Warpaint has signed director Paul Stone for commercial representation. This marks his first production company roost as a director. Stone’s work leverages his background as an editor and keen eye for compelling visual storytelling, and encompasses visually rich montage spots and honest docu-style pieces. He has directed as a freelancer campaigns for such brands as Nikon, Instagram, Optimum, Polaroid and Craftsman. The director’s numerous short documentary films include the acclaimed Tales of Times Square, The Prince of Elisabeth Street and The Boombox Project, which was selected as the opening night film for the Hop Hop Legacy Exhibit at the L.A. Grammy Museum during Grammy week and was also selected as a Vimeo Staff Pick. Stone is also the founder of the director-focused interview series, My First Shoot.
Warpaint co-owner and Oscar-nominated filmmaker (Super Size Me) Morgan Spurlock described Stone as “an exceptional storyteller and filmmaker, and we can’t wait to start making some cinemagic with him!”
Stone noted, “Morgan is always breaking new ground in the art of storytelling. His ability to explore new formats is what inspired me to join Warpaint. Morgan is a brand himself, and his talent for producing fun, entertaining, and informative content is a perfect for with the type of projects I enjoy directing.”
Brooklyn-born Stone began his career as an Avid editor at RSA, cutting spots and music videos for the likes of Luke Scott and Michael Moore. Working with numerous top agencies including Crispin Porter + Bogusky and Leo Burnett, his transition into commercials was seamless and he began helming spots freelance. His first short film Tales of Times has screened at over 50 festivals worldwide. Stone recently wrapped Episode One of his new sci-fi web series, The Future Committee, starring Laine Rettmer (Boardwalk Empire). He also recently wrapped production on his latest short, Blood on the Tracks, which explores the rise in NYC subway suicides.
Stone is currently interviewing music icons for the upcoming feature doc version of The Boombox 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 โ and those many "Babadook" memes โ 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 โ "Bah-Bah-Doooook" โ 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