Creative editorial house Final Cut has added Jasmine “Mac” McCullough as an editor at its L.A. location, as well as the promotion of Lucas Moesch to editor at the company’s New York office.
With over a decade of cutting her teeth as a film editor, McCullough came into the craft when she realized her passion for storytelling through fragments of footage in college. McCullough’s breadth of award-winning work includes the short film “You Can’t Stop Us” for Nike, which won the primetime commercial Emmy and the Film Grand Prix at Cannes in 2021. McCullough’s short film “Call it COVID” received a Silver Lion at the 2021 Cannes Lions Awards and a Gold Pencil from The One Club. Her additional brand work includes P&G, Coke, Verizon, and Google.
Prior to joining Final Cut, McCullough was editing at Joint.
Moesch is a Brazilian film editor who has brought his vivid, intimate editing to a wide range of content mediums. The project he edited for São Paulo artist Nego Bala, “Sonho (Dream),” represents his editorial vision, blending music video format with short film gravitas. The film went on to win awards at Cannes, Ciclope Latino, and the Clio Awards. His short documentary edit on Malko was a Young Directors Award finalist and shortlisted for the Ciclope Festival. Moesch’s venture into commercial editorial has seen him collaborate with global brands such as Facebook and Budweiser. He becomes editor after honing his craft as Assistant Editor in Final Cut’s NYC office.
“I learned so much while on Final Cut’s New Blood roster, the mentorship from Final Cut senior editors was key for me to find my voice as an editor,” said Moesch. “I’m ready to take that into this exciting new role and continue growing side by side with some of the most respected editors in the business.”
“Lucas and Jasmine are immensely talented editors who are not only highly skilled and forward-thinking but who also each have a distinct and exciting point of view,” said Final Cut U.S. director of global business Justin Brukman.”
Final Cut maintains offices in London, New York and Los Angeles.
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