Rock Paper Scissors (RPS) has added editor Peter Brandt to its roster for representation in the U.S.
Brandt, who had previously been handled by Work, is best known for his anthemic collaborations with A-list Scandinavian directors that include Martin de Thurah, Andreas Nilsson and Adam Hashemi. For his most recent commercial project in the U.S., Brandt reunited with de Thurah on the highly awarded and much celebrated “An Open Mind is the Best Look” for Nordstrom and Droga5 New York. Brandt was also the editor behind Nilsson’s multi-award-winning “Epic Split feat. Jean-Claude Van Damme” for Volvo that swept Cannes with six Grand Prix honors for Forsman & Bodenfors.
“Peter’s range as an editor makes him a perfect addition to the RPS family,” said Angus Wall, founding partner and editor at Rock Paper Scissors. “His exceptional work speaks volumes and I can’t wait to see what’s in store for someone with his level of talent.”
Eve Kornblum, RPS managing director, described Brandt as “an editor’s editor in every facet of his work. His knack for building narrative and creating emotion is really incredible.”
On joining RPS, Brandt said: “I’ve always been particularly driven by the variation that commercial and feature projects allow me to work on. Rock Paper Scissors is unique in having that outlet built into their structure with MakeMake Entertainment and all of their sister companies. So much of the work I admire comes from the U.S. market, so I’m really eager to expand my relationships with RPS’ amazing partners.”
Having started out editing commercials and music videos in Denmark, Brandt gained acceptance into The National Danish Film School in 2003 which opened up a series of narrative feature opportunities. His first collaboration with director Christoffer Boe on psychological thriller Reconstruction was rewarded with the Camera d’Or at the Cannes Film Festival, Best Editor at The Robert Awards and The Young Cinema Award at Venice Film Festival. Brandt continues to work across Scandinavia out of his own Copenhagen-based company, Little Machine.
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