May 1, 2018
Text Only Version
In This Issue
AICP Show and Next Awards Shortlists Released: Curatorial Committees Meet in New York City
An Exclusive Q&A With 2018 AICP Show Chairperson Robin Shenfield of The Mill
2018 AICP Week Passes and Tickets Are Now Available
New LUMBERYARD Studios in the Hudson Valley - Ready For the Commercial Production Community
AICE Awards Insights: Sound Lounge's Tom Jucarone and Rob Sayers on Mixing Hennessy's "The Piccards"
The AICE Awards Head for Culver City Next Week
View All 2018 AICE Awards Shortlisted Entries
50% Off Film in California Conference Registration For AICP Members
AICP/West Town Hall on Cybersecurity
The AICP Production Training Seminar Held in Chicago and Coming Next to Dallas
Line 204 Approved to Break Ground on 240,000-Square-Foot Sun Valley Studio Complex in September 2018
AICP Membership Continues to Grow

Visit the AICP Calendar on for all upcoming dates and events...

May 1st, 2018 - Business Affairs Roundtable in New York

May 9th, 2018 - Business Affairs Roundtable in Los Angeles

May 10th, 2018 - 2018 AICE Awards in Culver City, CA

May 15th, 2018 - AICP Labor Roundtable in Los Angeles

May 19th & 20th, 2018 - AICP Production Training Seminar in Dallas

June 12th - 14th, 2018 - AICP  Week in New York City 

An Exclusive Q&A With 2018 AICP Show Chairperson Robin Shenfield of The Mill

Robin Shenfield, Co-Founder and CEO of The Mill, is the Chairperson of the 2018 AICP Show: The Art & Technique of the American Commercial. The AICP Show is one of the tent-pole events of AICP Week, which also includes the debut of the AICP Next Awards, as well as various creative and educational sessions at the AICP Week Base Camp.

The AICP Show debuts on June 14th at The Museum of Modern Art (MoMA) in New York, before going on tour around the U.S. and other countries – for more information, click here. Robin recently sat down and answered some questions about his tenure as Show Chair.

What was your reaction when you learned that AICP wanted you to Chair this year’s AICP Show?

Excited and honored of course but above all I saw this as recognition of all that The Mill has contributed to the industry since we opened the first of our US studios sixteen years ago.

You’re one of the first Chairs to come from a digital/visual effects production background. What does your selection say about the changing nature of how brand content is made today?

The best creative opportunities are ahead of us. I really believe that. New technology is creating new storytelling formats, some of which come and go before we’ve even fully registered them.  These don’t make obsolete the amazing skills that exist in our industry. On the contrary, their success utterly relies on the creativity, craft and dedication that we celebrate in the AICP Show. Given all the recent debate about personal data driving ad impressions and transactions, it could be tempting to take a downbeat view on future creative opportunities. That would be a mistake. For sure, there are big changes happening but there is much to be excited about.

AICP merged with the post production trade association AICE at the start of this year, which means AICP now encompasses both production and post production members. What does suggest about where the industry is headed?

The industry we are all so privileged to work in needs constant support and advocacy. From production, through editorial, post, visual effects, digital and experiential. The creation of one organization with the capability to champion the breadth of our industry is a giant step forward. Chairing the AICP Show really brings that home to you. This is the 27th year of artful, culture-defining advertising work being honored at MoMA. This is never something we just take for granted; the great spectrum of skill that exists in our industry needs to be constantly protected and supported.

What goals or objectives have you shared with the Show committee? The Mill will be doing titles for the Show. Any glimpses into the process?

The top priority for the Committee is to ensure that the best work gets entered. Simple, yes? In practice, no because the budgets available for entries to award shows are shrinking. Everyone needs reminding of the unique place that the AICP Show occupies; celebrating the process by which great ideas are executed to a brilliant level. The Committee are the unsung heroes of the Show, chasing down people to enter work, providing input into the experts who winnow a huge number of entries into a shortlist for the Curatorial Committee. Over at Mill NY, a team are working to create the titles for the Show taking a highly unconventional approach. It involves a combination of AI and real-time technology. It should be fun though with the serious intent to show that innovation from many places can be creatively inspiring.  I just hope it works on the night!

When The Mill first entered the US market back in the early aughts, did you ever imagine the company would occupy the place it does in our industry today? What’s been most gratifying about The Mill’s success in the US?

From the very earliest days of The Mill I wanted us to have a presence in the US. Rather pointless debate used to rage at Cannes about the work of the UK industry vs. the US. Which was best? It was such nonsense because, advertising then, as now, was becoming increasingly global with the US leading the way. In the US there is a readiness to experiment. I have always admired that. I think we brought something creatively new to the US, a different aesthetic. That we are in the US at all, by the way, is remarkable. Our investors in 2001 were resolutely opposed to the idea but fortunately two kind Mill patrons Jon Kamen and Frank Scherma gave us temporary home and that was that. I was able to deny having opened in New York at all for at least six months. By which time, no would could deter us from staying! Given all that has happened since, this still makes me smile.

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