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In Editing

5 Takeaways From the Innovative Editing of ‘The Mandalorian’

11 Mins Read

Richard Pearson’s body of work defies any easy categorization or niche. The features he has cut, beginning with the comedy Bowfinger, range from light fare like the Muppets from Space, and Blades of Glory to the drama of United 93, Safe House and The Accountant. Then there’s the bevy of franchise tentpoles he’s worked on, like The Bourne Supremacy, Quantum of Solace, Men in Black II, Iron Man 2 and the MonsterVerse entries Godzilla: King of the Monsters and Kong: Skull Island.
When we talked with Richard about his work, he acknowledged just how extensive his body of work is: “I’ve been fortunate to delve into childhood fantasies, from dealing with the space program to comic book adventures and the Bond movies, which I loved seeing as a kid. Going on the set of Bond for the first time was pretty cool and made me feel like, ‘I’m ten years old again!’”

In Editing

Award-Winning Commercial Editor Ellie Johnson on Using Sleight of Hand and Loving the Process

13 Mins Read

The beautiful thing about being a producer is that there’s no real job description. Also, the ugly thing about being a producer is that there’s no real job description. Every project is an opportunity and an obstacle, something that requires you to forget the things you don’t need to know and remember the rest.

In Advertising

Sustaining Success in Advertising: Advice from Seven Industry-Leading Creatives

14 Mins Read

With the speed at which advertising is evolving, there’s no room for complacency. You adapt, or you fall behind. Anyone who has worked in the agency world knows the feeling: the nagging inner voice that, even after sleepless nights of working and reworking, never misses an opportunity to ask whether or not you actually took that project as far as you could’ve.

Fear of all-things-average is, at once, the bane of creativity—and the driving force behind it. We wanted to further dig into this idea, so we talked to seven industry-leading creatives on reaching the top and staying there.

In Editing

5 Takeaways for Editors from Richard Pearson of Wonder Woman 1984, Quantum of Solace, and The Bourne Supremacy

9 Mins Read

Richard Pearson’s body of work defies any easy categorization or niche. The features he has cut, beginning with the comedy Bowfinger, range from light fare like the Muppets from Space, and Blades of Glory to the drama of United 93, Safe House and The Accountant. Then there’s the bevy of franchise tentpoles he’s worked on, like The Bourne Supremacy, Quantum of Solace, Men in Black II, Iron Man 2 and the MonsterVerse entries Godzilla: King of the Monsters and Kong: Skull Island.
When we talked with Richard about his work, he acknowledged just how extensive his body of work is: “I’ve been fortunate to delve into childhood fantasies, from dealing with the space program to comic book adventures and the Bond movies, which I loved seeing as a kid. Going on the set of Bond for the first time was pretty cool and made me feel like, ‘I’m ten years old again!’”

In Advertising

Winning Christmas: Creative Director Danny Hunt on Developing Argos’ “Book of Dreams” Campaign

11 Mins Read

Sometimes, you’ve just gotta shoot your shot. After returning from paternity leave, Creative Director Danny Hunt called a meeting with the executive creative directors at The&Partnership and said, “I want the Argos account.” And that was that. He went on to create the iconic “Book of Dreams” spot, along with a massively successful installation, that helped catapult his career even further.

In Production

The North Face’s Head of Production Kaki Orr on Finding Her Place in Production

12 Mins Read

The beautiful thing about being a producer is that there’s no real job description. Also, the ugly thing about being a producer is that there’s no real job description. Every project is an opportunity and an obstacle, something that requires you to forget the things you don’t need to know and remember the rest.