The Work Post

6 Work Editorial spots featured this year for Audi, Skittles, Kia, Evony, Bai and Mobile Strike. From the comedy we have come to expect of Skittles, re-imagining a love story in their own inimitable style to Audi's statement on pay equality and Kia's no sacrifice environmentalism with Melissa McCarthy, we broadly covered humour, spectacle and celebrity in all their guises.

Thanks to our editors STEWART REEVES, MARK EDINOFF and JONO GRIFFITH and our clients at Butler Shine Stern, Furlined, twofifteenmccann, Superprime, Venables Bell, Somesuch, David & Goliath and MJZ.

#ButlerShineStern #Furlined #twofifteenmccann #Superprime #VenablesBell #Somesuch #David&Goliath #MJZ #Audi #Skittles #Kia #Evony #Bai #Mobile Strike

Graduating with a BA in Film, Adam started out directing, making short and experimental films that found their way into Philadelphia Film Fest, Underground Film Fest and Cinesalon Shorts Series. But when it began to feel like the fun only really started with the raw material in the edit suite, it was time to re-think.

Early years were spent assisting at The Whitehouse Post, Cosmo St, Lost Planet and SpotWelders for Hank Corwin, Chris Franklin, Tom Scherma & Sar Klien. Adam has since been an integral part of Work Editorial NY as an assstant editor for the last three years, working on Nike, Geico, AT&T, GE, VISA, ESPN, UNIQLO, Samsung and Verizon. We now welcome him onto the roster as an editor.

Although there are many examples of editor-turned-Directors, it's rare the other way round. But it was through that early filmmaking that Adam identified his passion for the craft of editing. It's offered some real advantages, like knowing the right questions to ask so creative intent doesn't fall through the cracks. But mostly Adam adds that: "It's having compassion in the ruthlessness needed to find the best cut. People fall in love with shots on set. I know I have. Then in the edit maybe it just isn't as good as they remembered or it just doesn't work. There is a way to lose it with compassion for what was so great about that shot on the day, the idea or emotion behind it, and make sure that it's still in the film. Protect the ideas, ravage the footage".

Joining an incredibly strong NY roster that also includes Rich Orrick and Ben Jordan, Adam points to the future: "More then any specific style or genre, I love working with directors and creatives with an honest point of view. People over style is always more important to me. That being said, and with all collaborators being equal, strong visual storytelling that can laugh at itself tends to be what I find the most interesting and compelling".

Jane Dilworth, Parner & Founder at Work Editorial adds: “It’s always a great feeling to promote from within and Adam moving up is no exception! He is a fantastic young editor who already has a following amongst some of New York's finest directors and agencies. We are all looking forward to seeing him succeed"

Work Editorial welcome Arielle Zakowski to the roster line up. Working alongside partners Rich Orrick and Stewart Reeves, she has edited commercials for Powerade - Wieden + Kennedy, Jaguar - Spark 44, Mobile Strike (215 McCann) and Subaru - Carmichal Lynch, working with industry-leading directors including Peter Thwaites and Henry Hobson. Alongside commercials, she continues to hone her storytelling and has maintained a constant stream of film projects, web series & music videos. Co-editor of feature film “Night Owls,” it premiered at SXSW 2015 and short film “Wannabe” premiered in the Narrative Shorts competition at Tribeca 2016.

Arielle was also the sole editor of Game of Thrones “The Sight” campaign winning Bronze at Cannes Lions and the title sequence for Netflix’s “Daredevil”, nominated for an Emmy for Outstanding Main Title Design.

In spite of her young age, Arielle works at a very high creative level with work that is full of surprises and lightness of touch, invisible to even the most seasoned editor. Her commitment to good work is impressive for an editor at any stage of their career, but to commit with such rigor from the onset is exceptional. Previously trained under Angus Wall and Grant Surni at Rock Paper Scissors, Arielle completed a BA in Critical Studies from the School Of Cinematic Arts where she swiftly started to edit her own projects.  

Stewart Reeves, Partner & Editor at Work Editorial LA explains why the decision to stand behind this emerging talent was so easy:

"Arielle was born to be an editor, observant, patient and with impeccable taste. It is impossible to teach someone how to be a good editor, you just hope that exposure teaches them about good work practices and discipline. The rest can only be learnt from knowing when something is done, when the work is as good as it can be. Its about being confident that the choices you've made are not only the right ones but the seemingly inevitable ones, crafted into something greater than the sum of the parts. It’s easy to put shots together, the software is not that hard, its much harder to put them together in such a way that we can only feel exactly what the director wanted us to"

Jane Dilworth, Founding Partner Work Editorial, sums up:

We are thrilled to have received not one but two Shots Awards nominations. Our man Saam Hodivala in the line up for ‘Editor Of The Year’ amongst such great talent and flying the flag for comedy and tight performance. And ourselves  for Best Edit Company Of The Year. Congratulations to you all, see you on November 9th! 

From early morning gardening to sunset appreciation, Work Editorial's Ben Jordan offers a peek into his routine.

Choosing a career as an editor generally means hours closeted away in dark suites, but self-confessed 'country boy in a big city', Ben Jordan of Work Editorial New York, still finds time to tend to his tomatoes and appreciate a spectacular NY sunset.

07.45: Good rising Kings & Queens! Cats have some in-built timer; these fur balls are always on time for breakfast. And it's a breakfast of champions - chicken and liver. Just time to water my tomatoes in this fierce New York heatwave. Country boy in the big city.

09.00: And I’m off! London Underground is but a distant memory now. Brooklyn to Manhattan on the bike is a joy to commute in the summer…. The Williamsburg Bridge is a great way to skip all the palaver of the L train, plus it wakes me up in the morning.

09.30: Pull up at the office and I’m convinced David Copperfield is playing in reception...no, wait, it's Neil Diamond. I love that our company is full of vinyl junkies, music being an underlying driver in everything I do. Nothing like the familiar sound of crackle and pop throughout the day.

09.45: Faced with this regular morning question. A good find by Rich Orrick.

10.40: Director Miles Jay at Smuggler arrives fresh from Paris, ready to watch my first assemble of our new project. Feels like we've grown together - both transplants from other places throwing ourselves into new challenges in New York. ”Oooohh baby, let's watch this thing,” he says, grinning. I hate having to press play for the first time on my edit. Without fail, every job, I’m a bag of nerves when I hit that space bar...

13.30: Miles and I order from our favourite cafe on Howard Street in Manhattan, Smile to Go. This edit is powered by plants.

14.00: FFS...not this poxy thing again!

15.00: You'd think it'd be a breeze using the best takes from John Malkovich. Just one problem, every one is Oscar-worthy.

More well deserved hardware coming our way from CLIO Awards. Huge congratulations to Stewart Reeves, Ben Jordan and Rich Orrick and grateful to the many amazing teams we have had the pleasure of working with on these films.

APA Show Winners!

Honours roll call. Superb to see so many of our favourite faces at APA Show in London and a standout showcase for Work Editorial. Our editors led the way, collectively cutting more than a quarter of this year's best films on show. Fist bump.

On this day 26 August, 1920, women in US were granted the right to vote.In 1926, The Los Angeles Times published an article that said “one of the most important positions in the motion-picture industry is held almost entirely by women”. This was an era when women ran cutting rooms.

The business of assembling reels and cutting negatives was manual work dominated by young, working-class women. From these, rose a handful of women like Margaret Booth, Anne Bauchens, Dorothy Spencer and Barbara McLean (pictured) who would help pioneer the editing techniques that defined Hollywood and cut films such as The Wizard of Oz, Lawrence of Arabia, Cleopatra, Singin' In The Rain and Star Wars.

#TrustInCraft #workeditorial

Many thanks for this great feature from SHOTS about Rich and Ringan’s long and prosperous partnership!

Things rarely get
 tense between 
director Ringan 
Ledwidge and editor Rich Orrick, who have enjoyed 17 years of sharing beers, “talking bollocks” and making great commerials together, for clients such as Sainsbury’s, Lynx, Hovis, Stella and The Guardian. Full of trust, admiration and an unspoken understanding of tone, it’s a beautiful friendship from which beautiful work has flowed. But what if things do get a bit stressy in the editing suite, asks Iain Blair? Easy – they just go for a little beer break.

A long-time relationship between a director and an editor is eerily similar to that of an old married couple – at least the ones still talking to each other – who effortlessly finish each other’s sentences and thoughts, and are perfectly happy sitting alone together for hours in a darkened room staring at a screen.

Top commercials director Ringan Ledwidge and acclaimed editor Rich Orrick are just such a couple, although instead of watching TV ads they spend most of their time making them – apart from the occasional beer break to let off some steam during a long edit session. And over the best part of nearly two decades, those sessions have produced hugely popular commercials for such high profile clients as Lynx, adidas, Nike, Sainsbury’s, Britvic, Hovis, John Lewis, Puma, Axe and The Guardian, along the way picking
up awards at D&AD, British Arrows and Cannes, including a coveted Grand Prix at the last.

Ledwidge, who graduated from London’s Ravensbourne School of Design and then worked as a photojournalist in the Middle East, first teamed up with Orrick in 1999 when they worked on a low-budget promo for Supercharger’s We Rock. “I’d just started directing,” says Ledwidge, “and it was a lot of running around in East London and the City, being chased by police, while I was trying to film a tall, lanky man in a green suit jumping up and down – it probably sounds a bit silly and ridiculous. But Rich brought something great to it, using split screens and freeze-framing and moving stuff around. It just worked.”

Apart from being artistically simpatico right from the start, the other key ingredient to their budding friendship and collaboration was “a mutual love of beer,” recalls Ledwidge, who co-founded Rattling Stick in 2006. “That definitely helped in terms of bonding. We were also both at the very start of our careers and we just got on really well – like instantly. And now I feel I’ve known him my entire life, and I can’t imagine not working with him.”

Orrick started editing in 1995 at NWH in Soho, and set up the boutique editing company Work, alongside award winning editors Bill Smedley, Neil Smith and EP Jane Dilworth. He’s been cutting for Ledwidge for 17 years now. “He’s cut 95 per cent of what I’ve shot during that time,” notes Ledwidge. “I can’t get hold of him for the other five per cent as he’s so famous and busy now.”

Their long partnership actually improves their efficiency: “It just seems like we’re always on the same page,” says Orrick. “And the more we work together, the more shorthand everything becomes. It’s like second nature now to get a cut together from where we can really start working and trying things out. So it makes the whole process a lot simpler in a way – despite the fact that the jobs get trickier and bigger all the time – and that allows us the time to experiment and the freedom to play around with ideas a bit more.”

In a high-pressure industry where partnerships can crash and burn, Ledwidge and Orrick seem
to have created a pretty stress-free working environment. “First of all, we’re good friends and that developed very quickly and naturally,” says Ledwidge. “It’s never put any strain on our work
– we’ve got very similar tastes.” Orrick adds: “We’ve both got a very similar work ethic, too.
We can be mates and have a good laugh, but we also know not to cut any corners whatsoever. We both set as high a bar for ourselves as we can, so it’s not like either of us is hoping to scrape by on a job with the minimum effort. If anything, we try and push each other, in a healthy way.”

According to Ledwidge, the only time tension visits the edit suite is “when we’re both not satisfied with where the cut’s at. We feed off each other, and then it’s all about trying to make it as good as possible, and even if you’re fucking knackered and it’s been a 17-hour day, and you’ve had five of them in a row, we still have the appetite to keep going and push it even further. We’re both very meticulous in terms of detail and exploring every frame of the footage so we know it inside out and know what’s working and what’s not. And we know each other’s minds really well, and the friendship alleviates those moments where there’s a problem. There’s never any shouting and yelling. If it’s tense, we’ll take a break and go for a beer.”

He goes on to stress that, “from a director’s point of view, Rich is a brilliant editor, and a
great storyteller in his own right, and we both understand the tone of whatever it is we’re trying to make – and very quickly, without really having to talk about it. And a lot of the stuff we’ve done together is very different tonally, so there’s this understanding we both have that makes a lot of discussion unnecessary. And that’s a great relief for me, because as a director you end up spending your time talking way too much.”

“The whole tonal thing is kind of impossible to explain anyway,” Orrick states. “You either get it and you’re on the same page, or you don’t and you’re not.”

So what do the pair talk about in the edit suite as they work? “A lot of bollocks, obviously,” says Ledwidge. “We talk a lot of shit while we’re working. We talk a lot about football and sadly there might be talk of internet shopping and clothes. And of course we have a good moan every so often about work-related things – being English we have to moan. It’s part of our job, the great joy of moaning. And in amongst all that, we’re working and concentrating on the job, and then every
now and then we’ll dig deep into a scene and a moment, and we’re focused on thinking about it.”

“We’ll also try and explain, via influences, what the idea we’re aiming for is, and what the scene’s supposed to be about,” adds Orrick.

“The other great thing about Rich is that he’s not precious with what I’ve shot,” the director says. “He’s able to look at material very coldly.”

“That’s your strong point as well,” says Orrick. “It’s all about telling the story, and the very best version. So if a great shot doesn’t work or it’s superfluous, and even if it took him half a day 
to get, he’ll just get rid of it. And he’s brilliant at being able to do that – to cut to the absolute heart of what’s required, nothing more.”

“Yeah, we don’t fall in love with shots because they’re beautiful or were hard to do,” agrees the director. “I think we’re always making sure that each shot moves the story forward, and that it isn’t excess and fat. There’s nothing worse than something outstaying its welcome, and I think Rich is really good at knowing – and this is largely unspoken between us – what should and shouldn’t be there. And if there’s an emotional thread to the story, he’ll find it and follow it all the way.”

As an example, he cites 1914, the 2014 Sainsbury’s World War 1 Christmas spot. “That moved through a lot of different emotions, from the feeling of friendship to fear and then warmth. He’s brilliant at bringing out each emotion in a very effective way,” he explains. “As a viewer, it moves you, but there’s nothing mawkish about it.” For Orrick, it’s a case of “bringing out the emotions in the actors, and it was done in such a subtle way. It feels effortless, which makes it easy for me when you’re given those kinds of performances.”

In addition to their similar tastes and work ethic it’s clear the duo also benefit from mutual trust and honesty. “That’s crucial,” notes Ledwidge. “We can be brutally honest with each other about whether scenes are working or not, and I think we know in our hearts if they are or not. Rich always nails exactly what I hope for – and then surpasses that. There’s no ego in the room, as we know the other person’s only trying to make the best cut possible. We have each other’s backs all the way. We’re not going to stitch each other up.”

That loyalty and willingness to fight for their shared vision is also vital, “especially when you have so many outside voices and opinions trying to knock you off course, whether it’s comments from the clients or the agency or whoever,” says Ledwidge “Trying to keep on track is always the hardest thing to do in this business. But I think we’re both good at filtering those comments.”

“You need to be able to read between the lines,” Orrick notes. “It’s sometimes not what they’re asking for, but you have to interpret it.”

We’re ecstatic to announce two great wins at this year’s AICP Awards.

You can destroy lives and dreams in mere seconds. When a film is this powerful - it's no surprise that AT&T's Fletcher's Drive won BEST EDITORIAL for Ben Jordan. A combination of home movie footage and re-enactments, it was another collaboration with a director we hugely admire, Miles Jay at Smuggler . Proud to have been part of this story - congratulations.

And HUGE congratulations to BBDO New York and Frederic Planchon for BEST OF SHOW at AICP for AT&T's 'Close To Home'. EDITED by RICH ORRICK - the everyday story of lives that intersect in one tragic event. It only takes one careless second. It can wait.

The storytellers of post-production - editors take us on an emotional journey in 30 seconds. But why apply their immense skill to the short, succinct craft of advertising? LBBOnline - The Little Black Book caught up with rising stars to find out more about their craft, their challenges and the advice they'd give to anyone wanting to follow in their footsteps.

"Making The Cut: Up & Coming Editors Share Their Craft"

Many thanks to SHOTS for this fantastic article on our brilliant new editor!

Work's editor on laughing, crying and cringing along to TV, film and advertising, plus his inspirations.

What’s the best ad campaign you’ve seen recently?

"Zooby doo zooby doo zooby doo... zooby doo zooby dooby dooby doo... it’s in my head and it’s not leaving... "you can’t get any
more Ribenary" with lazer firing owl thing... rabbits in shades... this weird and wonderful ad does its job brilliantly and takes me to a magical place. more please.

What website(s) do you use most regularly and why?

I reckon it’s a toss-up between Discogs, where I can get all kinds of rare vinyl, and Ad-immo.com, where there are many old mountain granges for sale. I do spend a lot of time listening to records in my rocking chair looking at pictures of dilapidated buildings in the Pyrenees.

What’s the most recent piece of tech that you’ve bought and why?

My son Ernie and I recently paid a visit to the magical Umit & Son in Hackney, a shrine to all things cine. We bought a lovely Elmo super 8 projector for him to use in his final art project at college. We also got the complete Raid on Entebbe film. We're gonna turn the living room into a cinema and get some friends over.

What’s your favoured social media platform?

I think I missed the social media platform memo! But Esters, our local cafe in Stoke Newington, is a great place to exchange stories and ideas... you can make new friends over fine coffee and even finer food. But actually I do have Instagram... it's a secret though, only so I can see my daughter Katie-Mae's lovely photos.

What’s your favourite app on your phone?

I love all the video apps. I have a super 8 camera and a VHS camera too. Truly a miracle to have all this and more in my pocket, making films really is art now that everyone has the tools to do it.

What’s your favourite TV show and why?

Gogglebox. Not sure why though. If you pitched the idea to me I’m not sure I'd go for it, but it’s entertaining to laugh, cry and cringe along with everyone. One big family living life and watching TV all together on the sofa. Kinda beautiful.

What film do you think everyone should have seen and why?

Harold and Maude. Wow, what an amazing film. Full to the brim with wisdom and laughs, beautifully edited. Hal Ashby, the director, is my filmmaking hero and, of course, he was a great film editor too.

Where were you when inspiration last struck?

It usually strikes when I'm riding my bicycle. I have an old Dutch bike I get about on, rolling gently through the world I get inspired all the time. Trouble is, I've always forgotten what it was by the time I get off.

What’s the most significant change you’ve witnessed in the industry since you started working in it?

That'd be the internet then.

If there was one thing you could change about the advertising industry, what would it be?

I think the way film editing is viewed. Or maybe the compulsory introduction of the magic that is a siesta?

What or who has most influenced your career and why?

My longtime colleague and friend, Matthijs van Heijningen. We've been working together for 20 or so years, mostly laughing, bringing all those ideas to life. His vision, talent, knowledge and trust are still an inspiration. Thank you, mate.

Tell us one thing about yourself that most people won’t know.

Work Editorial continues its unbridled expansion in Los Angeles with editor Stewart Reeves, who joins Work as a company partner.

British-born Reeves studied film in Sheffield before moving to London to begin his career. After a brief stint in Amsterdam as an agency producer at W+K, Reeves moved to Sydney, Australia, and quickly became a prominent commercial editor. In 2011 Reeves relocated to Los Angeles, where he continued to cultivate and deepen his substantial list of film and commercial credits, first at Arcade and then at Rock Paper Scissors.

Reeves has already proven to be a creative powerhouse on three continents; although now based in LA, his reach through Work Editorial will extend to long-time clients in Amsterdam, London, Sydney, and New York. He brings a solid footing in the industry to his work as both an editor and to the group of partners, where he joins editors Bill Smedley, Neil Smith and Rich Orrick and Executive Producer Jane Dilworth.  

“Stewart is a bona fide talent and true friend,” Dilworth remarks. “We feel sincerely lucky to have him join us. His accomplishments speak for themselves, and we couldn’t be more confident that his work at the helm of this company will be equally influential.”

Reeves’ roster of professional connections and collaborators is extensive: in addition to working with top agencies worldwide, Reeves has worked – and continues to collaborate – with many well-known directors: Noam Murro, Christopher Riggert, Mark Malloy, Hamish Rothwell, Garth Davis, Henry Hobson, Peter Thwaites, and Lance Acord, to name just a few.

Reeves has received numerous top-tier awards, including Clios and Cannes Lions, and has worked on high-profile campaigns for Dodge, Hershey’s, Honda, and GE, as well as an impressive seven Super Bowl commercials. His most recent work includes the inspiring – and visually inspired - Samsung spot made in tandem with the 2016 Youth Olympics, which was instantly named an Editor’s Pick by Creativity.

Of his new position, Reeves says, “It’s an honor to work alongside this team of inspiring editors, and to join my fellow partners at Work as well. There’s a sense of community and family here – Work truly nurtures creative potential – and I’m thrilled to be a part of that.”

Reeves also joins LA-based editor Adam Robinson, and Executive Producer Marlo Baird, fresh from Carbon FX, who has already proved to be an integral part of the Work team.

A road movie... On foot.

We are thrilled to announce that this Saturday on More4 at 9pm is the network premiere of Downhill; a feature film cut by Bill Smedley. 

The film, directed by James Rouse and written by Torben Betts, follows four friends on a 192 mile trek. It’s a hilarious portrait of aged friendships and aged men - pitting the desperately incompatible against England’s mightiest natural landscapes - and has received some incredible reviews (with 89% on Rotten Tomatoes!) 

Watch the trailer below and be sure to catch it on Saturday!

The British Arrows shortlist, announced recently, includes an eclectic mix of commercials. We are incredibly proud to say that we have worked on a ton of them!

They include:

Weedol - Weeding Right Now

Made for McGarryBowen by Outsider. Directed by Harold Einstein and edited by Mark Edinoff.

Nominated for: BEST 30 SECOND TV COMMERCIAL / HOUSEHOLD APPLIANCES, MAINTENANCE AND SERVICES

Harvey Nichols Loyalty App - Shoplifters

Made for adam&eveDDB by Blink. Directed by Layzell Bros and edited by Anne Perri.

Nominated for: DIRECT RESPONSE, PROMOTIONS, RETAILER / BEST OVER 90 SEC WEB-BASED / BEST 60-90 SEC CINEMA COMMERCIAL / BEST OVER 90 SEC CINEMA COMMERCIAL

Guardian Newspapers - Fun Run

Made for BBH by Outsider. Directed by James Rouse and edited by Bill Smedley.

Nominated for: NEWSPAPERS, MAGAZINES AND MUSIC / BEST 30 SECOND TV COMMERCIAL / THE JOHN WEBSTER AWARD

Tena Men - Control

Made for AMVBBDO by Biscuit Filmworks. Directed by Jeff Low and edited by Saam Hodivala.

Nominated for: HOUSEHOLD SOAPS, DETERGENTS AND TOILETRIES / MEDICINES AND DRUGS / BEST 30 - 60 SEC TV COMMERCIAL

Sky Sports - Time Traveller

Made for Brothers and Sisters by Outsider. Directed by Scott Lyon and edited by Art Jones. 

Nominated for: TELECOMMUNICATIONS SERVICES AND PRODUCTS / TELEVISION AND RADIO STATION PROMOTIONS

And there are many more...

Pot Noodle - The Ring (Edited by Mark Edinoff)

Samsung - School of Rugby ( Edited by Saam Hodivala and Mark Edinoff)

Lurpak Spreadable - Freestyle (Edited by Neil Smith)

National Lottery - Please Not Them (Edited by Saam Hodivala)

Mulberry - Miracle of Mulberry (Edited by Bill Smedley)

Sainsbury's - Mog's Christmas Calamity (Edited by Bill Smedley)

The AA - We’ve Seen It All (Edited by Art Jones)

Our edit assistants, on both sides of the ocean, have been busy working on a number of exciting projects.

Newly-signed, Biscuit Filmworks' director Lucie Beecham created an electrifying spot for Rogues Shoes. Edited by Ben Corfield. 

Nike build on the hype of the London Olympics with this short film on the aspirations of our young athletes. Cut by Ellie McNaughton and directed by Claire Arnold.

Hailed by Jason Stone as "rewarding and thought-provoking", this short documentary for Lonsdale explores the redemptive power of boxing. With a focus on John Harding, convicted criminal-turned-sportsman, director Good Boy Wolf achieves an inspiring narrative thanks to editor Hasani A. Franke. 

From our edit assistant in New York, Adam Witten, comes this poignant edit for Veterans Day. Directed by Christian Weber for HP Enterprise.  

This hilarious spot for Dr Pepper was a big hit during (American) football season. Cut by our LA assistant, Arielle Zakowski, and directed by Jonathan Krisel.