Editor Ben Whitten has come aboard NY-based postproduction shop Northern Lights. Whitten has nearly two decades of experience as an editor, with work spanning commercials, broadcast promos, co-branded initiatives, long form content, PSAs and radio spots. His background as a jazz musician brings a natural sense of rhythm to all of his projects, bringing out the emotion and arc of the storytelling. He has worked with ad agencies including Grey, JWT, Y&R, Draft FCB and major networks such as USA Network, Food Network and WE.
After studying jazz performance at Philadelphia’s The University of the Arts, Whitten headed to NYC with his sights set on the recording industry. He balanced an evening internship at a record label with a day job at a boutique advertising agency, where he got the chance to cut a number of small projects. In addition to editorial work, he climbed ranks to director of broadcast production, overseeing both in-house and outside production including editing, sound design, recording, mixing and licensing. As Whitten gained more experience editing, he moved on to editorial shop Mad House, where he spent nearly 15 years working with agencies on notable campaigns including an Addy Award-winning USPS 9/11 spot featuring Carly Simon’s “Let the River Run” and a series of music-driven spots for Burger King. He also utilized his musical background on a wide range of projects for Atlantic Records artists for almost a decade. Prior to joining Northern Lights, Whitten cut campaigns for the primetime series White Collar, Burn Notice, Complications and Suits.
Whitten said, “After meeting the team at Northern Lights I knew it would be a good fit. They have put together an incredibly talented group of people and the fact that they have production, design, audio and post, all under one roof is a direction that is exciting for me. I’m looking forward to being able to cross-pollinate with the other divisions and get the chance to work on a variety of work.”
Northern Lights partner David Gioiella noted, “Ben’s editorial style clearly communicates a unique point of view. And his diverse background in commercials, network promos and longer form assignments is a perfect fit.”
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