Deluxe Entertainment Services Group Inc. (Deluxe) announced that award-winning sound professional Steve Foster has joined Deluxe Toronto as a sr. re-recording mixer. With a musican’s ear for audio and more than 25 years in the sound industry, Foster is slated to take on his first project at Deluxe Toronto–the second season of SyFy’s series The Expanse.
Foster comes to Deluxe Toronto from Techicolor Toronto, formerly Toronto’s Sounds Interchange, where he helped establish the long-form audio and ADR departments, and wrote the score for 90s thriller Killer Image.ยHis credits include Narcos, Rolling Stones: At the Max, and the Hannibal TV series. He earned a Gemini Award for Dramatic Sound on Everest, a Genie Award for Overall Sound on Passchendaele, and four Motion Picture Sound Editor Golden Reels for sound editing and ADR for various episodics, among nearly a dozen other awards nominations.
“Steve is one of the top mixers in town and adding him to our roster of talent alongside Chris Cooke and Mike Baskerville gives us a one-two-three punch to make sure clients can always find what they need at Deluxe Toronto,” said Nick Iannelli, Deluxe Toronto SVP of post production.
Along with growing its team, Deluxe Toronto has also extended its capabilities, adding a new Dolby Atmos mixing theater geared toward episodic production to its facility. It features equipment and layout identical to the studio’s existing three episodic sound theaters, allowing for consistent and flexible review sessions for all of the 10-12 projects simultaneously flowing through Deluxe Toronto. The facility also houses an enormous theatrical mix theater with 36-channel Dolby Atmos sound, and a sound stage for ADR recording.
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 โ and those many "Babadook" memes โ 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 โ "Bah-Bah-Doooook" โ 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