Specialized creative agency Leviathan has added Bill Galusha as sr. producer.
Over the past several years, Galusha has produced and curated high-profile projects for clients including Google, NASA, Nike, VICE and YouTube. A former producer at Bot & Dolly (and its sister company, Autofuss), Google, and Obscura, Galusha has to his credit an array of groundbreaking interactive and experiential installations.
For a few examples, in 2016, VICE’s arts and culture platform The Creators Project launched “Future Forward,” a nationwide series of events featuring original artworks from internationally renowned studios. Galusha was the series’ curator and executive producer. A year earlier, he and his team helped design, and fully fabricated Prismatic_NYC, a permanent kinetic sculpture which hovers just above NYC’s Highline Park. Among many other career accolades, Galusha and his team at Bot & Dolly won Best in Show at the 2014 SIGGRAPH Awards for BOX, which combined robotics, motion capture, and dynamic projection mapping.
“I’ve always been very interested in what Leviathan has been up to–very cool work and very cool people,” Galusha said. “Teaming up with Chad [company president Hutson], Jason [executive creative director White], and their assembled talents, and really pushing forward together, I’m hoping that my experiences will resonate here and continue to bring big business and exciting new work opportunities for us all.”
Hutson said of Galusha, “Bill’s breadth of hands-on experience producing content and interaction for environments is unmatched. We’re talking robots, mirrors, lasers, projection mapping, military-grade hardware, and beautiful imagery–all designed for physical environments.”
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