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    Home » “The Longest Night” Races To Top Of Music Chart

    “The Longest Night” Races To Top Of Music Chart

    By SHOOTFriday, October 16, 2020Updated:Tuesday, May 14, 2024No Comments2668 Views
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    Kelly Bayett

    Barking Owl lands #1 slot for TAG Heuer film directed by Daniel Wolfe for DDB Paris

    By A SHOOT Staff Report

    --

    To mark its 160th anniversary, watchmaker TAG Heuer is relaunching its iconic collection, TAG Heuer Carrera, born from a passion for motor racing. To promote the occasion, DDB Paris teamed with TAG Heuer to create a campaign featuring an endurance racing car driver behind the wheel at night, overcoming seemingly impossible challenges with mental strength, resiliency and sheer passion for action.

    A prime component of the campaign is this 100-second film, The Longest Night, directed by Daniel Wolfe via Paris-based production company Standard Films with music and sound design from West Los Angeles-based Barking Owl. The work of the Barking Owl ensemble–including composer Atticus Ross, sound designer Morgan Johnson, creative director/partner Kelly Bayett, producer Ashley Benton and audio post mixer Mike Franklin–catapulted the piece to the #1 slot in SHOOT’s quarterly Top Ten Tracks Chart.

    “More than a classic endurance racing video, the idea is amazing. Clean. Primal. Archetypal. We’re tapping into something deeper, into a collective unconsciousness. Ever since I saw Le Mans, I’ve loved TAG Heuer, loved the brand’s deep-rooted connection and love of motorsports. And from that, exploring cinema’s relationship with man and the automobile,” said Wolfe. 

    Wolfe and Barking Owl also have a special relationship–one in which the music/sound house is brought into the process at an early stage. “We work with Daniel as much as possible,” related Bayett. “He is absolutely one of our favorite collaborators. He will usually bring us into the initial pitch as part of his overall plan. They contacted us soon after the shoot and we started working with Daniel on crafting the creative immediately.”

    Pandemic impact
    Bayett noted that while the timing of the project brought logistical hurdles, it also helped spark a strong esprit de corps, empathy and a simpatico feeling among the collaborators in different corners of the world. She explained, “The biggest challenge on The Longest Night was actually more of a global challenge since the agency was in Paris and we were in Los Angeles.  It was awarded just before France went into lockdown. So, we were met with delays and had to learn how to create and produce an international job while working from home in the midst of COVID shutdowns that were happening on different schedules all over the world.  It was pretty interesting though, because we could all talk about what we were going through in our countries. We felt so connected in the strangest way because we were going through a global pandemic with people on the other side of the world who were feeling the same things we were feeling.”

    “TAG Heuer is an iconic brand, offering a very unique proposition in the watchmaking world by combining high performance with refinement and sophistication, and we are very proud to bring its legacy to life,” said Alexander Kalchev, chief creative officer at DDB Paris. 

    Kalchev headed a DDB Paris creative team which also included copywriter Benoit Oulhen, art director Mickael Jacquemin, producer Quentin Moenne Loccoz, post producer Jerome Deplatiere, and strategic planners Sebastian Genty and Claude Henri Galbois.

    The film is part of an overall campaign to support the recently released TAG Heuer Carrera Sport Chronograph. The worldwide campaign includes activations on social media and other channels. 

    Click here for this quarter’s Top Ten Tracks Chart.

     

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    Category:News
    Tags:Barking OwlDaniel WolfeTag HeuerTop Ten Tracks Chart



    Review: Writer-Director Ian Tuason Makes Feature Debut With “Undertone”

    Friday, March 13, 2026
    This image released by A24 shows Nina Kiri in a scene from "Undertone." (Dustin Rabin/A24 via AP)

    Writer-director Ian Tuason's feature debut, the sonic-driven horror "Undertone," has, at least at the outset, an appealingly stripped-down quality. The 30-something Evy Babic (Nina Kiri) lives with her dying, comatose mother (Michèle Duquet). The movie never leaves their small, two-story home. Upstairs, Evy's mother lies wordlessly in a bed. Downstairs, Evy, at 3 a.m. puts on headphones, sits in front of a microphone and calls up her paranormal podcast co-host Justin (Adam DiMarco's voice) to talk "all things creepy." It's a testament to Tuason's evident filmmaking talent that, with these bare bones, "Undertone" swells into a gripping and unsettling experience. This is a movie that summons many of its scares with a sudden boost in audio levels, the thunderous tick of a clock or the scream of … a tea kettle. It's even rated "R" not for bloodcurdling violence or satanic ghouls but, simply, "language." It's these subtle qualities that make "Undertone" a spare but deftly dense film and Tuason a filmmaker to watch. It's the movie's disappointing second half, though, that breaks its quiet spell. After conjuring a tapestry of tension through narrative drips, as well as literal ones, Tuason throws in the whole kitchen sink, drowning out "Undertone" with a cacophony of genre cliches. Ancient Christian lore is invoked, as are children's lullabies, and the riveting nuance of "Undertone" slips away in all the feedback. "I want it to be over," Evy tells Justin. "Is that a bad thing to say?" Evy's mother hasn't eaten in two days, and her emotional exhaustion is clear when she first connects with her London-based co-host. You might here be wondering if the movie digs into this guilt, but "Undertone" is better at leaving carefully placed clues than following... Read More

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