Light Iron–a leading postproduction solutions provider and member of the Panavision family of companies–has appointed veteran post professional Josh Haynie to the newly created role of VP of U.S. Operations. Based in Light Iron’s flagship Hollywood facility, Haynie will be responsible for leveraging the company’s resources across Los Angeles, New York, New Orleans, and future locations.
“Light Iron has experienced significant growth since being acquired by Panavision,” said Peter Cioni, the company’s CFO. “To continue on this trajectory, we’re bringing in a leader to assist us with navigating the complexities that commonly impact larger businesses. Josh’s experience is unmatched: he has strong operational and managerial skills, as well as deep client relationships, which will enable Light Iron to continue to grow and be a leader in the industry.”
Haynie joins Light Iron after 13 years at EFILM, where, as managing director, he maintained direct responsibility for all aspects of the company’s operations including EC3 (on-location services), facility dailies, trailers, digital intermediate, home video, and restoration. Haynie managed a team of 100+ employees, and more than 650 digital intermediates were completed under his watch. Previously, Haynie held positions at Sunset Digital, Octane/Lightning Dubs, Sunset Post, and other production and post companies. Haynie is an Associate Member of the ASC, and is also actively involved in the HPA, SMPTE, and VES.
Haynie noted that it is an exciting time to join Light Iron: “From the expansion of Light Iron’s episodic services and NY facilities to the development of the color science in the new Millennium DXL camera, it is clear that the integration of Panavision and Light Iron brings significant benefits to clients. I look forward to working with the entire team to further elevate a level of service that is unprecedented in our industry.”
Panavision CEO Kim Snyder added, “The addition of Josh Haynie comes at a key moment in the overall growth of Panavision. We are committed to providing a full portfolio of innovative, creative solutions throughout the production and post process.”
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