Blue Table Post has added editor Dana Bol to its creative collective. Bol is an editor known for developing engaging and authentic narratives in both advertising and long form documentary. Her branded collaborations include campaigns for Gillette, HP, US Navy, Esquire, Heineken, Nautica and Ford, as well as experiential multi-screen installation projects for L’Oreal, NBC Universal, and WWE, among others.
Prior to joining Blue Table Post, Bol edited a documentary project via the studio on philanthropist Doris Buffet. Following the success of this collaboration, the conversations about deepening the alliance quickly and organically evolved.
“Dana and I have known each other for many years, and I have long admired her ability to shape stories that are rooted in human connection,” said Blue Table Post founder/editor Oliver Lief. “She’s someone who places emphasis on fostering connections, which is evident in her storytelling, client relationships, and her working with integrated creative teams.”
“There are so many elements that make this an exciting and welcome opportunity for all of us,” Bol related. “Among them, the ability to unite our shared interest contributing to a diversity of content, and to help give further voice to the special experience that Blue Table Post provides. Constructing stories that have emotional voracity is an honor–whether for a brand, in a documentary, or a live experience.”
Bol’s early interest in editing was sparked when she studied avant-garde cinema at the University of Colorado, Boulder, engendering a lifelong passion for expressive cinema and multi-layered imagery. A member of Free The Work, Bol has played key roles at a number of companies and was the founder of both arc*light editorial and Tallgirl. Her time stewarding companies and building teams provided a unique vantage point to the business side of the industry and an appreciation for the environment, mission and vision of Blue Table Post.
In addition to her ability to craft a story through editing, Bol is experienced in working in motion graphics, animation and compositing; and studied experiential space design at Parsons School of Design. Through her editorial and creative work experiences she became intensely curious about the crossover between 2D/3D computer generated imagery and architectural space, which has informed her work in cutting-edge immersive video installations.
She’s also an accomplished painter, another connection point to Lief whose appreciation for all facets of artistic practice led Blue Table Post to host an ongoing series of fine art shows encompassing photography, sculpture, painting and multimedia.
Review: “His Three Daughters” From Writer-Director Azazel Jacobs
Death isn't like it is in the movies, a character explains in "His Three Daughters." Elizabeth Olsen's Christina is telling her sisters, Katie (Carrie Coon) and Rachel (Natasha Lyonne), a story about their father, who became particularly agitated one evening while watching a movie on television in the aftermath of his wife's passing.
It's not exactly a fun memory, or present, for any of them. This is, after all, also a movie about death.
The three women have gathered in their father's small New York apartment for his final days. He's barely conscious, confined to a room that they take shifts monitoring as they wait out this agonizingly unspecific clock. But even absent the stresses of hospice, tensions would be high for Christina, Katie and Rachel, estranged and almost strangers who are about to lose the one thread still binding them. Taken together, it's a pressure cooker and a wonderful showcase for three talented actors.
Writer-director Azazel Jacobs has scripted and filmed "His Three Daughters," streaming Friday on Netflix, like a play. The dialogue often sounds more scripted than conversational (except for Lyonne, who makes everything sound her own); the locations are confined essentially to a handful of rooms in the apartment, with the communal courtyard providing the tiniest bit of breathing room.
Jacobs drops the audience into the middle of things, dolling out background and information slowly and purposefully. Coon's Katie gets the first word, a monologue really, about the state of things as she sees it and how this is going to work. She's the eldest, a type-A ball of anxiety, the mother of a difficult teenage daughter and the type of person who can barely conceal either disappointment or deep resentment. Katie also lives in... Read More