By Robert Goldrich
LOS ANGELES --Newhouse Films, a satellite division of Crossroads, bicoastal, Chicago and London, has signed director Enno Jacobsen, formerly of Right Brain Media, Los Angeles. His latest spot work includes Dupont’s “The Lab” for Cramer-Krasselt, Milwaukee, a Suzuki campaign for Germany, and a Volkswagen Jetta ad for Europe.
Jacobsen first established himself as a director in Europe, after coming up the ranks at Neue Sentimental Film in Frankfurt, Germany. Working in postproduction during the day and editing documentaries at night for the German house, Jacobsen got his directing opportunity on a pitch video for Debitel, a major phone provider in Germany. He not only won the pitch, but Debitel chose the director to exclusively work on subsequent packages totaling some 30-plus commercials over the next three years.
He then moved stateside in 2002, directing for American and European clients. Among his early successes was an offbeat Right Brain-produced campaign for Wherehouse Music retail stores via agency Colby & Partners, Santa Monica. In fact, one of the spots, “Little Stalkers–CDs,” earned inclusion in SHOOT’s The Best Work You May Never See gallery in ’03.
The spot opens on what appears to be the POV of a would-be robber approaching a home. A potted plant gets knocked over as the camera moves in on the backdoor of the residence. The door opens and the intruder enters the house. We find ourselves in the kitchen, where the clumsy burglar knocks over a container of spices. Meanwhile an unsuspecting man slumbers deeply in the bedroom. The bedroom door opens and the camera moves in on him. Sensing that something his amiss, he awakens. The man opens his eyes to find the interloper standing on his chest–the break-in artist is a lawn gnome.
Understandably, the unexpected sight throws the man off guard. The gnome also has company–dozens of other gnomes who stand around the bed. The main gnome, still planted on the man’s chest, suddenly speaks, “Free CD.” The spot cuts to a graphic promoting a CD sale at Wherehouse. A voiceover touts the sale–“But 3, get the 4th free”–and then we’re returned to the bedroom where the man is attempting to take the gnome off his chest. The gnome says, “Uh-uh,” and the man pulls his hand away.
Jacobsen’s credits include spots for such clients as Volkswagen, Bandai/PlayStation, Suzuki and BMW. He’s taken on a wide range of work, making him hard to pigeonhole, though he’s partial to the description of “elegant storytelling with a smirk.”
Newhouse’s directorial roster includes Jacobsen, Steve Ramser and Patrick Solomon. Heidi Nolting is executive producer of the company, which is handled by an independent sales force consisting of Stacey Altman of Stacey & Co. on the West Coast, Robin Pickett in the Midwest, and Maria Stenz of Stenz & Co. on the East Coast.
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