It was like coming home, a warm reunion of good friends and colleagues, for senior editor Louis Lyne when he joined the Cutters Detroit 10 days ago, reuniting with Craig Duncan, Cutters Studios’ executive producer and Mary Connolly, Cutters Detroit EP, who earlier had worked together at Griot Editorial.
“It’s rare to have worked with people for five years as we did and to step away but remain good friends,” says Lyne in his British accent. “Coming here is such a good fit for me all around,” to which Duncan and Connolly heartily and delightedly agree.
Considered to be among the elite of commercial editors internationally, London-born Lyne, a US resident for 20 years, just completed editing a massive Ford Middle East spot package for Team Detroit, shot in Dubai. It’s one of many hard-hitting automotive commercials for which Lyne is famous.
His recent AICE-winning “Best of Detroit” spot for General Motors is one of the innumerable awards that crowd his trophy case.
After collaborating with major agencies and top editorial talent all over the world, Lyne had settled down in Vancouver, B.C. and was editing “odds and ends” for an L.A. post house “when this mammoth Pontiac job rolled into town for Leo Burnett, sweeping him off to Detroit.
Pontiac’s “Pass it Along” campaign “was kind of a reality show-commercial that was ahead of its time,” he says. “You had eight cameras rolling constantly on a group of friends who were given keys and told to have fun for a week. We worked seven days a week for seven months and just about everyone from Detroit worked on it.”
While the job four-walled at Griot Editorial for six weeks, Lyne, Duncan and Connolly forged a solid friendship. “I liked these people. They were very personable and lovely to be around,” he says.
When the job ended and Lyne returned to Vancouver, he realized he wanted to concentrate on automotive spots. When Lyne confided his decision to Duncan, he was assured he’d be welcomed back at Griot.
“We made the U-Haul trek from Vancouver and I did well right out of the gate and liked working in the Detroit market. I love Detroit and find it a city with tremendous tenacity,” Lyne says.
“Louis came on quickly and was one of the most sought-after editors in the business and hasn’t stopped since then,” smiles Duncan. “On every level he’s a class act.”
Five years later in 2009, Lyne left Griot to become a partner in Start, a new Detroit post house. When Start recently dissolved, Duncan wasted no time signing him with Cutters.
A modest man considering his impressive achievements, Lyne, who grew up on movie sets as the son of acclaimed director Adrian Lyne (who began his career directing commercials), says his reputation has been built on projects ranging “all over the map.”
Saying he thinks he has a talent for capturing emotional work, he provides Campbell-Ewald examples that a US Navy campaign that explores the role of chaplains, and Navy spots focusing on women’s unconventional roles that was shot on various formats, USAA Insurance company and National Responsible Fatherhood Initiative.
Like all Cutters editors, Lyne is available to work at any of Cutters branches, in Chicago, L.A., Tokyo and soon New York.
Cutters Detroit employs seven editors, two assistants and EP Connolly. It shares space with sister company full-service post Ringside Creative.