With barely over a week of lead time, our team helped build this stunning imagery for the launch of HBO Max in the United Kingdom. We used a fledgling AI search tool to locate the talent faces (human as well as dragon) and when the tool was down half the time we scanned whole seasons to find that perfect framing to fit the sequence of close-ups.

I produced and edited this for the film’s premiere on HBO Max. We inherited the rhythm from the theatrical trailer, but the narrative and copy needed an overhaul. I cherry-picked visuals that reinforced the power and horror of the story, then found a final line that played as a quiet counterpoint before the title hits hard at the end. That persistent beat carries the piece forward, setting tone and momentum without overstatement.

With two days left before the Academy Awards, we realized that no social content existed to congratulate Amy Madigan should she win for her brilliant Aunt Gladys from Weapons. I cooked up this bit of weirdness the day before the ceremony and it was approved with no notes.

The campaign initially followed the tone and structure of the theatrical marketing. When the brief opened up, we were encouraged to think outside the box (or I should say “block”). Once the gloves came off, I rediscovered the fun of play. A baby zombie riding a chicken goes a long way in a 15-second spot.