Jeremy Dawson has likely produced at least one of your favourite films. A Vancouver-born talent who has become one of cinema’s most sought-after collaborators, Dawson has worked with visionary directors from Wes Anderson to Darren Aronofsky on films that include Requiem for a Dream, The Grand Budapest Hotel, and, most recently, Cannes hit The Phoenician Scheme. From designing title sequences for Aronofsky’s debut and serving as VFX supervisor on The Life Aquatic with Steve Zissou to producing award-winning films we all love, Dawson has proven his versatility across every aspect of filmmaking. Join us for an intimate and dynamic conversation as we celebrate this local hero and explore his remarkable journey through the world of cinema.
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Jeremy Dawson
Jeremy Dawson began his film career designing the title sequence for Darren Aronofsky’s debut feature, π. His ongoing collaborations with Aronofsky include title design for several other of his films as well as designing and supervising VFX for Requiem for a Dream and The Fountain before joining him as a producer on The Whale.
He began his long-time association with Wes Anderson when he served as visual effects supervisor on The Life Aquatic with Steve Zissou before moving on to become an Academy Award nominated and Golden Globe winning producer.
Notable producing projects include Wes Anderson’s Academy Award winning Henry Sugar, as well as Asteroid City, The French Dispatch, Isle of Dogs, The Grand Budapest Hotel (Golden Globe for Best Motion Picture, Comedy or Musical, and nominated for nine Academy Awards including Best Picture), Me, Earl, and the Dying Girl (Grand Jury and Audience Award at Sundance), as well as Anderson’s Moonrise Kingdom, Fantastic Mr. Fox, and The Darjeeling Limited.
Most recently, he produced The Phoenician Scheme and Caught Stealing.
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