Executive Director of Integrated Production
BSSP
1) Socially conscious and targeted advertising has been a powerful brand tool this year. I’m impressed with Nike’s simple message in its “Dream Crazy” OOH campaign. Grounded in conviction and bravery, the brand elegantly (yet provocatively) produced work that hit a nerve outside of social marketing norms, yet it made a powerful statement that aligns with the brand’s heritage. This is something I feel encourages other brands and agencies to follow suit. W+K has always been brave in approach and strong in conviction for their clients. This was a true example of an agency and client working together as partners.
2) NBA2K’s “Everyone’s On” was a fully integrated campaign from our very own BSSP team. Not only is it the work I’m most proud of produced by the agency thus far, but It was also an example of Data and Media as a strong creative platform. By combining live in-game statistics and contextually targeted ads, the agency team was able to reflect the masses — the cultural phenomenon that is NBA2K. This approach was the perfect platform to showcase the broad fandom of the 2K community of Gamers and NBA Stars.
3) This past year was a year of stepping out of our comfort zone, both as an agency and as a production team. We executed more cross-platform campaigns than at any moment in the agency’s history, or my career. This year, the cross-pollination of ideas against a variety of mediums was the norm, not the exception. From the Clio award-winning 2K work mentioned, to our award-winning Blue Shield of California TV and Digital campaign, we’ve been versatile in our creativity, which I think will reflect well for us come award season.
4) Gazing into a crystal ball, I feel we’re close to witnessing the big awards (Gold Lions, Clios and One Show Awards) awarded to the more atypical and lesser-knowns in production. The logic that good ideas can come from anywhere, applies to the execution of those ideas as well. We’re starting to see great content and creativity executed from a variety of people across cultures and at a variety of budget levels. 2019 / 2020 just may be the year CHEAP, FAST and GOOD is the expectation and the norm.
5) This could very well be answered by the question above.
6) As an agency, we’re committed to inclusion in all aspects of our creative endeavors, and assuring the future of our workforce reflects the values of BSSP. Our 15-year commitment and involvement in the 4A’s MAIP program (Multicultural Advertising Intern Program) has been a great way for us to mentor and foster talent across a diverse landscape of people. Within our local community, we are strong supporters of BridgeThe Gap, which provides scholarships and creative after-school programs to kids from Marin City, to ensure they have an opportunity to go to college or art school. As long-standing members of Free The Bid, we are advocates of diverse production no matter the budget or size of the project.
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