Valiant Pictures has added writer, editor and filmmaker Lincoln Caplice to its directorial roster for his first U.S. commercial representation. Caplice’s body of work spans such brands as Kirin, Dean & Deluca, Red Bull, Interpol, Lexus and Samsung, among others.
Caplice knew he would ditch a regular 9-5 job when his photographer dad first got him behind the lens. Caplice joined the workforce of Modular Records at the height of its success, giving him invaluable insight into touring global acts such as Daft Punk, Justice, The Pixies and Beck, and on-set experience creating music videos for Tame Impala, The Presets, Cut Copy, and other renowned Australian bands. From here, Caplice segued into partnering with youth culture and lifestyle publications and brands such as Monster Children and Deus Ex Machina, where he helmed advertising campaigns, artist profiles, large-scale events, and feature-length films I Had Too Much To Dream Last Night and South To Sian, which screened internationally to success. He dedicated two years following to traveling the world with filmmaker Taylor Steele, collaborating on feature films and commercial projects.
Alongside Valiant Pictures, Caplice also works with Infinity Squared (Australia) and Monster Children Films (Australia), moving deftly between commercial and documentary filmmaking. He most recently finished shooting a project with Corona and Parley in Indonesia, an endeavor to promote reducing single-use plastics present in our oceans, and is in the midst of pre-production on a narrative short film and a feature length documentary project.
Valiant EP Matthew D’Amato said of Caplice, “He brings beautifully crafted images and honest human performances to his work.”
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