and luxury brands worldwide. Inspired by classic films and French New Wave cinema, Rodney’s style stands out from the rest and we can’t wait to see his next creative adventure as part of our creative family. We sat down with Rodney to chat through our ‘get to know’ questions and what can we say, he really is a true NERD!
How would you describe your approach to storytelling and visual style as a director?
I’m still very traditional when it comes to filmmaking—I try to be efficient but also bring a sense of realism. I can think of many ways to set up my camera movements to convey the visual storytelling, but I usually end up just holding the camera (handheld), and it becomes more personal to the viewer.
Nerd Productions Welcomes Live Action Director Rodney Rico 162 - Nerd Blog
Tell us about your favourite project to date and why it has a sweet spot in your heart.
I wrote an essay about Disney as part of my final year project, specifically about The Little Mermaid (1989). I was approached by the producer who was organizing an editorial shoot with an actor starring in the Live Action version, so I was super keen to join. It was a full-circle moment, and I was happy with the results.
If your life was a movie, what would its genre be?
I’m a big horror fan, but I wouldn’t say I want my life to be like a horror movie—maybe more of a romance. Romanticising life keeps me happy in general, and I wouldn’t have it any other way.
Nerd Productions Welcomes Live Action Director Rodney Rico 163 - Nerd Blog
What are your career hopes and goals for 2024?
I want to work closer with different talents and get to know them better on a personal level before a shoot. I really want to capture their essence and mix my own personal style into it.
