Grand Jury Spotlight Interview: Paul Cartlich

New York Festivals 2018 TV & Film Awards Grand Jury represents 32 countries on 6 continents. Known for its powerhouse jury comprised of prominent international broadcast and film industry executives, NYF’s jurors are award-winners themselves and are passionate about excellence and innovation. Their reputation in diverse areas across all platforms provide each entry with the utmost of attention and make them qualified to select the World’s Best TV & Films.

NYF’s Grand Jury Perspective offers an intimate glimpse into the thought process and creative insights of the award-winning industry superstars who serve on the TV & Film Awards Grand Jury.

This week’s interview shines the spotlight on Paul Cartlich, Senior Creative Editor for Giaronomo Productions. Paul is an international award-winning Trailer Editor and Producer. Having carved a name for himself at one of London’s top agencies – Empire Design. Paul transferred in 2012 to their New York office to head up the editing team, creating high profile television campaigns for shows such as The Walking Dead (Comic-Con trailers seasons 1,5 and 6) Breaking Bad, Mad Men and theatrical trailers including Filth, Louder Than Bombs and the critically acclaimed Rust and Bone.

The recipient of several major industry awards including a Key Art Award (The Counselor) and a Golden Trailer Award (Frost-Nixon), Paul is proud to continue his work as a compelling visual storyteller recognized as a leading light in his field.

New York Festivals: Talk about what qualities makes great content?

Paul Cartlich: I work in a visual medium, so starting with something that’s beautifully shot is always a key component in helping to create great content. Also, a narrative arc that leads the audience down a certain road and then has an unexpected and yet plausible twist is also a great way to create content that stays with people and gets them talking.

The visually stunning Blade Runner 2049 is a an example of both. Roger Deakins’ gorgeous cinematography combined with Denis Villeneuve’s beautiful direction and Hampton Fancher’s writing, made that film almost perfect.

New York Festivals: If you could select any iconic creative to collaborate with on a project who would it be and why?

Paul Cartlich: It’s hard to choose. I have a long list of people who I would love to collaborate with. I’ve been lucky enough to work on films by directors such as Ridley Scott and Steven Spielberg, but Wes Anderson and Spike Jonze would be phenomenal to work with as they create these slightly off center worlds that constantly surprise and fascinate us. Being part of that creative experience would be an incredible and no doubt, inspiring experience.

New York Festivals: What projects are on the horizon for you?

Paul Cartlich: Due to confidentiality and NDAs I have to sign to protect the secrecy of the work I do, I’m not allowed to talk about current projects. However, I have just finished working on Blade Runner 2049 and The Post and have some exciting projects coming up.

New York Festivals: How will storytelling continue to evolve to keep pace with the omni-platform environment?

Paul Cartlich: Great narrative stands the test of time and technology evolution as well as trends for content choices. But since the advent and advance of social media, a growing challenge is the pressure to create a compelling narrative arc in an ever decreasing time slot. Years ago 15 seconds was considered a short spot. These days 5 seconds can be the standard for a particular platform so you have to hit strong from the off.

The medal round is underway, to view the 2018 World’s Best TV & Films Finalists, please visit: http://www.newyorkfestivals.com/tvfilm/main.php?p=2,38

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