WTP Pictures has added director Matthias Hoene to its roster for U.S. representation spanning commercials and branded content.
With credits that include award-winning commercials and three feature films, Hoene is no stranger to working with A-list actors and has gained a reputation for coaching exceptional performances from his cast. He brings his extensive expertise in various film techniques to WTP Pictures such as stop motion, cel animation, miniature sets, puppetry, motion control, and CGI, among others. Prior to joining WTP, he had most recently been repped by Partizan in the ad arena.
WTP executive producer Susan Rued Anderson said, “I’ve been watching Matthias’ career develop over the past several years and was excited when he reached out to discuss joining our roster. Matthias has vision, is collaborative, has a deep understanding of VFX and is one of those directors that rolls up his sleeves and does the work. He is passionate about the craft.”
Hoene added, “For me, When it comes to crafting great commercials, I aim to stir up emotions, ignite minds, and transport people to a world of pure enchantment. What I love about the WTP roster is that it is very well-curated and bespoke. I am very serious and a perfectionist about my work, and I also treasure a family atmosphere when working with agencies and clients. WTP is run by a group of wonderful humans united in striving for creative and visual excellence and has a lovely boutique feeling.”
After studying film at The University of the Arts London as well as Central St. Martins, Hoene made his film directing debut with the cult classic Cockneys vs. Zombies in 2012, which premiered at the London FrightFest. He recently completed the thriller Little Bone Lodge and directed the first season of Theodosia for HBO Max. Hoene is currently developing projects like the sci-fi film Hela 212 and the heist thriller The Berliner(s). He is also known for his commercials, including two which made the Super Bowl cut, and his impactful documentary Dive, which debuted at SXSW and marked World Oceans Day in an effort to promote ocean conservation.
WTP Pictures has also partnered with Chiara Chung and Gunder Kehoe via indie firm CCCo. for Midwest representation.
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