Editor Brian Sanford has come aboard KYLE edit, joining a talent roster that includes owner/editor Tina Mintus, editor Nate Taylor, and creative director/VFX artist Mike McKenna. Company executive producer is Eytan Gutman.
Sanford has worked with agencies such as BBDO, DDB, Grey, Digitas, R/GA, Saatchi, McCann and Taxi to create work for brands like Lowe’s, Time Warner, Etrade, Mucinex, Guinness and Miller Light. Most recently, Sanford’s work can be seen in Jeep’s Super Bowl 50 spot, which won first place in the 2016 Clio Creative Bowl. Prior to joining KYLE, Sanford was an editor at Cutting Room.
The addition of Sanford comes as KYLE relocates into new larger digs in the Flatiron District. With the move, KYLE also expands its visual effects department to include color correction under the creative direction of McKenna whose career began in 1996 at Manhattan Transfer, which later became RIOT Manhattan. Since joining KYLE, McKenna has worked on spots for such brands as Gillette, Bulgari, L’Oreal, Progresso, Cheerios, Target and Walmart.
KYLE was founded by Mintus following her successful stretch at Version2 where she worked extensively on campaigns for Garnier, L’Oreal, Revlon, Target, Subaru, American Express, JCPenney and Olay, among others. Under Mintus’ leadership, KYLE continues its work with the Garnier brand, along with Hershey’s, Head & Shoulders, Walmart, Pampers and Cheerios, furthering strong relationships with Publicis, Arnold and Saatchi.
EP Gutman came to KYLE after freelancing for shops such as Rock Paper Scissors, Cutting Room and Arcade Edit. Earlier he was a producer at Crew Cuts. His industry roots are as an agency producer at Ogilvy and DDB until landing at BBDO where he led national spots and Super Bowl ads for Pizza Hut as broadcast producer.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
The one rule to follow is that... Read More