Effective Dec. 3, editor James Rose will come aboard Cut+Run, London. Though based in the U.K. he will also be available stateside for projects out of Cut+Run’s shops on both coasts.
Rose is moving over from NWH, a London house he joined in 1995 as an assistant to editor Nicholas Wayman-Harris. Rose then made the transition to full-fledged editor, a capacity in which he’s been serving for the past eight years spanning commercials, music videos and documentaries.
Among his recent credits is the Amy Winehouse clip “Rehab,” adding to a body of video work that encompasses such artists as U2, Coldplay, The Killers, Oasis, Jamiroquai and Bloc Party. Regarded as one of the U.K.’s leading music video editors, Rose has worked regularly with directors Anton Corbijn, Phil Griffin, Huse Montfaradi and Rob Hales, among others. Griffin helmed Winehouse’s “Rehab.”
Rose’s ability to create a compact narrative with music and pictures has gained him much attention in the commercials market, working with such directors as Nick Livesey, Joel Pront, Matt & Tom and Thomas Job. Rose’s editorial range also includes dialogue-driven pieces as best highlighted in three documentaries for the BBC’s Storyville initiative–Life and Death in Soweto, Rivonia: The Trail of Nelson Mandela and Fashion Victim–The Killing of Gianni Versace. Rose also edited the feature film The Third Pint, which was released this year and was directed by Luciano Podcaminsky (whose spotmaking home is Rebolucion, Buenos Aires, with representation in the rest of the world via bicoastal/international @radical.media).
Editor Steve Gandolfi, founder of Cut+Run, said that Rose boosts the edit house’s “standing in the music video market and adds an exciting dimension to our commercials offering.”
Review: Steven Soderbergh’s Eerie Haunted House Drama “Presence”
The camera is the ghost in Steven Soderbergh's chillingly effective, experiential haunted house drama "Presence." The filmmaker traps the audience in a beautiful suburban home, letting us drift through rooms with this curious being, in and out of delicate conversations as we (and the ghost) try to piece together a puzzle blindly.
Often in haunted house movies where a new family moves in and starts sensing strange things, the ghost knows exactly what they want — usually their house back. In this one, the presence doesn't have such a clear objective. It's more confused, wandering around and investigating the surroundings, like a benevolent amnesiac. Occasionally, though, big emotions erupt, and things shake violently.
Mostly, they go unnoticed. They observe the chipper real estate agent (Julia Fox) preparing for a showing, the painting crew, one of whom believes there's something around, and finally the family and all the complexities of its dynamics. Lucy Liu (a delightful, wickedly funny scene-stealer) is the mom, Rebecca, a wealthy, successful, type-A woman hyper focused on the success of her eldest, a teenage boy named Tyler (Eddy Maday). The father, Chris (Chris Sullivan), is more of the nurturer, concerned about their teen daughter Chloe (Callina Liang) in the aftermath of her friend's unexpected death.
There is a family drama transpiring inside the house, only some of which will make sense in the end. We overhear Rebecca drunkenly telling Tyler that everything she does is for him. We listen in as Chris confides to someone on the phone about a hypothetical partner being involved in something illegal and whether they still would be if legally separated. We see Tyler often with his head buried in his phone. And then there's Chloe: Sad,... Read More