Cut+Run has expanded in Texas with the addition of two editors, John McStravick and Adam Henderson. Longtime colleagues and friends, the editors have forged distinctive careers in a parallel path, both at Treehouse Editorial, charlieuniformtango and now Cut+Run.
Bebe Baldwin, EP, Cut+Run Texas, said of McStravick and Henderson, “We were immediately intrigued by their talent, and then their personalities sealed the deal. It is just as important for our editors to be good humans as it is to be talented. We are also beyond excited to have a presence in the Dallas market, which is a very tight-knit community. That is something we respect and value as a company, and we can’t wait for the adventure to begin.”
“100% agree,” said Amburr Farls, Cut+Run’s managing partner on the West Coast and Texas. “John and Adam are exceptional at their craft and already feel like part of our C+R family. We are delighted to welcome them and this exciting opportunity to authentically expand our Texas community.”
McStravick is an editor with over 15 years of experience collaborating with such agencies as TRG, LERMA, Launch Agency, and 31,000FT on broadcast campaigns for global brands including Avocados From Mexico, 7UP, Frito Lay, Home Depot, Ram, Toyota and Russell Athletic.
To quote Henderson, he has been editing professionally since 2009, but passionately since 2002. A formative experience crafting creative and journalistic videos immediately sparked a love of editing. Confirming editing as a calling, Henderson was the Grand Prize winner of Adobe’s International editing competition, “Make the Cut,” beating out 9,000 entrants from over 28 countries. Some of his clients include Motel 6, Poo~Pourri, HEB, Famous Footwear, Home Depot, Salvation Army, Toyota, Tastykake, and Suddenlink. Henderson has also worked on several feature films, a few popular web series, and a slew of award-winning short films.
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More