By Robert Goldrich
NEW YORK --Directors Zack Resnicoff and J.C. Khoury–who made their first mark in the industry as the team Zack & J.C.–are each embarking on solo helming careers. Resnicoff has exited Lost Highway Films while Khoury is staying on board that New York-based company’s roster for commercials and branded content.
At press time, Khoury noted that he and Resnicoff recently co-directed what will likely be their last commercialmaking assignment together, a four-spot comedy campaign for The Washington Post out of D.C. agency Adworks.
Both directors felt the time was right to go solo. As an individual director, Khoury has wrapped The Plagiarist, a self-financed short film that he is looking to place on the festival circuit. The dry comedy centers on a grad student who gets expelled from college for writing papers for other students. Additionally, Khoury has a pair of feature-length projects in development. On the spotmaking front, Khoury said he will continue to pursue both visual and dialogue/performance-based comedy via Lost Highway.
Resnicoff meanwhile has launched his own New York shop, Impressionista Films, where he just completed his first job: a multi-faceted web campaign starring Hilary Duff for DKNY Jeans.
According to Resnicoff, DKNY Jeans approached him because he had directed both fashion work as well as “some darker film projects,” alluding to his 2003 film, The Clearing.
“Hilary wanted someone who could show her darker/sexier side so they hired me to write [with his writing partner Sonny Calderon], direct, and produce the piece.” The short stars Duff along with actor Norman Reedus (perhaps best known for his role in The Boondock Saints).
Resnicoff also shot, directed and produced six teasers to build excitement for the DKNY web content.
Extending his reach
“Being part of a team [with Khoury] was a great experience,” said Resnicoff, “but I felt I could expand the type of work I do, and bring my past experiences in film, fashion, and cinematography to my ongoing work in advertising.” He said that Impressionista Films, will do a mix of commercials, fashion/beauty, and music videos.
Currently Resnicoff is prepping a music video to be shot this month in Los Angeles, and a two-part web series for an undisclosed clothing line.
In addition to the DKNY Jeans project, Resnicoff–while still half of Zack & J.C.–branched out on his own over the past year to individually direct some select branded shorts, including one for Ford Mustang, Numskull, which earned finalist status in a 2010 Ford Mustang competition facilitated by online global creative community Filmaka (SHOOT, 10/8/08). A 45-second excerpt from Numskull was selected by JWT Team Detroit for airing as part of a :60 promo during the Sept. ’08 debut of NBC primetime series Knight Rider. The promo drove traffic to a Ford Mustang website where the entire Numskull five-minute short could be viewed along with other web films in which the 2010 Mustang was part of the storyline.
Initial splash
Zack & J.C. made their first splash when they were selected for SHOOT‘s fourth annual New Directors Showcase in 2006. The directing duo’s spec spot, Mountain Dew’s “Foley,” was screened at the SHOOT event in May of that year at the Directors Guild of America (DGA) Theatre in New York, where it was also announced that @radical.media had just signed them. “Foley” went on to win an AICP Show honor the following month.
During their @radical.media tenure, Zack & J.C., who are best known for their comedic prowess, directed assorted projects, including a pair of web campaigns for Avaya via R/GA, New York; an in-house Guinness Beer project out of BBDO New York; a video-on-demand piece for Comcast to promote the HD release of the six Star Wars films; and a Time Warner web campaign.
Additionally, @radical.media landed an Orange Julius web film for Zack & J.C. who produced the limited budget project independently. The film was the first live-action advertising ever done by Orange Julius and was an offbeat look at Julius Freed, the inventor of the frothy orange beverage, which was introduced in the 1920s. Titled Julius Freed: An American Original, the viral film was the centerpiece of an ambitious campaign from agency space150, Minneapolis.
Zack & J.C. then signed with Lost Highway in early ’08.
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