Stitch London has brought aboard its roster the ensemble of editors from the venerable edit house Speade. Joining Stitch are Speade founder Sam Sneade and fellow editors Gareth McEwen, Sacha Szwarc, Carlos Font Clos, Rich Woolway and Sam Allen, along with executive producer Kirsty Oldfield.
A respected, award-winning U.K. edit shop, Speade has been cutting high-profile work for the past 25 years spanning feature films, television, commercials, shorts and music videos.
Sneade, who has cut some of the most iconic ads in recent times, notably Guinness’ “Surfer” and Levi’s “Odyssey,” decided to step away from running a business to concentrate fully on his craft, and knew that Stitch was the natural home.
Sneade explained, “We started talking seriously some time ago and it was immediately apparent to all what an exciting proposition this would be as our thoughts and aspirations were so closely aligned. To continue Speade’s bespoke traditions and maintain our guiding spirit, it simply had to be Stitch.”
Referring to Stitch owners Leo King and Tim Hardy, Sneade continued, “If there were a better fit for Speade than Stitch, I couldn’t think of one. I have watched how Tim and Leo have grown this remarkable roster over the years and, like us, they have kept creativity to the fore. It’s not an easy trick and to retain an essential humanity to the subsequent offering is very rare indeed.”
King and Hardy said that they have long admired Speade’s people and their work. King and Hardy credited Stitch managing director Angela Hart and EP Oldfield as being instrumental in bringing Stitch together with the Speade coterie of talent.
Hart noted, “2020 marks our 10th birthday and what better way to celebrate. We are very excited to see what the next 10 years brings.”
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