Editorial boutique 3008 has launched production services with turnkey work for a spot, “Creators,” introducing the new Chrysler 200 to the Hispanic market.
“Entering into production has been a longtime goal and ambition,” said Brent Herrington, 3008 editor/partner. “We didn’t want to have a production arm just for the sake of saying we can also shoot; we wanted to do it right with the right team and we believe the Chrysler 200 spot demonstrates our intentions perfectly.”
With plans to expand the roster, 3008’s current directors are Shawn Fedorchuk, previously with Digital Kitchen, Seattle, where he was an editor turned director, and director/DP Brad Walker, who directed and shot the Chrysler 200 spot.
The Chrysler 200 project began as an adaptation of the general market spot by replacing a few scenes with Hispanic talent. “The scope of the project quickly grew as the client became more excited with the vibrant scenarios that we were presented with in Mexico City,” said Walker. “The result is a turnkey production; a completely fresh lifestyle spot that strikes an authentic tone with the help of genuine Hispanic craftsmen, designers and performing artists.”
The shoot consisted of a pair of 16-hour days in several Mexico City locations, mixing actual artisans with talent. “The spot’s premise of ‘we are creators’ took over and, despite challenges, we were committed to shooting conceptual lifestyle footage with real moments,” said Walker.
The :60 is set to music from composer Gustavo Santaolalla’s 1990s soundtrack for Motorcycle Diaries, titled “Apertura.” Santaolalla has two Oscars (Babel, Brokeback Mountain) for his achievement in writing music for motion pictures.
“I heard the piece from Motorcycle Diaries before shooting and that was a huge advantage because the music resonated with the concept and helped set the pace and tone,” Walker said.
Gabriel Silva, executive producer at agency Richards/Lerma, noted, “When we realized that we had to do more than adapt the general market spot to make it work for the Hispanic market, it took everyone’s 100 percent commitment of heart and passion to make this happen because neither the budget nor schedule changed with the more ambitious plan.”
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