Bicoastal Good Company has brought photographer and director Gemma Warren aboard its roster of multi-talented creatives. Good will represent her for commercials and music videos in the U.S.
A prominent female photographer whose creative style has been recognized by top fashion magazines and exhibitions globally, Warren was named an ambassador for Canon. Warren’s rich background shines through in her motion work. British born, Canadian-raised, Warren initially transitioned from photography into directing by way of art and music videos. Her films have been screened at the Los Angeles Music Video Awards, the Cannes Lions International Festival of Creativity, plus Warren’s short film BLUETS was selected to screen at the Cannes Short Film Festival in 2019. Commercially, Warren, who continues to be repped by Steam Films in her native Canada, has worked with clients such as Nike, Ford, MAC Cosmetics, Pantene, Reformation, Vans, Google, The North Face, Pantene and The New York Times. She was previously repped in the U.S. ad arena by Society.
“Good Company has really been able to understand what my skillsets are and support them wholeheartedly. I’ve felt nourished and inspired by the projects we have already been able to work on,” said Warren, referring to a warm holiday spot for Ulta Beauty and a commercial piece for Facebook.
“Good Company truly has an amazing team of collaborators who I’ve grown to love in the short time we’ve been building together,” continued Warren. “I have big plans for the next phase of my career with them and that includes a lot of bigger creative projects, that range from short-form, commercials, documentaries and creative direction.” Case in point, Warren’s next project is a fashion short film titled Floored, which combines movement, editorial fashion and landscape.
Good Company managing partner/executive producer Ryan Heiferman commented, “Gemma’s ability to blend edgy and bold imagery mixed with high-fashion and beauty is what drew us to her work. We’ve already done three successful commercial projects with Gemma, spanning beauty, fashion, and storytelling–all during the pandemic. She brings great passion to the commercial process.”
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