Creative editors Lisa Mogol, Cindy Nielsen, Christopher Pensiero and Bryan Wetzel have joined the commercial roster of Bikini Edit.
Mogol was previously at Moondog Editorial, and prior to that, Company X and Mad River Post. Well known for breakthrough extended-length projects for Ralph Lauren, Sports Illustrated and Vault Soda, Mogol also has to her credit the feature film “Sting: When the Last Ship Sails” and music videos for Grace Potter and the Nocturnals, Hopewell and Travis. Her short-form reel spans from the epic to the very personal, serving brands such as Blue Cross/Blue Shield, Folgers, Jif, Jockey, Michael Kors, Pepsi and Smuckers in the past year alone–including three separate campaigns for major Olympic sponsors in 2016.
Nielsen’s earlier staff positions at Homestead Editorial and Chinagraph Editorial helped perfect her craft on numerous prominent campaigns. Before beginning her freelance career in 2007, she had already cut campaigns for Claritin, Dove, Hershey’s, Maybelline and Philips (Cannes Gold Cyber Lion winner, Effie Gold and Silver Award winner, among many others) via agencies Euro, Gotham, Ogilvy, Rapp Collins, Tribal Worldwide, Y&R and more. In 2010, Nielsen launched Eye Candy Edit in partnership with Pensiero, who is her husband. Nielsen freelanced via Eye Candy.
Another NYC-based editor who came into his own at Chinagraph Editorial, Pensiero also focused on editing during his seven years with the company, which followed many years of production work on feature films. Spreading his wings as a freelance editor in 2006, Pensiero landed at the aforementioned Eye Candy Edit. He has cut assorted notable commercials over the past decade, and among his long-form credits are the documentary Swing State Ohio and the narrative features 12 and Holding, Hounddog and AWOL.
Freelancing over the past several years, Wetzel has been active in commercials and documentary fare. His most recent spot credits include campaigns for Comcast, IBM, Lowes, Starburst, Tide, UPS, Verizon FIOS and Wendy’s. His ongoing documentary work for the ALS Foundation also stands out among Wetzel’s many passion projects.
Bikini Edit was founded by editor/owner Avi Oron in 1990. The studio launched in 2016 the SITE 57 gallery program creating public showing opportunities for a diverse range of artist while enhancing Bikini’s environment for creative work. SITE 57 is housed in a 1,400 square foot storefront gallery adjacent to the Bikini Edit offices in NYC. Cary Flaum is EP of Bikini Edit.
Rom-Com Mainstay Hugh Grant Shifts To The Dark Side and He’s Never Been Happier
After some difficulties connecting to a Zoom, Hugh Grant eventually opts to just phone instead.
"Sorry about that," he apologizes. "Tech hell." Grant is no lover of technology. Smart phones, for example, he calls the "devil's tinderbox."
"I think they're killing us. I hate them," he says. "I go on long holidays from them, three or four days at at time. Marvelous."
Hell, and our proximity to it, is a not unrelated topic to Grant's new film, "Heretic." In it, two young Mormon missionaries (Chloe East, Sophie Thatcher) come knocking on a door they'll soon regret visiting. They're welcomed in by Mr. Reed (Grant), an initially charming man who tests their faith in theological debate, and then, in much worse things.
After decades in romantic comedies, Grant has spent the last few years playing narcissists, weirdos and murders, often to the greatest acclaim of his career. But in "Heretic," a horror thriller from A24, Grant's turn to the dark side reaches a new extreme. The actor who once charmingly stammered in "Four Weddings and a Funeral" and who danced to the Pointer Sisters in "Love Actually" is now doing heinous things to young people in a basement.
"It was a challenge," Grant says. "I think human beings need challenges. It makes your beer taste better in the evening if you've climbed a mountain. He was just so wonderfully (expletive)-up."
"Heretic," which opens in theaters Friday, is directed by Scott Beck and Bryan Woods, co-writers of "A Quiet Place." In Grant's hands, Mr. Reed is a divinely good baddie — a scholarly creep whose wry monologues pull from a wide range of references, including, fittingly, Radiohead's "Creep."
In an interview, Grant spoke about these and other facets of his character, his journey... Read More