In a further strengthening of its Los Angeles production staff, FuseFX has added three veteran visual effects producers. They include Sean Tompkins, a two-time Emmy nominee who previously served as associate head of production at Zoic Studios.
Tompkins, who received his Emmy nominations for Falling Skies and Hemlock Grove, has also produced visual effects for such shows as Homeland, True Blood, Mad Men and Fringe. He began his career with the CBS series CSI: Crime Scene Investigation before joining Zoic in 2007. At FuseFX, Tompkins is producing effects for the CBS series Sleepy Hollow, Rush Hour and Limitless, among other projects.
“Delivering great effects on time and on budget is at the core of what we do,” said FuseFX president David Altenau. “Sean’s wealth of experience in managing large teams and complex project will help us continue to deliver the results our clients expect. We are thrilled to have him on our team.”
Tompkins said that he was attracted to FuseFX by its reputation in the visual effects industry. “I saw the quality of their work and wanted to be part of it,” he explained. “I saw it an opportunity to work on great shows and create fantastic effects.”
Also new to FuseFX are VFX producers Danielle Bemis and Miles DeLong. Bemis brings 10 years of experience in 3D animation, visual effects and postproduction. She has led large teams on complex projects for such clients as HBO, ABC, Yahoo and Universal Pictures.
A graduate of Emerson College, Bemis began her career with DreamWorks Animation where she worked on such projects as The Croods and Kung Fu Panda 2. Prior to joining FuseFX in 2015, she spent two years as a freelance VFX producer with credits including White Collar, Once Upon a Time, Resurrection and Other Space.
Miles began his VFX career with DreamWorks Animation on the animated features Shark Tale and Bee Movie. He spent six years at Modern VideoFilm, where he was VFX producer on a number of series, including Modern Family, Sons of Anarchy and Pretty Little Liars. He also produced and supervised the visual effects for the Blu-ray edition of Star Trek: The Next Generation Season 4. His background includes a post with Flash FilmWorks, where he worked on the HBO miniseries The Pacific, and a year at Entity FX where he was the VFX producer on The Vampire Diaries.
At FuseFX, he is working on shows such as Mercy Street, American Crime Story and The Outsiders.
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