Finalists have been announced for the 2017 AICE Awards, and at the top of the list is colorist Tom Poole of Company 3. Poole, who won the Color Grading category in the 2016 AICE Awards, earned finalist nominations for his work in Color Grading (90 Seconds or Under) for Budweiser; scored two out of the three finalist nominations that were swept by Company 3 in the Color Grading (Over 90 Seconds) category for Hennessy and Squarespace; and was nominated in the Best of New York Category for Hennessy.
Earning three finalist nominations are a trio of editors: Ben Suenaga of Friendshop! scored two of the three finalist nominations in the Comedy category for work for Lenovo and Little Caesars, and in the Dialogue/Monologue/Spoken Word category, again for Little Caesars. Eric Zumbrunnen of Exile earned nominations in the Montage category for work for Apple and in the Best of Los Angeles category for Apple and for Kenzo. Jeff Jay of Hero Post is nominated in the Regional Campaign category for work for Novant Healthcare and in the Best of Atlanta category for the Novant work and for Delta.
The 2017 AICE Awards will take place on Thursday, May 11, at Capitale in New York. A full list of Finalists can be found at the AICE Awards website here.
A number of companies saw work from their editors and artists nominated multiple times. Leading this list was The Mill, whose artists earned seven nominations in the categories of Color Grading (90 Seconds or Under), Color Grading (Music Video), Visual Effects (The Mill swept, earning all three finalist nominations), Best of Chicago and Best of New York.
Also earning seven nominations is work created by the colorists at Company 3. In addition to sweeping the Color Grading (Over 90 Seconds) category, it scored in the Color Grading (90 Seconds or Under), Color Grading (Music Video), Best of Atlanta and Best of New York categories.
Three companies have a total of five finalist nominations. This includes Rock Paper Scissors, whose editors are nominated for work in Dialogue/Monologue/Spoken Word, Digital Content (Over 90 Seconds), Fashion/Beauty, Montage and Online Campaign. Also earning five nominations are Exile in Content Promotion and Trailers, Digital Content (90 Seconds or Under), Montage and Best of Los Angeles. Yessian also earns five finalist nominations in the categories of Original Music, Sound Design and Best of Detroit.
Two companies have work from its editors earning four finalist nominations: Beast, which is nominated in Digital Content (90 Seconds or Under), National Campaign, Best of Chicago and Best of San Francisco; and Rooster, which earned nominations in Montage, Regional Campaign and Best of Toronto.
Companies whose editors or artists have three nominations include Arcade Edit, Cut + Run, Final Cut, Friendshop!, Hero Post, P.S. 260 and Work Editorial.
Editors and artists who earned multiple finalist nominations include: Paul Martinez of Arcade, who earned two of three finalist nominations in the Music Video category for work for Justin Timberlake and Red Hot Chili Peppers. Michael Gabriele of Daily Planet, who was nominated in both Comedy and Under $50,000 for Kimski Restaurant. Michael Reuter of EditBar was nominated in the Best of Boston category for music videos for Project Fathom and Aardman Nathan Love. Shane Reid of Exile, was nominated in Content Promotion and Trailers for Nick Cave & the Bad Seeds and in Digital Content (90 Seconds or Under) for Adidas. Joe Guest of Final Cut was nominated in Cause Marketing and Content Promotion and Trailers for his Rio Paralympics spot. Maury Loeb of P.S. 260 in Digital Content (Over 90 Seconds) and Docu-Style for Harry’s Razors; Patton Tunstall of Reel FX in Best of Texas for VFX work on two spots for Warner Bros.; Marc Langley of Rooster in Montage and Best of Toronto for Ontario Tourism; Izzy Ehrlich, also of Rooster, in Regional Campaign for Nova Scotia Tourism and Adidas Canada; Angus Wall of Rock Paper Scissors in Dialogue/Monologue/Spoken Word and Digital Content (Over 90 Seconds) for Nike; Ted Griffis of TBD Post for Automotive and Best of Texas for Mazda; Sam Rice-Edwards of The Assembly Rooms in Digital Content (Over 90 Seconds) and Storytelling for HP Spectre; Luke Morrison of The Mill in Color Grading (90 Seconds or Under) and Best of Chicago for the Toronto Maple Leafs; Gavin Wellsman, also of The Mill, in Visual Effects and Best of New York for Hennessy; Mark Chu of Yessian in Original Music and Best of Detroit for Nintendo; and Jeff Dittenber, also of Yessian, in Sound Design and Best of Detroit for Clipsal.
New to the competition this year are an expanded set of craft categories for Color Grading, including 90 Seconds or Under, Over 90 Seconds and Music Video, and a new category for Cause Marketing, which replaces the category for Public Service. In addition, the category for Broadcast Promotion has been expanded to cover a wider range of entertainment properties and is now called Content Promotion and Trailers.
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