Camp+King (C+K) has added editor Prav Potu, designer Joey Faccio and visual designer Justin Marimon to its ensemble of talent.
Potu has worked on everything from commercial projects to documentary films. He has had a busy freelance career for the past four years editing for AKQA, Eleven Inc., West SF and several other local agencies. From 2011 to 2013, he was editor at BBDO San Francisco, where he filmed and edited content, prepared agency content for pitches and created award case studies.
After graduating from Ringling College of Art and Design as its trustee scholar, Faccio moved west to pursue ad/design agency and freelance opportunities. Five years later, Faccio has a portfolio filled with designs for clients such as Toyota, Under Armour, MTV Networks, Microsoft, ABC, Bacardi, Lexus and G-Eazy.
Marimon joins C+K after a recent move to the Bay Area from the Midwest. A multi-talented designer with four-plus years of experience, he has worked with industrial designers, branding studios and commercial photographers to create iconic imagery and design solutions. Marimon is passionate about exploring new mediums and hopes to expand his skills to include 3D rendering and animation.
“We’re stoked to have Joey, Justin and Prav on board. They each bring a skill set that’ll elevate the work we do here at C+K,” said creative director Rikesh Lal.
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