The Den Editorial has added editor Leo King to its roster of talent. The owner of Stitch Editorial in London, King has found a close artistic alignment with The Den and has signed on with the boutique edit house for representation in the U.S. King’s work ranges from comedy commercials to megawatt action spots.
King’s professional life began at 15 over at Twickenham Film Studios, where he worked alongside editor Tony Lawson. There, he quickly fell in love with how an edit can shape the soul of a film. Following university, King first signed with DGW and later joined Cut+Run before leaving in 2010 to establish Stitch Editorial. His storied career in postproduction encompasses many global opportunities to edit on set, including a jungle in Belize, aboard a warship, a 127-degree shoot in Kenya, and inside a giant shoe!
King’s work has earned such honors as Ciclope Awards, Kinsale Sharks, LIA, D&AD Pencils, Clios, and Creative Circle Awards. His commercial work includes enthralling spots for Beats by Dre and Libresse and many comedic ads for clients such as McDonald’s, Just Eat, and Warburton’s, which starred Samuel L. Jackson. These projects have seen King work with heavyweight directors from across the world, including Nick Ball, Ninian Doff, Declan Lowney, and Tim McNaughton, formerly of the Bobbsey Twins.
“The Den was on the top of my list when I was seeking work in the U.S.” said King. “The ethos of The Den is very aligned with how I run my own company [Stitch]. The creative comes first for The Den, and they invest in up-and-coming talent, allowing them to develop and grow–two things I care passionately about. We clicked immediately, and this is just the beginning of an exciting new relationship between Stitch and The Den.”
Rachel Seitel, co-founder of The Den Editorial, added, “Leo found us at the perfect time. We’re growing as a company, with new offices in NY and L.A., and Leo’s expanding with his work in the U.S. We’re huge fans of his work – he’s an editing virtuoso, he’s cut so many iconic spots, and as a fellow founder and business owner, I do not take it lightly that he’s entrusted us to represent him across the pond. We’re elated to have him with us at The Den, and we can’t wait to see what’s next for him.”
Review: Director-Writer Megan Park’s “My Old Ass”
They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.
"Dude, I'm you," says the guest, as she nonchalantly burns a 'smores on a campfire next to a very high and stunned Elliott. "Well, I'm a 39-year-old you. What's up?"
What's up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for "My Old Ass" and the results are uneven even though she nails the landing.
After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.
"Can we hug?" asks the older Elliott. They do. "This is so weird," says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it's like kissing yourself. The older Elliott soon puts her number into the younger's phone under the name "My Old Ass." Then they keep in touch, long after the effects of the 'shrooms have gone.
Part of the movie's problem that can't be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.
The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where "my life is about to start." She's sick of life on a cranberry farm.
Park's scenes and dialogue are unrushed and honest as Elliott takes her older self's advice and tries to repair... Read More