Tag Archives: Cut+Run

Cut+Run NY promotes Adam Bazadona and Ellese Jobin

At New York’s Cut+Run, Ellese Jobin has been promoted to head of production and Adam Bazadona to editor.

Bazadona started as an assistant at Cut+Run in 2009. Moving from assisting to editing has been a fluid transition for him, with credits that include co-editor on Green Day’s Oh Love (directed by Sam Bayer) and the CFDA Fashion Fund films (directed by Jun Diaz), a collaboration with Andrés Cortés on Rehearsal Space (featuring Sonic Youth’s Lee Renaldo) and the recent Panda Desiigner video.

In 2015, Bazadona cut Scott McFarnon’s Crazy Heart directed by Floyd Russ. In the world of spots, he has worked on projects for Mercedes, Kobe Bryant, Verizon Wireless and Blue Apron.

Jobin joined Cut+Run shortly after Bazadona, working in client service and reception. She quickly became involved in projects, assuming the role of producer and eventually senior producer. As head of production, Ellese will oversee Cut+Run’s NY producer team and all facets of the post process in a management capacity.

Behind the Title: Cut+Run managing director Michelle Eskin

NAME: Michelle Eskin

COMPANY: Cut+Run

WHAT’S YOUR JOB TITLE?
Co-Owner and Managing Director

WHAT DOES YOUR JOB ENTAIL?
Managing the Cut+Run Los Angeles, San Francisco and Austin offices, managing our brand, growing our business model, nurturing our talent, being at the pulse of what our client base needs.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER YOUR TITLE?
Being the camp counselor, therapist and snack manager all in one.

WHAT’S YOUR FAVORITE PART OF THE JOB?  
The people — funny, smart, original and unusual people. Our industry has that in spades.

WHAT’S YOUR LEAST FAVORITE?
Having to turn down a great project because a schedule doesn’t work.
Disney Playmation 3Small DrPepperRasta2

WHAT ARE SOME RECENT PROJECTS?
Some recent ones include Disney and Dr. Pepper (pictured), as well as Skittles, Adidas, Mazda and Lego — all of which helped earned us the Shots nomination for “Company of the Year.”

This is a distinct honor, especially since we are the only US company listed and have two editors in that category. But what was also amazing was to see other talented editors who came up through the Cut+Run ranks. Mentoring new talent is something that we enjoy and we think it’s exciting and vital for the evolution of our industry.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I can’t even imagine, and that speaks to how much this job – my life — really, means to me. I’ve grown up in advertising.

Cut+Run Los Angeles

Cut+Run Los Angeles

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
The path just led me. I never knew where it was taking me. Luckily, it matched my skill set.

WHERE DO YOU FIND INSPIRATION?
Watching work from up-and-coming artists, such as the New Directors’ Showcase, films and the creativity from my teenage children.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I exercise and spend time with my family. Spending time at the beach in Santa Barbara is my quick get away. Close, but miles away in terms of my daily life.

Quick Chat: Cut+Run’s Georgia Dodson on ‘Call of Duty’ film

Georgia Dodson has traveled a long way, literally and figuratively, to where she is today — a full-time editor at Cut+Run in New York City. This Bland, Virginia-native left home at 17 and hasn’t looked back. Now she spends her days in an edit suite helping tell stories, and one of those most recent stories is the short documentary film Call of Duty from director Matt Lenski.

The two have worked together before. Back in 2012 Dodson edited Lenski’s Meaning of Robots, which debuted at the Sundance Film Festival, won Best Short Doc at the Nashville Film Festival and screened at SXSW and MoMA’s New Directors/New Films. This year she reunited with the director once more, this time on his new short film Call of Duty, which also made the festival rounds. In Call of Duty, Manhattan jury duty clerk Walter Schretzman wants you to remember that you are the only thing standing between civilization and anarchy.

What was the original concept presented by director Matt Lenski?
Matt had filmed and interviewed three jury clerks working in Manhattan. They were each engaging, but Walter brought something a little more existential to the table. While the others tried to sell us on the merits of doing jury duty, Walter was self-aware. He spoke about what it was like to be in the same room, every day, with people who are constantly trying to get out of that room… and he likes it.  So I think the idea of Walter’s identity in relationship to the perceived monotony of his job was what Matt was going for with Call of Duty.

How did that evolve in the edit?
It took a long time. The ending and beginning came together quickly, but once we got into how to convey these feelings of waiting, boredom and peppering in Walter’s zingers at the right places… it was really tough. For the most part, we had all the best pieces picked out early on but had to figure out the right arc. Somehow, things fell into place magically. For me, the piece that finally pulled things together was Walter talking about being at the same job for 20 years, doing the same thing every day, while he’s counting hundreds of juror slips. He says, “It is what it is.”

You’ve collaborated with Matt before — give us a little background on your work together.
I met Matt when I was an assistant, and by chance helped him with a director’s cut when my editor was out of town. We became friends and have worked on projects together since. The first big one was Meaning of Robots, which evolved from a chance encounter Matt had with Mike Sullivan, a hoarder who makes Metropolis-inspired robot pornography. Our little portrait of him ended up in Sundance, which was a pleasant surprise for us. That project definitely has parallels to Call of Duty, in both subject and style.

CALLOFDUTY3

What were some interesting moments with Walter that ended up on the cutting room floor (or the digital trash bin)?
He talked about his love of avant-garde jazz that’s difficult to listen to but will “wake you up.” I tried for the longest time to work that moment into our edit, paired with an appropriate jazz track over sleeping jurors… but it didn’t work in context of the whole piece. Too bad. We could make a feature length film of Walter saying amazing things.

What piece of this exploration surprised you the most?
It’s really funny, but I also think it’s darker than I expected it to turn out. Early on, I cut together the part where the prospective jurors watch the jury duty film. (I saw the whole thing when I did jury duty. It’s ridiculous.) I quickly connected the man drowning with the ticking clock, Walter checking his watch and then the infinity loop of the screensaver behind him. It makes me laugh, but it also kind of helped set a dark tone for the whole thing. Also, sound. Sound is always important, but weirdly, it’s especially important in a film about nothing happening, where, theoretically, little sound is being made.

What are you hoping people take from the film?
I like Walter’s sentiment, toward the end of the film, that “people are more than what they do.” Walter is definitely more than what he does.

Have you been to any of the festival screenings?
I was able to go to Rooftop Films, and I met Walter there, finally. He retired a couple of weeks later, so the timing of the film is pretty perfect. It was amazing to hear people laughing so much throughout the entire piece, because after working on something for so long, it’s hard to see it.

What is it about editing longform/short films, as opposed to commercials, that resonates with you?
I come from a writing background. I was an English major in college. I love documentary editing, because I become the writer. My favorite thing is getting an interview and cutting it up to create some emotion or humor.

What are some other recent projects you’ve edited?
This is my latest short film. I’ve been doing a lot of commercials. I just finished a documentary style commercial for Hershey, directed by Jonty Toosey, that will be out soon.

10 fun editing how-to’s from Sean Stender

Cut+Run’s Sean Stender has been a working editor for nine years, but that wasn’t the professional path he initially set out on.  After graduating college, his goal was to be a director of photography.

“I always had a fascination with photography, but never took it seriously or really studied the craft until I was in college,” he explains. “I worked for Clarimont Camera as a sales assistant while a student, and I was able to leverage those contacts to get my foot in the door at various commercial production companies.”

After working as freelance camera assistant for a couple years, Stender (@smstender) soon realized that being on set wasn’t right for him. Shortly after, he took a job at production company Reactor Films as a vault manager. This is where he started cutting his teeth as an editor — he started cutting director’s cuts for Steve Chase, Chris Applebaum, Warren Kushner and Thom Higgins. A few years later he decided to make the jump to post, and the managing director of Cut+Run, Michelle Eskin, brought him on board in 2008, where he has been editing ever since.

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Levi’s and XO Mints

Over the years Stenger, who is based at Cut+Run’s LA studio and uses an Avid Media Composer, has cut projects for Neato Robotics, ARCO, Starbucks, Levi’s, Fiat and XO Mints, among other humorous commercial campaigns. During this time he picked up some valuable experience, and is sharing it here as lighthearted tips. Enjoy…

How to break a creative block…
Pull your assistant into the bathroom for a mid-stream brainstorming session.

How to get a break after 12 hours behind the screen…
Pound on the keyboard and walk out of the room while yelling for your assistant to come in to re-start the Avid because it “crashed.”

How to work through lunch…
Order a smoothie with a long straw (hands free).

How to successfully pull off the all-nighter…
Berocca, hand sanitizer and lots of PG Tips (wonderful British tea).

How to keep smiling in difficult situations….
Make sure your desk is facing a wall.

How to nudge your client down the right creative path…
Break out the Blueberry Kush.

How to help your family forget the holiday(s) you missed…
Adopt a puppy.

How to keep cutting great creative work…
Surround yourself with amazing talent.

How to end a project on a high note….
Nobu.

How to succeed in life….
Work hard and be nice to everyone.

A little more about Sean Stender: His favorite show is PBS’ California’s Gold and his podcast queue includes WTF With Marc Maron and Freakonomics. In his spare time he can be found at Dodger Stadium, behind a still camera or hanging out with his French bulldog named Sammy Davis Jr. 

Cut+Run helps man meet rasta dog in new Dr. Pepper spot

Cut+Run’s Steve Gandolfi recently edited a commercial for Dr. Pepper out of agency Deutsch LA and directed by Imperial Woodpecker’s Simon McQuiod. Mop Dog tells the tale of unlikely love story between a Dr. Pepper delivery driver and a dreadlocked dog in need of a home.

The spot begins by giving viewers a glimpse into this dog’s lonely life on the streets. He wanders over train tracks and through a town, stopping for a minute to look at a mop in a window… something the pooch seems to relate to more than the well-groomed dogs he sees being walked on the street by their owners.

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Quick Chat: Cut+Run’s Steve Gandolfi on Rogue ‘Imagination’ spot

By Randi Altman

Remember as a kid imagining monsters under your bed and hiding in closets? Well a new spot for Nissan takes that childhood fear out of the bedroom and amps it up a bit.

Nissan Rogue’s Imagination, out of TBWA\Chiat\Day Los Angeles, features parents and their son heading home on a dark, stormy night. The viewer sees all the safety features that the Rogue has to offer — Moving Object Detection with Around View Monitor, Blind Spot Warning and Forward Collision Warning — but the boy’s very active imagination places danger everywhere, thanks to visual effects supplied by BaconX.

There is a scary tree whose branches seem to be reaching out to grab the car, a growling bear Continue reading