By Robert Goldrich
As we view entries for SHOOT’s 12th annual New Directors Showcase—which will be unveiled on May 22 at the DGA Theatre in NYC (https://www.shootonline.com/eventregister)—the importance of such industry dynamics as mentorship and providing opportunities for aspiring talent become clearly evident.
Most director backstories include a big break or two in terms of education, an apprenticeship, someone’s belief in an unproven talent resulting in a pivotal gig—all underscoring that the constant lifeblood of our community is new talent being given a chance.
Our Up and Coming Directors/Spring Collection feature story in last month’s Directors Series (SHOOT, 3/21) reflects this. Consider Oscar-nominated production designer Jess Gonchor, one of the emerging directors profiled on the strength of spots he has helmed at Hungry Man. Helping Gonchor at different junctures in his career has been director Bennett Miller.
Gonchor started out in the theater and then expanded into film, mainly in the art department. He art directed several movies and then found a niche in commercials, extending his reach into production design. “The first commercial I art directed was with Bennett when he was at Hungry Man,” noted Gonchor. (Miller is now repped for spots by Smuggler.) Gonchor and Miller developed a working relationship and rhythm in commercials over the years so the director naturally gravitated towards the production designer for his first feature film, the lauded Capote.
In turn, Gonchor feels his work on Capote led to the opportunity to connect with the Coen brothers, sparking a longstanding relationship which included the production designer’s Oscar nomination for True Grit.
Gonchor’s collaboration with Miller is also ongoing, spanning the features Moneyball and the upcoming Foxcatcher. For the latter, Gonchor did double duty as production designer and for the first time as second unit director.
“Being a full-time production designer,” related Gonchor, “you know the material so well—your work is all linked to the story. I asked Bennett if I could do some of the stuff that he couldn’t get to with the first unit. He was gracious and trusting enough to say that was a good idea. He took a chance and it was a wonderful experience.”
Oscar and Emmy-Winning Composer Kris Bowers Joins Barking Owl For Advertising, Branded Content
Music, audio post and sonic branding house Barking Owl has taken on exclusive representation of Oscar and Emmy-winning composer Kris Bowers for advertising and branded content.
Bowers’ recent film scores include The Wild Robot and Bob Marley: One Love, alongside acclaimed past works such as The Color Purple (2023), King Richard and Green Book. His contributions to television are equally impressive, with scores for hit series like Bridgerton, When They See Us, Dear White People, and his Daytime Emmy Award-winning score for The Snowy Day.
In addition to his work as a composer, Bowers is a visionary director. He recently took home the Academy Award for Best Documentary Short Subject for his directorial work on The Last Repair Shop. The emotionally touching short film spotlights four of the people responsible for repairing the musical instruments used by students in the Los Angeles Unified School District (LAUSD). The Last Repair Shop reflects the positive influence that musical instruments have on the youngsters who play them, and the adults in the LAUSD free repair service who keep them working and in tune.
Barking Owl CEO Kirkland Alexander Lynch said of Bowers, “His artistry, diversity of style and depth of storytelling bring an unparalleled edge to the work we create for global brands. His presence on our roster reflects our continued commitment to pushing the boundaries of sound and music in advertising.”
Johanna Cranitch, creative director, Barking Owl, added, “Kris first caught my attention when he released his record ‘Heroes + Misfits’ where he fused together his jazz sensibility with a deeply ingrained aptitude for melody, so beautifully.... Read More