SCORE A SCORE, a Los Angeles-based music production, licensing and supervision company, has gone bicoastal, opening an office in Boston headed by COO Jake Weinreb.
SCORE A SCORE’s Boston operation will serve as the firm’s East Coast headquarters, positioning the company closer to many of its existing clients. Weinreb explained, “Boston is an incredible city with a really interesting balance of culture, history, creativity and business. It serves as a great centralized home base between a lot of the East Coast markets we’re working in–NYC, Philly, DC, Atlanta, etc.–so it will enable us to put in a lot more face time along the whole East Coast. As a native Bostonian myself, I of course have a soft spot for this city, but from a business perspective, there’s an incredible advertising and marketing community here. While we’re fortunate enough to be doing awesome work with many East Coast agencies already, there’s a tremendous amount of untapped opportunity, and we’re excited to dig in.”
SCORE A SCORE’s CEO Jordan Passman said, “After attending the Forbes 30 Under 30 conference in Boston last year, and knowing that it will be happening again there this year, it’s clear that the city is quickly evolving for emerging and innovative businesses.”
Having just celebrated its seven-year anniversary in May, SCORE A SCORE has turned out a range of work which includes campaigns for such brands as Google, Microsoft, Verizon, Coca-Cola, Taco Bell and Volkswagen, as well as the films Star Wars: The Last Jedi, Pirates of the Caribbean: Dead Men Tell No Tales, Rogue One, Alien: Covenant, The Circle and Justice League.
SCORE A SCORE’s music supervision and coordination credits also include: Chef’s Table (Netflix), Fearless (Netflix), Rhett and Link’s Buddy System (YouTube Red), as well as the upcoming series, The Dress Up Gang (TBS), Scraps (FYI) and other projects for Amazon and Netflix.
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