Proving wrong the old Thomas Wolfe adage that “you can never go home again,” Hudson–the full-service creative boutique founded in 2013 by director Larry August, his late business partner, EP Audrey Pask, and managing director Kristin Redman–has reunited with commercial director Anthony Garth. The Detroit native will be repped by Hudson for spots and branded content in the U.S. He joins a directorial roster that includes August, as well as Brett Warkentien, Peter Klein, Jacob Reed, Rachel Harms, Jako, and Cale Glendening.
August notes that Hudson’s relationship with Garth goes back to 2007 when he was a director at production company Avalon Films. In 2021 Avalon Films and Hudson Edit merged to form the current Hudson–a move that brought in Wiebke Engel as executive producer.
“We’ve been hoping to bring somebody like Anthony, but to actually have him here drives home the relevance of the production side of our studio,” said August. “Anthony is incredibly well-respected in the Midwest for his jaw-dropping car spots, but also around the globe for his incredible fashion and music video work.”
August added, “The level of great work that Anthony has done over the years, some of that work in collaboration with the post artists here at Hudson, we feel like this begins a new chapter in the history of Hudson, and we’re all happy to get Anthony back in the family.”
Garth was born in Detroit, but raised in California, and that balance between the gritty and the glitter can be found in Garth’s early music video work for then-emerging Detroit musicians like the White Stripes and Eminem. That balance between striking imagery, mood, and storytelling led him to advertising, finding his niche in both the automotive and fashion worlds. His reel includes projects for Cole Haan, Harley Davidson, Chevrolet, Ford, Lincoln, Dassault, GM, Varvatos, and JEEP among others.
But from Garth’s perspective, automotive and fashion directing are similar in many respects in terms of their marketing approach.
“Just like fashion, automotive is a lifestyle brand, the marketing often is not just about the car driving down the road and you envisioning yourself driving that car,” Garth said. “It’s about living the lifestyle that the car signifies, in much the same fashion marketing does. Fashion, cars, music videos–it all comes full circle under ‘lifestyle.’”
Garth adds the exciting part for him is returning to a company he helped build.
“I was there helping get Hudson off the ground, working with Larry and Audrey in the beginning, and to see it grow into a respected company and force in the Midwest market is gratifying. They have built a polished, well-run machine, and I’m looking forward to adding to its well-earned reputation.”
Prior to rejoining Hudson, Garth was most recently represented by production house JOJX.
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