Award-winning British actor Jack Loy is used to attracting attention.
The 6’4” performer, known to worldwide audiences for his acclaimed work in ‘Jenifa’s Diary’ and the recent British crime flick ‘King of Crime’, nevertheless embodies the humility of someone shorter in both resume and height.
Such is the integrity of this artist though, that, while a towering presence on both screen and in real life, Jack is more concerned with leaving anyone with whom his work comes in contact feeling better for the experience.
“I think one of the best things about acting is that you get the opportunity to entertain people.”
The trained thespian, of part Indian heritage, goes a little further.
This might be by bringing a smile to their faces and an opportunity to escape ‘real life’ or it could be something that inspires new ideas and thoughts.”
It’s clear that this attitude at leaving a positive impression on people has helped Loy in more ways than one. Most obviously, Loy recently won the Best UK Actor Award from the London International Motion Picture Awards for his leading role as Nick in the film Beautiful In The Morning.
The most obvious of these is that Loy is consistently cast in a number of impressive productions all over the world, with a number of filmmakers jumping at the chance to work with him.
In the past few years, the stages and screens of the UK, India and Russia have been blessed with Loy’s presence. Next stop? The US.
“I’m really excited to be entering the U.S market. It’s surely the biggest acting market in the world.”
Loy is attached to a number of US projects, including one involving him filming across Nevada and Los Angeles. The role will call for him to use his well-known charm with a dose of darkness.
In the world of film and video, no other single craftsman exerts as much influence over a film as the editor. As the legendary Orson Welles said, “The notion of directing a film is the invention of critics—the whole eloquence of cinema is achieved in the editing room.” It is a very particular skill, one that demands a profound aesthetic sense, a gift for visual rhythm and a wealth of technical knowledge, a complex set of capabilities which editor/creative editor Haansol Rim possesses to the highest degree.
Whether he is doing a television commercial or music video, Rim’s visionary approach determines the tone, pace and feel of every project. With his international heritage (born to Korean parents in Germany) and the benefit of his classical training in fine arts and an extensive musical background (he is an accomplished composer, arranger and performer), Rim’s multi-faceted creativity always operates at the highest level.
The New York-based creative editor enjoys a thriving roster of jobs at well-known creative production company MATTE, and he brings in every assignment with an elegant final cut that perfectly complements the project and consistently exceeds expectations.
“His understanding and versatility of skills are priceless,” MATTE’s associate creative director Danny Yirgou said. “Because he has such a diverse background and experience in multiple fields, Haans knows how to stylize his edits and design them according to each project. For some he might edit focusing on the tempo of the film, creating a certain tone; vs on others, he might edit using more fast paced effects, and diverse frames to create a different speed and tempo, ultimately creating a completely different film altogether.”
Some prime examples of this impressive range are Rims’s work on commercials for famed luxury fashion brand Prada, athletic footwear giant Adidas and a promotional world tour announcement video for Grammy-winning EDM duo the Chainsmokers (recently named by Forbes magazine as the highest paid DJS in the world).
Taking on such a wildly disparate work load from some of the highest profile brands and clients in the world would intimidate many, but the gifted Rim —thanks to his coolly professional attitude and boundlessly creative approach—always makes it look easy
“As an editor, I choose works in which the director’s vision aligns with my editing style,” rim said. “I think synergy between the director and editor is essential to really bring to life the best version of the project.”
To achieve this end, Rim also applies a shrewd analytical approach: “Commercials are based on the client and the consumer, so I need to consider the psychology of the buyer. What would appeal to them? What shots, editing, and story would draw the consumer to purchase the product?”
That kind of comprehensive understanding and anticipatory finesse are hallmarks of Rim’s highly individuated and winning style as a creative editor. On the Chainsmokers video Rim, typically, nailed it from the start.
“I was initially assigned to work on the pitch video for this project,” he said. “The Chainsmokers loved our pitch, and chose us for the commercial. Since I had edited the initial pitch video, I got to edit the final work as well.”
“They were looking for the film to be visual effect heavy and overall, for it to look cool. I have a background in visual effects, so it was easy to collaborate with the VFX team. Based on the client’s feedback, we worked to make their vision come to life.”
“It was released earlier this year and seen everywhere. This was a world tour commercial for all of 2019, so it was posted in all video streaming sites such as YouTube.”
The Adidas job allowed Rim to mix stylish visuals with a semi documentary format: “The commercials are all heavily reliant on the client’s wishes,” Rim said. “So o celebrate the launch of James Harden Vol. 3 shoe line, MATTE brought the next chapter in James Harden’s ongoing narrative to his greatest fans, shooting over the course of two days through premium activations in Houston. Then, as creative editor, I matched the commercial to the director’s desired style and vision”
The Prada commercial was set in a particularly rich visual milieu—the Chinese New Year’s celebration, always a riot of giant lion dancers and fireworks.
“Prada wanted to pay homage to the Chinese New Year celebration with the aim to promote products developed specifically for this holiday,” Rim said. “The commercial was dedicated to modern Asian youth culture and style.”
Once again, Rim’s sensitivity and artistic skill as an editor perfectly suited the spot’s needs.
“Since the director’s goal was to make it seem like a one take film,” he said. “There weren’t a lot of shots, it was mainly a long single take shot without a lot of cuts. I tried to make the editing as seamless as possible to make it fluid.”
With his constantly growing resume of internationally known, high-prestige clients, Rim’s penetrating, holistic approach is a true recipe for success.
“I am naturally curious and analytical,” Rim said. “My brain works both ways, from beginning to the final product, and from the final product to the beginning. That’s why I am adept at handling these processes so well.”
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