Industry executive Brian Nolan has been named sr. VP of seventeenfifty, Capitol Music Group’s in-house division focused on brand partnerships and sync licensing. Nolan reports to COO Michelle Jubelirer. In his new position, Nolan will draw upon his broad experience as an executive to lead the seventeenfifty team and expand its role in generating and maximizing revenue streams while playing a significant role in breaking new and developing artists and enhancing CMG’s marketing efforts on behalf of its established stars. Nolan is based in Hollywood, Calif., in the company’s iconic Capitol Records Tower.
Nolan comes to Capitol after 12 years at Columbia Records/Sony Music, most recently as Columbia’s VP of international marketing. In that role, he led the international marketing campaign for David Bowie’s Star album, one of the biggest selling worldwide releases of 2016. He also led international marketing campaigns for Depeche Mode, John Mayer and Russ, to name a few. Prior to assuming that role, Nolan was VP of Sony Music’s in-house creative agency, where he co-created Culinary Beats–a CITI-branded original series that aired for two seasons on Yahoo!–and On The Road, which aired on The Travel Channel. He is also an executive producer of YouTube’s Best.Cover.Ever original series, which is airing this fall.
Among his achievements within the branding/licensing space, Nolan secured global advertising campaigns for Rachel Platten’s “Fight Song” with Ford, Leon Bridges’ “Coming Home” for Apple and “River” for Beats by Dre. A leader in the sports marketing space, his partnerships with ESPN included a label wide collaboration for the 2014 College Football season. Nolan also secured Turner Sports promotional campaigns for Bruce Springsteen’s “Land of Hopes and Dreams” in MLB’s 2012 Playoffs.
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