JW Anderson x Adobe
Thank you so much for inviting us to be part of this project. Having the opportunity to work with Adobe and JW Anderson is a real honor. We're incredibly excited to be part of it.
The idea is to talk about craft, about how artists and creators shape their work through the tools they use.
In an AI-dominated world, we want to put humans first. Generating is not the same as creating.
That's why we want to make a film where every element feels crafted, tactile, and deeply human.
ILLUSTRATION & ANIMATION
We'd love to create a hand-painted animation as an introduction to the film, inspired by the work of Ivon Hitchens and Paul Thek, and the visual language surrounding the JW Anderson universe.
This hand-painted approach will be our north star when curating creative talent, seeking out artists from diverse ethnic backgrounds and identities whose own craft and visual language can bring a unique perspective to the piece.
It would serve as the perfect opening statement for the film: creators making their craft by hand.
Paul Thek
Ivon Hitchens: Artist curated by JW Anderson
Here are a few artists whose work and visual language could also be a great fit for the illustrated part of the film.
These are some initial references to explore alongside any artists curated by JW Anderson, helping us open up the conversation and find the right fit.
ILLUSTRATION & ANIMATION
Bárbara Fonseca
Renne Ray
Pemmagranate
ILLUSTRATION & ANIMATION
Painting over footage. We would like to make some portraits of Jonathan and experiment with painting over them. We can use it for transition or like inserts.
SET DESIGN
A 70s-inspired conversation pit, surrounded by nature and natural light, referencing JW Anderson's farm roots.
We can bring rustic, handcrafted elements into the space to create a contrast between the contemporary and the crafted, the new and the rooted. Noguchi Akari lamps, wooden chairs, and raw, natural materials can help bring that balance to life.
SET DESIGN
The conversation around AI, craft, and where we as creators stand in between is huge. It's already in the public eye, and we want the set to somehow reflect that exposure.
The conversation will take place in this beautiful conversation pit, but what if we bring the outside world into it too?
Nam June Paik is a hugoe inspiration for us. We're thinking of surrounding the space with CRT TVs showing live imagery that supports and reacts to the conversation as it unfolds. At certain moments, we could even feed our own cameras into the screens, a close-up of Jonathan exposing some ideas, for example, to reinforce the public resonance around creators like JW Anderson.
It becomes almost an art installation: something that serves the narrative while making the set feel more spatial, alive, and connected to the outside world.
CINEMATOGRAPHY
CINEMATOGRAPHY
CINEMATOGRAPHY
