By CAROLYN GIARDINA
Red Car, a commercial editorial company with offices in Chicago, New York and Santa Monica (Red Car Los Angeles), has acquired the assets of Yellow Rose Editorial, Dallas, for an undisclosed price. Effective Jan. 1, Yellow Rose assumed the name Red Car Dallas.
Yellow Rose was a privately held editorial boutique founded four years ago (SHOOT, 3/3/95, p. 7) by editor Jonathan Edwards and executive producer Carrie Guilbeau, with two partners, editor Chris Kern and general manager Steve Weber (then principals in AdVenture, now principals at Voodoo, Hollywood). Kern and Weber recently sold their shares in Yellow Rose to Edwards and Guilbeau, who in turn made the deal with Red Car, a Yellow Rose spokesperson explained.
Edwards and Guilbeau, along with Yellow Rose editors Ron Sussman and Joe Elwood and a team of assistant editors and support staff, became employees of Red Car per the agreement. Red Car is privately owned by editor/director Larry Bridges, who was on vacation and unavailable for comment at press time.
Red Car CFO Ron Yuch explained, Red Car is always trying to expand its brand name and presence in the postproduction community. He added that it identified Dallas as a potential market.
Yellow Rose primarily handled regional commercial work, although it also cut some national spots. Red Car is a trademark in the advertising industry and to become part of that family was an opportunity, Guilbeau explained, adding that the team at Yellow Rose gains, for instance, Red Cars national representation network. Yellow Rose currently has two Avids.
Edwards recent work includes Kids Backwards for Pizza Hut via Dieste and Partners, Dallas, and Stopped in their Tracks for Aunt Jemima through Grupo Cuatro, Dallas. Sussman recently edited a national TGI Fridays campaign via Publicis, Dallas, and Elwood cut two not-yet-airing :30s for Pizza Hut. At press time Edwards was editing a national Budweiser campaign via Dallas-based Ornelas & Associates.
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