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Nerve Films Puts Finishing Touch on Gap’s “Merry Mix It” Holiday Commercials Amongst Others

Nerve Film’s Ash Beck Lends Fine Artistic Eye To High Performance “Armada� Spot For Auto

Acclaimed Los Angeles & Mexico City VFX Boutique Delivers for Toyota, Nestle, Unilever

HERMOSA BEACH, Calif., Dec. 9, 2008 ― “We’re progressively becoming the go-to destination for the more artistic jobs,� says Visualist Ash Beck, whose Nerve Films recently served as the finishing house for Gap’s “Merry Mix It� holiday spots, currently seen in theaters as well as on the Web. “Especially with celebrity cast, beauty work is one of our major specialties. One of the reasons I started Nerve was to better integrate my formal training as a fine artist and photographer into commercial and film projects.� I’ve been fortunate to have several overlapping talents that are hard to find in one person, including that ever-popular severe masochistic nature toward deadlines that seems to be very popular these days.

Nerve provided finishing touches to nine Gap videos (for Laird + Partners), each of which features some combination of Rainn Wilson, Selma Blair, The Dixie Chicks, Sandra Bernhard, Jason Biggs, Romany Malco, Freddy Rodriguez, Jon Heder, Janelle Monáe, Flo Rida and Trey Songz performing holiday classics. “Our participation in this campaign will most likely surprise people who only know our automotive work,� Beck ventures, “but then again I have retouched for many of the Greats, including Herb Ritts. I really enjoy the organic aspects of fashion and style, which has always been present in my music video work as well as print and photography.

Beck’s highly developed aesthetic sense plays a similar role in every aspect of his work. To achieve balance, we not only ask, ‘Are the proportions right?’ but most importantly, ‘Does it project a definitive mood and style?’ How the various elements work together has to be iconic on it own merits inclusive of the project and brand. Look at 90% of the work out there. It says we finished our deadline and its’ on air, but has little to do with actually achieving anything, including its intended purpose…sales.

Beck brought these values to Mexico City in April when he inaugurated Nerve Films’ Lomas operation. Since then, he and his team have debuted a constant stream of commercial productions, including spots for Toyota, Nestle, Unilever (for its top-selling Brazilian soy beverage AdeS) and the Cancun Convention and Visitors Bureau. “Collaborating with [directors] Simon Bross – the Joe Pytka of South America – and Daniel Gruener, both of whom have significant feature experience, is very satisfying,� he says. “We’re working with some of the best talent in Mexico and Latin America� including the best Post Production talent there as well including Tono Ramirez who is the top telecine artist in Latin America. I’m proud to say that Nerve is opening its doors with the market’s most talented artists.�

Stateside, Nerve remains committed to its automotive base, having just updated’s wildly successful “Armada� spot. “It’s done wonders for their numbers,� Beck confirms, “so we refreshed it for ’09 by extending some of the CGI action scenes.� The spot reiterates Beck’s status as a Visualist – In a landscape of thousands of cars, of which only two cars are real within the entire spot, we convey a story about choice, down to the last selected detail. The compositions, are based around selection and pure automotive performance to give an edge of excitement to the personal experience of choosing your new car. “We designed each frame so it can exist as a tell-tale photograph,� he says. “The strength of the composition is critical.�

The same parameters of aesthetics Beck applies to his client’s work, stems from his own. These are exactly the sort of considerations that are present in Beck’s photography, four examples of which (the otherworldly landscapes “Silhouette� and “Giant Cloud� and the architectural studies “Clock Tower� and “Capitol Records�) were exhibited in October at the Visual Amalgam show at Bergamot Station’s James Gray Gallery in Santa Monica. “It’s hard to find the time to do personal work,� he confides, “but I make the time. I did shoots in Mojave and Yosemite this year, and living in Southern California, I try to be a tourist in my own backyard. My background as an fine artist has defined me and it’s what continues to distinguish Nerve in the marketplace.� Similarly, Beck feels creative innovation is key to the value proposition Nerve offers its clients, explaining, “What I learn in my own work affects what we do in the studio, and a lot of that translates into delivering what the client needs on the first pass, which means we are able to spend more time on the creative and refinement, getting it right the first time is always key.�

Nerve Films is blazing new trails, meanwhile, in installation work. Soon to grace the Miracle Mile Shops of the Planet Hollywood Resort & Casino in Las Vegas, for instance, is a massive water-feature projection called “Rain� to which Beck contributed design and visual content cued to a progressive music mix by celebrated DJ King Britt. “It is more of an avant-garde installation,� he notes, “and we expect ‘Rain’ to run for several years as an integral experience to the Miracle Mile shops and Planet Hollywood casino.�

Beck’s involvement with projects starts during the initial creative process with many of his clients. “I never lose sight of the fact that I’m an artist who gets to practice his art every day.� Clients appreciate that fact and see it add to their overall creative process. The fact that Nerve has developed a reputation based on that means we are being true to our clients and ourselves.�

CONTACT: Deborah Radel or Heather Lindner at DRPR, 310.360.3997, or e-mail


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Nerve Films: Everything Visual.

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