Vicki Ordeshook has been named executive producer, national sales and marketing, for Superlounge, working alongside EP/partner Dave Farrell. In the newly created role, Ordeshook will oversee sales and marketing for the production company. She has secured James Bartlett of Mr. Bartlett for East Coast representation, and John Buckley of Buckley Reps on the West Coast. Kristina Kovacevic-Plunkett and Joanna Miller of KK&Joanna remain in place in the Midwest. Prior to joining Superlounge, Ordeshook spent three years at Elias, where she served as an EP across all facets of its business with a concentration on sales and marketing.
Ordeshook graduated from LMU’s School of Film and Television with a degree in Film Production, then joined music/sound company Machine Head, where she rose through the ranks to executive producer. Over the next decade, she expanded her producing skills beyond advertising into film, television and video games, including serving as executive music and sound roducer of The Call, starring John Malkovich and Uma Thurman, directed by Antoine Fuqua and sponsored by Pirelli Tires. Additionally, Ordeshook worked in artist management, live action production, post and sales, before joining Elias in 2013.
“I’m excited to be involved in taking Superlounge to the next level,” said Ordeshook,-“building the roster and spreading the news about their talents, delightful personalities, hands-on approach and commitment to making great stories come to life. This position is also a great opportunity to get back to my first love, filmmaking.”
Superlounge recently completed production on its second round of Toyota’s “Built To Amaze” digital campaign (via Saatchi LA), and a Ford campaign created via GTB (formerly Team Detroit). Both projects were directed by Jordan Brady.
In addition to Brady, the Superlounge roster is comprised of award-winning commercial directors Daniel Sheppard, Brett Wagner, Barton Landsman, Jeff Aron Lable and Jeanette Godoy.
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