Creative editorial boutique 1606 Studio has hired editor Brandy Troxler who’s worked in the Bay Area for more than a decade and has edited spots for Mini USA, Yelp, Toyota, Texas.gov and others. Most recently, she was an in-house editor at San Francisco agency Heat.
1606 Studio executive producer Jon Ettinger said that he’s known Troxler for years, noting that she began her career at Beast Editorial when he was EP there. “She’s a great collaborator and good team player,” he observed. “She fits the vibe established here by our partners, Doug Walker, Connor McDonald and Brian Lagerhausen, which is to work hard and form long-term partnership with our clients.”
Troxler joined Heat in 2019 after six years at Beast Editorial. A graduate of Elon University in North Carolina, she also worked at Footpath Pictures in Raleigh-Durham, and Barbary Post in San Francisco.
Troxler describes her arrival at 1606 Studio as like a reunion. “They are very talented editors and I get along with them all so well,” she said.
In her first project with 1606 Studio, Troxler edited a PSA produced for International Women’s Day by UN Women, a United Nations organization working for global equality. Conceived by San Francisco agency Erich & Kallman and directed by Doug Walker via Caruso Company, the spot begins with what appears to be a news broadcast from the 1950s as a male newscaster recites a litany of workplace issues that negatively affect women. As he speaks, the scene around him becomes more modern and it’s soon apparent that the issues he is referring to apply today.
“It’s simple, but powerful,” Troxler said. “As a woman of color, it was awesome to have the opportunity to tell that story. First and foremost, I am a storyteller and I like to tell diverse stories. While docu-style is a focus of mine, I quite enjoy cutting comedy as well.”
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 โ and those many "Babadook" memes โ 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 โ "Bah-Bah-Doooook" โ 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