Biography
Louis Holder (BFIFA, BIFA) is an RTS-Award Winning Filmmaker, whose work has featured at numerous national and international film festivals including the BFI Future Film Festival, London Short Film Festival (LSFF), Raindance Film Festival, Manchester International Film Festival, Sundance-Qualifying Scout Film Festival (Vermont, U.S) and UCL Festival of the Moving Image (FoMI).
Graduating from the world-renowned Film (BA) course at Westminster Film School, where he specialised in Producing and Post & Production Sound, he took his same passion for teamwork, storytelling, organisation and cross-departmental experience into offline editing and colour. He has since been building up credits both as a freelance offline editor and as an assistant and supervising editor on larger productions and in complex post-production teams. Additionally, he has recently started accumulating credentials in sound design, colour grading and post-production supervision on independent short films, documentaries and artists’ moving image practice.
His work has screened at cinemas (such as BFI Southbank, BAFTA London, Curzon Bloomsbury and The Prince Charles Cinema), broadcast TV (such as Channel 4, London Live and ArtStreaming TV) and digital platforms (such as NOWNESS, Vimeo Staff Picks, BFI Film Academy, Nipple Hairs Zine). Louis is also the Creative Director of Studio Holder, an independent film company integrating production, post-production, independent film distribution and contemporary & emergent media education. He is now studying on the Masters Course (MA) in Editing & Post-Production at London South Bank University, upon which he has recently become a DaVinci Resolve 17 Certified User and is currently working towards the Avid Media Composer Certified User (101 & 110) qualifications.
Graduating from the world-renowned Film (BA) course at Westminster Film School, where he specialised in Producing and Post & Production Sound, he took his same passion for teamwork, storytelling, organisation and cross-departmental experience into offline editing and colour. He has since been building up credits both as a freelance offline editor and as an assistant and supervising editor on larger productions and in complex post-production teams. Additionally, he has recently started accumulating credentials in sound design, colour grading and post-production supervision on independent short films, documentaries and artists’ moving image practice.
His work has screened at cinemas (such as BFI Southbank, BAFTA London, Curzon Bloomsbury and The Prince Charles Cinema), broadcast TV (such as Channel 4, London Live and ArtStreaming TV) and digital platforms (such as NOWNESS, Vimeo Staff Picks, BFI Film Academy, Nipple Hairs Zine). Louis is also the Creative Director of Studio Holder, an independent film company integrating production, post-production, independent film distribution and contemporary & emergent media education. He is now studying on the Masters Course (MA) in Editing & Post-Production at London South Bank University, upon which he has recently become a DaVinci Resolve 17 Certified User and is currently working towards the Avid Media Composer Certified User (101 & 110) qualifications.
Personal Statement
I’m a firm believer in supporting the vision of the director; not only through the eyes of their production’s rushes, but also their short and long-term creative ambitions. As such I’m always seeking to develop fruitful and long-lasting partnerships with determined individuals and teams, championing important filmmaking and vital stories. I’m humbled to still be working with directors who have helped shape my career and have been (or are now) enjoying creative and critical success in their own rights. The director-editor relationship is one which has helped to sustain the enduring careers of some of the most well-regarded luminaries in the film.
Having produced myself (or as part of a producing team) on numerous independent and commissioned productions, I understand the nature and demands of communicating and the needs of all departments and their personnel. This has enabled me to hone in on understanding the needs and expectations set on the editor and post-production team. I take a great interest in supporting an open and supportive dialogue between client/producer and director, so I can be fully equipped to deliver a film, episode or series of the highest creative and technical specifications.
I’m passionate about championing (and working together with) both regional and international talent; in front of and behind-the camera, in the cutting room - especially individuals, with personal and vital stories to tell, who are looking to say something to or about the world in which we inhabit. I enjoy watching a lot of cinema (both commercial & contemporary as well as repertory - underground, arthouse, foreign language), and television; which also happens to be of personal and professional importance.
In my spare time, I enjoy reading about film editing, the history & aesthetics of cinema and the business of film. I love taking photographs on 35mm, some of which I’ve made a little home for. I absolutely love cats, and one day dream of re-homing many. I love Peppermint tea.
Having produced myself (or as part of a producing team) on numerous independent and commissioned productions, I understand the nature and demands of communicating and the needs of all departments and their personnel. This has enabled me to hone in on understanding the needs and expectations set on the editor and post-production team. I take a great interest in supporting an open and supportive dialogue between client/producer and director, so I can be fully equipped to deliver a film, episode or series of the highest creative and technical specifications.
I’m passionate about championing (and working together with) both regional and international talent; in front of and behind-the camera, in the cutting room - especially individuals, with personal and vital stories to tell, who are looking to say something to or about the world in which we inhabit. I enjoy watching a lot of cinema (both commercial & contemporary as well as repertory - underground, arthouse, foreign language), and television; which also happens to be of personal and professional importance.
In my spare time, I enjoy reading about film editing, the history & aesthetics of cinema and the business of film. I love taking photographs on 35mm, some of which I’ve made a little home for. I absolutely love cats, and one day dream of re-homing many. I love Peppermint tea.
|
|
Love Films? Follow me on #Letterboxd where I post film reviews regularly.
|
|
Films I'm Inspired By, For Their...
...StoryFiction
Marriage Story (2019)
Carol (2015) Lost In Translation (2003) Rushmore (1998) Distant Voices, Still Lives (1988) Days of Heaven (1978) Midnight Cowboy (1969) Lawrence of Arabia (1962) Documentary
Generation Wealth (2018)
Jane (2017) Cameraperson (2016) O.J.: Made in America (2016) The Wolfpack (2015) Citizenfour (2014) Iris (2015) The Act of Killing (2012) High-end TV Drama (HETV)
|
...EditingFiction
Parasite (2019)
The Other Side of The Wind (2018) You Were Never Really Here (2017) The Handmaiden: Extended Edition (2016) Whiplash (2014) Apocalypse Now: Final Cut (2019) In The Mood For Love (2000) Raging Bull (1980) Documentary
Apollo 11 (2019)
Coup 53 (2019) Honeyland (2019) Hale County This Morning, This Evening (2018) The Beaches of Agnes (2008) Waltz with Bashir (2008) Grizzly Man (2005) F For Fake (1973) High-end TV Drama (HETV)
|
...Music & Sound DesignFiction
Monos (2019)
Roma (2018) Under The Skin (2013) Brokeback Mountain (2005) Mulholland Drive (2001) Ordinary People (1980) Nashville (1975) The Trial (1962) Documentary
Amazing Grace (2018)
Bethany Hamilton: Unstoppable (2018) No Greater Law (2018) Jane (2017) Storyville: India's Daughter (2015) Listen to Me Marlon (2015) Leviathan (2012) High-end TV Drama (HETV)
|
Click here to see them all on one page!