The Den has added editor Tobias Suhm to its team as a partner. He joins a talent roster at the bicoastal edit house which includes Christjan Jordan, Kate Owen, Eric Alexander-Hughes, Katie Cali, Andrew Ratzlaff and Ross Birchall.
Suhm, who had previously been at Whitehouse Post, has worked with international brands and garnered accolades from awards competitions such as CLIO and the Webbys. The Beardyman music video, “6 am (Ready to Write),” featuring Joe Rogan and directed by his long-time friend and collaborator, Ian Pons Jewell, won the UK Music Video Award for Best Dance Music Video last year. Suhm’s Skittles ad, “Yogurt Boy,” and the Michelob spot “Call from Nature” are also among the work he’s most proud of.
“I like that editing is a kind of intangible mystery artform,” said Suhm. “Everyone knows what a cinematographer does or a screenwriter but when it comes to editing it all seems to be a kind of mystery that is hard to come by–and yet it has such a tremendous impact on the overall outcome of a film.”
“Tobias is an amazing artist,” said editor Jordan, co-founder of The Den. “He is an epic storyteller and his work truly showcases both his editing skills and his creativity. I am beyond thrilled to have him join us as a partner at The Den. His warmth, humor, and expertise will help continue to shape our growing company.”
Suhm hails from a small town in the southwest corner of Germany, known as the Black Forest. Close to the border of France and Switzerland, the fairytale-esque area provided an idyllic background to a childhood filled with ‘80s movies, including every Spielberg classic. This early fascination with films, including delving into books, making-ofs, and behind-the-scenes accounts, led him to begin editing home footage that he and his friend would shoot on a miniDV camera.
After high school, Suhm left for Munich where he completed a three-year film editing apprenticeship at a German broadcast station before heading to film school. He attended the noted Filmakademie Baden- Württemberg. Upon graduating, he moved to Berlin, where he lived and worked for nine years until making the leap to Los Angeles to edit at Whitehouse Post.
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.
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