Sound designer, mixer and audio engineer Peter Erazmus has joined sound design studio Another Country. He comes aboard a company talent roster which includes mixers John Binder, David Gerbosi, Drew Weir and Erik Widmark. Erazmus is part of a growth plan that also encompasses Another Country opening its fifth sound room later this summer.
Drawing on more than 16 years of top-level post-audio experience in his native Chicago, Erazmus has handled sound design and mixed hundreds of high-profile projects spanning the commercial and entertainment industries. Most recently senior sound designer and mixer for STIR Post (the former Audio Producers Group), Erazmus has most recently handled commercial assignments for Bud Light, the Chicago Blackhawks, Flintstones, Hebrew National, Lays, OFF, Raid, Rosetta Stone, Special K and Ziploc, among many others.
Erazmus’ work has garnered a number of awards. For example, the “City” spot he engineered for ESPN was named a Best Sound Design finalist at the New York Film Festival, while other spots he engineered have garnered CLIO, Telly and RAMA awards, a Chicago Creative Club Best in Show award, and numerous Cannes, Emmy “Best Commercial” and Radio Mercury short list honors.
“Peter and I went to Columbia College Chicago together, and he assisted Dave Gerbosi for about seven years at CRC, so we know him very well and are excited to have him,” said Tim Konn, EP of Another Country.
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