SixTwentySix has added director Nolan Goff to its roster for U.S. representation spanning commercials and branded content.
Goff’s affinity for storytelling can be seen throughout campaigns for Nike and Bumble, and his shot design and transitions have breathed life and rhythm into creative for brands like Peloton, LeBron James’ Ladder, Verizon, and Lululemon. Agencies that have enlisted Goff’s talents for their clients include OKRP for The Masters, Hogarth for Colgate, VMLY&R for Dick’s Sporting Goods, and Publicis for Nivea. His work has been recognized on numerous fronts, receiving Vimeo Staff Picks and features in Pitchfork, MTV, and Director’s Notes. Prior to joining SixTwentySix, Goff was repped in the ad market by CoMPANY Films.
In a joint statement, SixTwentySix partner and managing director Jake Krask and partner and executive producer Austin Barbera shared, “Nolan’s exceptional ability to weave stories and create compelling narratives aligns perfectly with our mission. His unique vision and creative prowess will undoubtedly augment our portfolio, bringing our storytelling to new and thrilling heights. Nolan joining SixTwentySix represents a commitment to the art of storytelling that we cherish deeply.”
Goff’s love of storytelling developed agency-side while working as a creative director for seven years at shops like Another and Matte Black. As a director, Goff couples a distinctive message-first approach to storytelling with a keen eye for the visuals that elevate it.
On joining SixTwentySix, Goff said, “It’s simple for me. I want to create great work and tell meaningful stories alongside talented, passionate friends and a team who are adapting to a fast-evolving commercial landscape. That’s what I see in them–it’s a group chat I want to be in and a team that is going to win.”
Recently, Goff directed The Masters’ first ever lifestyle campaign as well as the upcoming campaign for the United States Tennis Association. Currently, he is also in development on his feature directorial debut, I’ll Leave These Bones Behind, and the original, limited series Jesus Freak. In addition to his relationship with SixTwentySix for representation, Goff is handled by Ridley Scott Creative Group in Europe, Suneeva in Canada, and Aylene Gardiner in the Middle East and Asia.
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