Post Magazine

December 2014

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Page 35 of 51 34 POST DECEMBER 2014 ness every time there's been a sea change in technology and networking by adding our sister companies and offi ces world- wide. You have to stay cognizant of the opportunities the market provides and take advantage to develop new business. "Our Cap Gun production division created a comedy pilot, Teachers, which has been picked up for six episodes on TVLand in 2015. It would have been easy for us to say we don't do that, but as the landscape keeps changing we keep adapting. There's a value to the story- telling skills we learned as editors that breaks out of the cutting room and can be applied to diff erent mediums." THREATS: "We're still primarily a com- mercial editing company, so I'm always concerned about the future of :30 and :60 spots. The nature of TV is changing with more cable and more a la carte ordering of shows. What will broadcast look like in the future? Our challenge is to keep develop- ing the business and stay abreast of that." OUTLOOK FOR 2015: "Predictions of the death of broadcast advertising are wildly inaccurate. Broadcast advertising is chang- ing, and it will be interesting to see where it lands — nobody knows, to be honest. People are really excited about digital advertising and its very solid metrics compared to broadcast. But I'm concerned that digital sometimes forgets to tell sto- ries. A spot can be designed to drive traffi c to a Website or promote some interaction — but it's not telling a story. "I'm excited about two-screen tech- nology though, where you can watch a broadcast show on TV and your iPad. The audience drives the app; they can vote on a talent show or get clues to a mystery program. I see that as a real growth area — defi nitely one to watch for the future!" JOHN GILROY Independent Editor Film editor John Gilroy hails from a distin- guished fi lm and theatrical family, and has edited features for everyone in his imme- diate family, apart from his mother. His fi rst editing credit was The Luckiest Man in the World, written and directed by his father, Pulitzer Prize-winning playwright, Frank D. Gilroy. He has collaborated with his di- rector/screenwriter brother Tony on three fi lms: The Bourne Legacy, Duplicity and Michael Clayton, for which John Gilroy re- ceived a BAFTA nomination. Most recently, he edited twin brother Dan's Nightcrawler, which marked Dan's directorial debut. Oth- er notable credits include Pacifi c Rim, Salt and Ticker, and a short in the BMW Films series, The Hire, which netted a Clio Award. STRENGTHS: "I'm no economist, but even as a picture editor you can feel the pull of the business side of things. The world market has really opened up in the last few years. There's a great need for more content. People have an appetite for enter- tainment, and more and more people have access to the movies and television shows we help make. That's good for all of us." WEAKNESSES: "With the expanding world market, studios are turning more to the big tent pole movies and shying away from the medium-budget fi lms. This is disturbing for those of us who have done some of our best work on these types of fi lms. Many writers and directors have turned to television for this reason. We had success, both critically and fi nancially, with my brother Danny's movie, Nightcrawler, but it only happened because we made it with half, or even a third, of the budget we might have had 10 years ago." OPPORTUNITIES: "As technology builds on itself in our industry, picture editors have more sophisticated tools at their disposal: color correction, some VFX capabilities, sound. It's really quite staggering how advanced some of this technology is, and it's all at my fi ngertips. I am a storyteller, and if you know how to take advantage of tools off ered today you can really raise the bar in terms of the craft. "With all these movie-building tools at hand, the farther the picture department can go to conceptualize a whole movie. Producers and studios expect more from editors today; a fi lm to look and feel far more fi nished than 10-15 years ago. "I'm always looking for an editing environment that's both comfortable and safe. On Nightcrawler we gave a hard look around before we settled in at Hula Post on the West Side [of Los Angeles]. My standards are very high." THREATS: "The big one is piracy. When the work of hundreds of people worth many millions of dollars can be stolen with a few clicks on a keyboard, that concerns me. There's an organization called Cre- ativeFuture that confronts this very issue. People can and should fi nd out about it." OUTLOOK FOR 2015: "I think our business is very healthy, but also changing in a lot of ways. A lot of great fi lmmakers are migrating to the small screen: there's a renaissance with TV — so many great, smart shows are on right now. And the movie box offi ce has never been better." OUTLOOK EDITING O OUTLOOK O OUTLOOK A lot of really great fi lmmakers are migrating to the small screen: there's a renaissance with TV — so many great, smart shows are on right now."

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