Thursday, September 29, 2016
Editor Paul Kelly Signs With 89 Greene, New York

Editor Paul Kelly will be joining editorial/ post house 89 Greene Editorial, New York, at the end of August, after he finishes up his commitments at Bug Editorial, New York.

Kelly has been editing commercials for nearly a decade, with recent spot credits at Bug including "Isotope," "Vortex" and "Vapor" for Volkswagen, via Arnold Worldwide, Boston; and Kodak's "Fridge" and "Sushi Date," via Ogilvy & Mather, New York. His recent music video work includes "Still the One" by Shania Twain, "Pilgrim," by Eric Clapton, and "Breathe" by Faith Hill. At Bug, Kelly is currently completing a series of spots for Hasbro, directed by Erich Joiner of bicoastal Tool of North America, through Jordan McGrath Case & Partners/Euro RSCG, New York.

Kelly spent two years freelancing in a variety of capacities in commercial production before moving from New York to Los Angeles, where he joined editorial house Rye Films as an assistant editor in 1990. He returned to New York in '94 and for five years was an editor with bicoastal Lost Planet before moving on to Bug Editorial.

Kelly and 89 Greene united, in large part, because of the long relationship between Kelly and executive producer Bob Cagliero, who came to 89 Greene a little over a year ago. Both Cagliero and Kelly said that they developed a solid bond while working on many spots together when Cagliero was partner/producer at Ogilvy & Mather, New York. "We met while we were working on an American Express spot six years ago, and hit it off really well," said Cagliero. "We kept in contact over the years, and a few months ago we decided that teaming up would be a great idea." He added that boosting the shop's editorial staff was a top priority: "When I came to 89 Greene, one of the things we needed to do here was bring on another editor, and it worked out perfectly with Paul."

Kelly's talents are not limited to cutting, as he is a musical composer with spot credits including two Calvin Klein "Eternity" ads, Miller Lite's "The Informant" and Adidas' "Eddie George." Additionally, he wrote the music for Oliver Stone's feature film Any Given Sunday. While Kelly was with Lost Planet, its owner, Hank Corwin, longtime editor of Stone's feature films, was editing Stone's U-Turn. Aiding the editing process, Kelly composed a scratch track to accompany that film. Stone was impressed with Kelly's music, but it was not used because U-Turn already had a composer on board. However, when Stone's next feature, Any Given Sunday, came around, Stone remembered Kelly and hired him as the composer.

While editing picture will be his sole duty at 89 Greene, Kelly said that he would like to continue composing for features and spots. Kelly's sense of music complements his skills as an editor, observed Cagliero. "Not only does he have a good sense of how a spot can be enhanced by music but if everything is right, he may be able to personally contribute music to spots at 89 Greene."

The post facility, which primarily cuts commercials, but also some music videos, could be seeing some longer-format work in years to come: 89 Greene, though autonomously operated, is a division of the Crossroads organization, based in New York. Crossroads opened a feature film production company, Crossroads Films' Features Division, New York, at the beginning of the year, and recently entered into a distribution agreement with United Artists (SHOOT, 6/29, p. 1). The three-year agreement gives UA the first look at Crossroads' features and provides Crossroads with development funding. Crossroads has several distinct production entities, comprising the aforementioned feature film division and post facility; spot production company Crossroads Films; bicoastal and Chicago; bicoastal commercial houses X-Ray Productions and X-1 Films; bicoastal broadcast creative services agency/production company Crossroads Television; and New York-based design firm Safe.

It is because of this agreement that 89 Greene could be working on longer formats, noted Crossroads partner/owner Dan Lindau. "The idea is that hopefully the divisions work together and feed off each other," he commented. "It's very possible that we'll be cutting trailers, possibly movies. 89 Greene is not set up right now as a movie editorial company, and it's not necessarily going to be part of the manufacturing process for every film, but this is certainly conceivable down the road."

While Kelly joined 89 Greene purely to edit commercials and music videos, he added that the recent developments, which open the possibility of editing different formats, are intriguing. "As much as I love cutting commercials, editing features is part of what I want to do in the future. 89 Greene and Crossroads are two separate companies technically, so I don't know how it will all work—but just to be around the making of features and maybe meet the right people could be an interesting opportunity."

In addition to hiring Kelly, 89 Greene may be signing on another editor within the next year. "We don't want to have the place grow to an enormous shop with a huge editorial roster," explained Cagliero. "We want to keep it a small team of good creative, and Paul fits in nicely." Kelly rounds out an editorial staff of Bruce Ashley, Tim Cahill and Jordan Green.

Category: