Cut+Run has added editor Robert Ryang to its roster. He will be based out of the New York office, and available for projects in all locations served by the company.
After studying film at Columbia, Ryang first gained national and international recognition with a personal project; the AICE Trailer Park-winning “Shining” in which the chilling psychological horror film is reimagined as a romantic comedy. Admired for its genre-flipping editing and the celebration of the craft, the project went viral before the term was commonplace, crashing the server of P.S. 260 where Ryang has been an editor for over a decade.
“The “Shining” trailer first put Robert on our radar and we’ve admired him ever since,” recalled Cut+Run founder Steve Gandolfi, “This project showed his initiative, drive and talent and demonstrated the editor he was to ultimately become.”
Ryang has frequently collaborated with director Jun Diaz including on the recent Cannes, D&AD and One Show awarded Twix Bites “TBT” fare via BBDO. He has also cut numerous projects for director Randy Krallman, uniting on spots for TDAmeritrade for Havas, Steinlager for Droga5, and AT&T for BBDO, among other noted agencies and brands. Ryang has also worked with such directors as Paul Feig, Stacy Wall, David Shane, Jon Watts, Ruben Fleischer, Henry-Alex Rubin and The Malloys. In addition to branded projects, Ryang has edited music videos for Death Cab for Cutie, Muse, Sleigh Bells and a feature film, “Clown,” for The Weinstein Company.
“I’ve always loved editing and the satisfaction of watching something take shape before your eyes,” said Ryang. “It’s also amazing when you can witness your work eliciting a gut reaction. It’s why I love comedy–but also the emotional impact of documentary and action projects.”
Cut+Run maintains offices in London, New York, Los Angeles, San Francisco and Austin. Ryang joins a lineup of editing talent which includes Gandolfi, Eve Ashwell, Stephen Berger, Ben Campbell, Isaac Chen, Sally Cooper, Georgia Dodson, Frank Effron, Lucas Eskin, Jon Grover, TG Herrington, Akiko Iwakawa, Sam Jones, Gary Knight, Pete Koob, Staci LeVan, Dan Maloney, Joel Miller, Chris McKay, Jay Nelson, Sam Ostrove, Nathan Perry-Green, Stacy Peterson, Dan Robinson, Chris Roebuck, Julian Tranquille and Graham Turner.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
The one rule to follow is that... Read More