Music and sound boutique Nylon Studios, with offices in NYC and Sydney, has hired Deb Oh as sr. producer. Oh is a classically trained musician with nearly a decade of experience in the commercial music space, working as a music supervisor and producer on both the agency and studio sides. She comes to Nylon from Y&R, where she spent two years working as a music producer for some of the agency’s top clients including Dell, Xerox, Special Olympics, Activia and Optum. Outside of the studio, Oh has continued to pursue her own personal musical pursuits, regularly writing and performing music with her band Deb Oh & The Cavaliers and serving as music supervisor for the #1 iTunes ranked podcast series “Limetown.”
Nylon Studios global EP Hamish Macdonald said of Oh,, “Not only is she an experienced producer and a talented musician, but music is her absolute passion, driving force and happy place, which she now shares with our whole company. I also believe it’s the ultimate testament to the incredible work we’re producing, when a previous client has a real desire to join the team.”
Oh said she was drawn to Nylon’s talented team of musicians producers, the caliber of its work, and the opportunity to take advantage of having teams in both NYC and Sydney.
A lifelong musician, Oh grew up learning classical piano and singing at a very early age. She began writing and performing her own music in high school and kept up her musical endeavors while studying political science at NYU. Following graduation, she made the leap to follow her passion for music full time, landing as a client service coordinator at Headroom. She quickly learned multiple aspects of the commercial music industry and was promoted to music supervisor, working with a wide range of clients on commercial and branded content projects while simultaneously continuing to perform with her band throughout New York City. After five years with the audio shop, she made the leap to the agency side to broaden her skillset and glean perspective into the landscape of vendors, labels and publishers in the commercial music industry.
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