Bicoastal Spot Welders has added editor Lucas Spaulding to its editorial team.
Spaulding started his career at Hal Riney and Partners (now Publicis & Riney) in San Francisco where he worked in the production department. From there he spent brief stints at Mad River Post (San Francisco) and V2 editing in New York before landing a job at Mackenzie Cutler, New York. Spaulding spent six years at Mackenzie Cutler working for clients such as Fed Ex, Fox Spots and Heineken. At this point, the native Californian decided to move back to the West Coast and came aboard bicoastal Cosmo Street. He then most recently shifted to bicoastal Bug Editorial.
Spaulding explained that it was at Mackenzie Cutler where he spent key years developing his editing craft, and not surprisingly, his career went on a comedic path. “It’s how I grew up,” Spaulding said. “I like to do other things — but I enjoy helping make people laugh.”
Looking back at his work and experiences, the editor said, “I’ve been really lucky to work at good places and with good people.” Among his favorite jobs was Fed Ex’s “Great Idea,” helmed by Frank Todaro (then of bicoastal/international @radical.media, now of bicoastal/international Moxie Pictures) via BBDO New York, which shows a humorous business meeting during which a boss swipes an idea from an employee. Also during that time, Spaulding cut Budget’s “Skating” for Cliff Freeman & Partners, New York–in which decision makers consider having Budget employees move faster by working on roller skates.
Another favorite, from Cosmo Street, is Wrigley’s “No Dummies”, directed by Craig Gillespie of bicoastal/international MJZ for BBDO New York, which features a dummy in a CPR class that comes to life to make off with a student’s Juicy Fruit.
Spaulding feels he has found a great fit at Spot Welders. “I really have a lot of respect for the editors there, I knew [Spot Welders CEO] David Glean, and when I went to the office, it clicked.”
Spaulding joins an editors’ roster that includes Scott Chestnut, Damion Clayton, Ben Darling, Robert Duffy, Dick Gordon, Haines Hall, Jim Haygood and Michael Heldman.
The talent is represented by Resource in the West and Midwest, and New York-based Zeigler Management handles the East Coast.
Oscar Nominees Delve Into The Art Of Editing At ACE Session
You couldn’t miss Sean Baker at this past Sunday’s Oscar ceremony where he won for Best Picture, Directing, Original Screenplay and Editing on the strength of Anora. However, earlier that weekend he was in transit from the Cesar Awards in Paris and thus couldn’t attend the American Cinema Editors (ACE) 25th annual panel of Academy Award-nominated film editors held at the Regal LA Live Auditorium on Saturday (3/1) in Los Angeles. While the eventual Oscar winner in the editing category was missed by those who turned out for the ACE “Invisible Art, Visible Artists” session, three of Baker’s fellow nominees were on hand--Dávid Jancsó, HSE for The Brutalist; Nick Emerson for Conclave; and Myron Kerstein, ACE for Wicked. Additionally, Juliette Welfling, who couldn’t appear in person due to the Cesar Awards, was present via an earlier recorded video interview to discuss her work on Emilia Pérez. The interview was conducted by ACE president and editor Sabrina Plisco, ACE who also moderated the live panel discussion. Kerstein said that he was the beneficiary of brilliant and generous collaborators, citing, among others, director Jon M. Chu, cinematographer Alice Brooks, and visual effects supervisor Pablo Helman. The editor added it always helps to have stellar acting performances, noting that hearing Cynthia Erivo, for example, sing live was a revelation. Kerstein recalled meeting Chu some eight years ago on a “blind Skype date” and it was an instant “bromance”--which began on Crazy Rich Asians, and then continued on such projects as the streaming series Home Before Dark and the feature In The Heights. Kerstein observed that Chu is expert in providing collaborators with... Read More