Creative editorial shop Uppercut has added London-based editor Billy Mead to its roster for his first U.S. representation. Mead joins Uppercut with over two decades of experience as an editor in London, bringing with him a subtle approach to emotive storytelling that has earned him numerous global industry accolades. Mead has worked on spots for brands including Volvo, Domino’s, Google, Intel, and YouTube.
Mead learned his craft hands-on, working under the tutelage of renowned industry creative Walter Campbell while getting his start on the agency side at AMV BBDO. He shifted to continue working with Campbell at his own agency CDD, fine-tuning his editorial skills while collaborating with some of the top directors in the world. His work for Sainsbury’s holiday short film “Christmas in a Day” called for the gargantuan task of cutting together over 300 hours of user-generated content, resulting in a touching piece that earned him a Silver British Arrows Craft Award for “Best Edit.” He currently edits and runs his own boutique editorial shop in London, tenthree, which he has successfully grown over the past 11 years to include a roster of eight editors and a range of award-winning work across commercials and music videos.
“There is a certain synergy of working with a tight-knit group of people where everyone is invested in the same goals and creative vision and celebrates each other’s successes, and that is exactly what Micah (owner/editor Scarpelli) has built at Uppercut,” notes Mead. “I’m looking forward to joining such a collaborative roster of talent to work with U.S. clients.”
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More