Creative and technology studio Preymaker has signed Rob Petrie who assumes the wide gamut title of “creative.” He brings 20 years’ experience as an award-winning artist, director and creative director to Preymaker, one of the first 100% cloud native creative studios. Preymaker utilizes an advanced custom cloud-based platform that creates content entirely in the cloud.
Petrie started his career in London, moved to New York and shortly after rose up the ranks to head of 3D and finally creative director at The Mill. He also was on staff at MPC as creative director and freelanced at various studios in both New York and Los Angeles. Work highlights include collaborations with A-list directors on award-winning advertising campaigns such as Sony PlayStation’s “Greatness Awaits” launch, Johnnie Walker’s “Rock Giant” and OFFF Design Festival’s opening title sequence. He also has directed commercials for Ubisoft’s Assassin’s Creed, Bethesda’s Doom and Sega’s Company of Heroes, and led visual experiences and design projects for Lady Gaga, Depeche Mode, Radiohead and Daft Punk. Throughout his career, Petrie has partnered with top agencies including BBH, BBDO, Wieden + Kennedy, Grey New York,and HudsonRouge.
“I joined Preymaker because of the possibilities in technology, real-time platforms and overall creativity,” said Petrie. “Preymaker is in an amazing position to create original content and tap into exciting partnerships in technology. My goal in my new role is to help build what is and will continue to be an amazing and truly collaborative place to work, growing an exemplary culture of creativity and expression and exploring opportunities in many different fields of the arts. I have a long list of ideas in my head that I can’t wait to share with our team.”
Angus Kneale, chief creative at Preymaker, shared, “Rob is an exceptional talent. And talent is Preymaker’s most valuable asset. We are building a future-facing company that can tackle the most complex creative and technical challenges. What makes us unique is the way we leverage technology and our agile creative ability. I have had the opportunity to work with Rob in London, New York and now Los Angeles, and have always found him to be not only an accomplished artist, but a passionate, exceptional creative who can collaborate with anyone. He will be a valuable resource for Preymaker and our clients.”
This past year, Preymaker has had a strong start; they were part of the team that created Grey London’s Volvo “Ultimate Safety Test,” directed by Ivan Zacharias, just honored with a Cannes Silver Lion. Since opening its doors last fall, Preymaker has worked on content for high-profile brands including Lincoln, Comcast Xfinity, Volvo, Macy’s, U.S. Cellular and Army National Guard, and with agencies such as McCann, BBDO, 72andSunny and Johannes Leonardo. The company also has collaborated with directors Peter Thwaites, Kathryn Bigelow, Guy Shelmerdine and Henry-Alex Rubin, among others.
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