Work Editorial has added Luke Haigh to its roster of film editing talent for representation in the U.S. and U.K. The Kiwi/British editor will be based at Work’s Los Angeles office.
Haigh’s body of work in cinema and advertising includes several festival-darling feature films and global commercial campaigns, which have received accolades like the Grand Prix at Cannes Lions, Clio, and D&AD Awards.
Haigh’s career has led to recurring collaborations with directors Taika Waititi, Damien Shatford, Steve Ayson, Nathan Price, and Mark Albiston, among others. The editor’s commercial credits include UberEATS, Coca-Cola, Sprite, Toyota, Nike, Lipton, and Air New Zealand’s larger-than-life safety video featuring a cameo by Elijah Wood. Haigh’s ads often feature characters embarking on journeys, otherworldly phenomena, high-flying action, and sweeping imagery worthy of the big screen.
An expert visual storyteller, Haigh has edited eight feature films to date, several of which made their world debuts at the Sundance Film Festival, TIFF, and SXSW. Among these films are Waititi’s Hunt For The Wilderpeople, the Daniel Radcliffe action-comedy Guns Akimbo, the Netflix romantic comedy The Royal Treatment, Lee Tamahori’s pre-colonial Māori tale The Convert starring Guy Pearce, and the upcoming Tinā, (Samoan translation Mother) which will be the opening film at this years Hawai’i Film Festival in October.
Haigh’s numerous short films include Datsun, which made its debut at the Berlinale, the brand short Sheep Impact for Carlton Dry starring Steven Seagal, and Blue. Directed by Stephen Kang. Blue won the Canal+ Award at La Semaine de la Critique, Cannes Film Festival.
Prior to joining Work, Haigh was a freelance editor. He is also repped in Australia by ARC EDIT.
Haigh said, “I have been a massive fan of Work for a very long time. In my eyes, they are the absolute pinnacle of commercial editing. They have the most epic roster and are prolific in the quality of their output. Every spot has that incredible level of craft, care and attention to it. You can feel the genuine love for storytelling that underpins everything they do. And that is something that resonates with me and my own work. Oh, and to be honest, the team is just freaking awesome–it already feels like home, and I can’t wait to make some amazing things together.”
Jane Dilworth, Work Editorial founder, added, “We’re huge fans of Luke’s work and have already got off to an amazing start with some high-caliber projects here at Work. He’s a genius editor and a wonderful collaborator. The fact that so many directors and brands keep returning to him with new projects speaks for itself.”
