Wondros Collective, under the aegis of sr. executive producer Danielle Peretz, has added The Cronenweths to its directorial roster for commercials and branded content.
Consisting of brothers Tim and Jeff Cronenweth, the directing duo marks the third generation of an artistic, creative industry lineage. Inspired by their grandfather, Oscar-winning studio still photographer William Edward Cronenweth, and their father, Blade Runner cinematographer Jordan Cronenweth, Jeff and Tim have become prolific filmmakers in their own right. As a team, The Cronenweths are responsible for directing (and lensing) commercial projects for GMC, Mountain Dew, Budweiser, California Lottery, Volvo, Canon, Apple, Jeep, as well as music videos for Macy Gray, Nine Inch Nails, No Doubt, Christina Aguilera and Usher. Jeff and Tim also continue to pursue independent projects.
Jeff recently earned a 2020 Emmy Award nomination in the Outstanding Cinematography For A Single-Camera Series (One Hour) category on the strength of Amazon’s Original Series Tales from The Loop (directed by Mark Romanek). Jeff is also well known for his collaborations with director David Fincher spanning such features as Fight Club, The Social Network and The Girl with the Dragon Tattoo. For his work on the latter two, Jeff garnered Best Cinematography Oscar nominations in consecutive years (2011 and 2012).
The Cronenweths are driven by the yin and yang complementary forces of creative synergy and ebullient sibling rivalry. Their drive, deep technical knowledge and extensive experience translate into visually striking work for a variety of clients.
“The Cronenweths bring a wealth of experience with them, and we’re elated they’ve joined the Wondros family,” said Wondros founder Jesse Dylan. “Their combined background in directing and cinematography provide an approach to storytelling that is creative, original, and seamless.”
Peretz related, “I knew Jeff from my days as the executive producer at Satellite/Propaganda Films producing jobs with Mark Romanek. I have long admired his work and I’m thrilled by the idea of having the Cronenweth brothers on our Wondros Collective roster. They are wonderful human beings, and their skilled range of storytelling, dialogue, and strong visual sensibility make for a lovely fit.”
Tim Cronenweth shared, “We’ve known Jesse Dylan for quite a long time and always admired his work as both director and founder of Wondros. When this opportunity came to us and we began talking to Danielle about joining the team, we felt that Wondros Collective was a perfect match for our values as well as where we want to continue our filmmaking and storytelling in the future.”
“We are fortunate to have been working in this industry for a long time,” added Jeff Cronenweth. “We are at a point in our careers, and in our lives, where we want to do great work with good people. Jesse and Danielle at Wondros are exactly that and who we want to be collaborating with on a wide range of projects, in new and exciting ways as the industry changes and evolves.
“Prior to the COVID-19 crisis, our industry was morphing as it always has, whether it’s new technology, new forms of displaying the work, or the substance of the content and messages,” continued Jeff Cronenweth. “As filmmakers, overcoming obstacles is an inherent part of the job. It feels good to be in the company of creative supportive minds as we navigate the wide range of challenges ahead.”
Wondros Collective, the commercial/branded content division of Wondros, has a directorial roster that includes The Cronenweths, Dylan, Lee Farber, Stephan Malik, Tamika Miller, Riess|Hill, Sean Thonson, and Lacey Uhlemeyer.
Prior to joining Wondros Collective, The Cronenweths were at Sandwick Media for spotmaking and branded fare.
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