In an effort to further establish its presence in Los Angeles, unify its bicoastal offices, and signify its growth in the U.S., global music agency Pickle Music has hired Grammy-nominated singer, producer, and musician James Zavaleta as managing director/executive producer.
With over 20 years in the music and film business, he most recently served as executive producer for the multicultural market at Butter Music. He has led advertising projects for brands including Coca-Cola, McDonald’s, TikTok, Corona, Oreo, and TurboTax, Throughout his career, the thread that binds Zavaleta’s work has been his unwavering passion for music, which the Southern California native developed early on playing percussion at the age of 5 before he picked up piano, then evolved into producing urban tracks before eventually discovering his true love: singing. “I began performing professionally at around 15, which led to backing up some of the most prominent Latin artists (Camila Cabello, Oscar de Leon, Jerry Rivera, Tito Nieves, Victor Manuelle, et al),” Zavaleta recalled. “In the last decade, I’ve focused on working more in TV and film, being both behind and in front of the camera.”
Zavaleta has been able to showcase his expertise across mediums and on both sides of the camera, from working on Dancing With the Stars, to producing tracks for spots like “California Milk” via Deutsch LA and executive producing a Metro PCS/T-mobile campaign featuring Luis Fonsi (“Despacito”) via Saatchi & Saatchi Seattle, to regularly serving as vocalist for the past seven years for the Spanish Pepto-Bismol and Charmin brands. However, according to the music vet, his proudest career achievement is undoubtedly performing in his first-ever Disney film–Coco. “I was able to voice a few background characters,” Zavaleta said. “[I] also got to work directly with composers Germaine Franco (DOPE, Encanto) and the amazing Michael Giacchino. Their commitment to bringing in authentic, expert talent was something that really stuck with me.”
For Zavaleta, the timing was ideal to take on this new role at Pickle Music, an agency that attracted him for several reasons–in particular, its emphasis on multiculturalism. “I felt it was the right time to join Pickle because of how the market has been shifting these last couple of years, moving to a more authentic and diverse industry,” he explains. “I was also attracted by the amount of their award-winning work, led by Alexis Estiz. The fact that Pickle is a certified minority-owned business was another big factor when making the decision.”
In his MD/EP position at Pickle, Zavaleta’s immediate priority is to establish the agency’s L.A. presence and studio. But looking long-term, however, he aims to continue making award-winning music, have a bigger impact in general marketing campaigns, and help Pickle gain traction and work on campaigns and trailers in exploding industries like Esports.
“As we are about to open our new studio in L.A., nothing better than counting [on] James to lead the office,” said Pickle Music founder/CCO Estiz. “He’s not only an amazing musician, that for an EP is something you can be sure elevates any process. But also, he shares the same passion and core values of what we have here at Pickle — the obsession with craft and creativity within music production.”
Pickle Music maintains offices and studios in North America, Europe (Madrid) and Latin America (Sao Paulo).
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