Noted still photographer diversifies into spots, lands first commercial production company roost
Madheart has signed director Mark Andrew for exclusive national representation. Andrew is a specialist in fashion and lifestyle advertising who turned his attention to live action direction after a 20-year career as a top commercial photographer. His live action work includes projects for American Eagle, Aeropostale, Target, 7th Generation, Oil of Olay, Lane Bryant and the American Cancer Society. He has also directed music videos, fine art films and narrative shorts.
Andrew began his career in photography in the 1990s and quickly established himself as a perceptive artist through work for major national publications and such brands as Victoria’s Secret, Neiman Marcus, Nike, Reebok, Sony, Adidas and the NFL. With a gift for portraiture and lifestyle images that reveal the unguarded essence of his subjects, Andrew drew assignments involving top models, actors, athletes and politicians. He also won acclaim for his ability to capture honest, believable images of everyday people of all age groups, and for turning such “stolen moments” into iconic advertising.
Andrew believes that the narrative quality of his still work translates well to live action. “I love the challenge of telling a story in 30 seconds,” he says. “Much of my still photography comes from a journalistic approach. It’s based on casting and people who inspire me. There is also a discovery process that happens during production with the talent. That is a big part of my work. I like happy surprises.” Andrew’s photographs have been exhibited internationally and are in the permanent collection of the Smithsonian Museum.
Andrew began transitioning to live action by shooting motion in tandem with still assignments. He has directed commercials, in-store videos and branded content for a number of fashion brands, working alongside advertising agencies and client-direct.
He has also collaborated on several fine art projects with filmmaker Mark Dechazza, including “A Colloquy with God,” a music video for the classical quartet New York Polyphony that was recently featured on NPR. He and Dechazza co-directed a film to accompany the world premiere of composer Amy Beth Kirsten’s strange pilgrims at Carnegie Hall. Andrew also wrote and directed the short film Nate and Vinnie, about an unusual encounter between two New York City strangers, that has screened at festivals across the U.S. and internationally.
Andrew says that he is excited about the opportunity to expand his work in commercial advertising. The L.A.-based Madheart is Andrew’s first association with a commercial production company. “I want to create really strong images,” he said. “I like images that are rich, colorful, spirited and honest. I like to get to the core of people and, more than anything else, be memorable.”
Madheart executive producer Lisa Phillips said that she was drawn to the naturalness and emotional depth of Andrew’s work, and his experience in working with top agencies and major brands. “Mark’s work is uplifting and affirming in a way that is particularly relevant today,” Phillips said. “He is also a very enthusiastic partner. He brings a lot to the table.”
Madheart has also secured new sales representation on the West and East Coasts. Connie Mellors and Ellen Dempsey will represent the company in the West. Michael Eha of Michael Eha & Associates will lead sales in the East.
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