Commercials editor Morgan Bradley is moving to Beast in San Francisco after several years working on high-profile projects for Beast in Chicago. She joined Beast in 2008 and has worked on projects for clients including Nike, Bayer and Motorola.
“I started at this company years ago as a runner and have so loved growing up in it,“ Bradley said. “After six years in our Chicago office, San Francisco feels like the next step in my process, both as an artist and as a person. I’m leaving Chicago loving it, and I think that’s the perfect way to go.
Prior to joining Beast, Bradley worked at Whitehouse Chicago, beginning in 2004.
Bradley won a Midwest Emmy in 2013 for a spot she edited for the 100 Club for agency Downtown Partners.
“Morgan’s moving here is mostly motivated by our clients here wanting to work with her,“ said Jon Ettinger, executive producer at Beast in San Francisco. “She is a big part of our Beast team, and we welcome her to the West Coast.“
Said Igor Kovalik, chief creative officer at Beast “It’s very exciting for Beast—and gives me tremendous personal satisfaction—when a young talent like Morgan can not only thrive in our company and rise from being a great assistant to a great editor, but then also is able to have the opportunity of growing and moving to the city where she wants to live her life.”
Editorial house Beast, a subsidiary of Deluxe, is active in commercials, music videos and online content.
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More