CONNECTING THE PIECES WITH AZI RAHMAN
Flexibility is an asset in any vocation; just ask Azi Rahman. This London born editor has used his skill and talent for a vast array of productions presented on different platforms culminating in awards and acclaim from peers and employers. Editors are behind the scenes more than any other member of a production but possess the ability to alter and shape the tone of any production equal or second only to the director. While Rahman may not have the public name recognition of the timeless iconic names everyone knows, his fellow industry professionals know his work quite well. His ability as an accomplished editor to vacillate between film, music videos, and commercial content supports his ability to collaborate with some of the premier talent in the industry.
The internet has permeated nearly every aspect of modern life. It has simultaneously increased the volume of short form entertainment productions, utilizing the talent of professionals like Azi and others. VICE is known for its magazine publication and television productions but vice.com is a massive online entity valued at $ 13,343,872 USD and receiving 4,333,812 daily users, with a Global Traffic Rank of 165. The eclectic content of vice.com has afforded Azi many different subjects for his work. From biopic food segments on celebrity chef’s like Eduardo Jordan to three-time MTV/VMA-nominated choreographer Tanisha Scott (known for her work with Rihanna, Alicia Keys, Sean Paul, and Beyonce), Rahman’s work with VICE is a constant presentation of intriguing personalities. One of his personal favorite projects for VICE was the fascinating Wolfpack Brothers, subjects of the film The Wolfpack which won the U.S. Documentary Grand Jury Prize at the 31st Sundance Film Festival. Azi relates, “There was no script on how the piece should turn out. Director Maya Rudolph and I pieced together a narrative using their public talk (similar to a Ted Talk), interviews, and B-roll to gather their story about how they dealt with childhood imprisonment through the love of film and how their subsequent travel has enabled them to improve their creative senses. There was limited footage of them while they were imprisoned so we used archive footage of New York to create the sense of isolation the brothers discussed and dealt with.
The ability to use archival footage extensively to create new storylines was a requirement of Rahman’s work for Uproxx Media and their commercial spots for the PyeongChang 2018 XXIII Olympics. One of the most popular of these (Azi edited some 30 spots for the campaign) was the “Impossible Moments” segment. This three-act story about a skier who makes an amazing comeback after initially faltering, required Azi to manipulate archival footage to reinforce the script. His editing work in regards to placement of music and sound design was instrumental in achieving a dramatic conclusion, leading to the spot’s immense popularity. (https://www.youtube.com/watch?v=lplu_4LWu5I)
Award winning film production company Fight Me Productions recognized Rahman’s talent and enlisted him to work on the film Drake for them. The goal was for Azi to replicate the look of the graphic novel the film is based on. The story is a martial arts action/thriller set in present day London and follows Carter Drake, an underground fighter who finds himself questioning reality and whether or not he has been taken captive by a demonic organization. His role in sculpting the final fight scene combined his proficiency in music video and commercial work. When the director discovered that there wasn’t enough coverage of this climactic scene, Azi used jump cuts and punch-ins (edited to the beat of the music) as a workaround for continuity issues to mask any inconsistencies. What may have been a highly threatening situation for the film and all those involved was simply another opportunity for Azi Rahman to creatively dissect a puzzle; a task he loves above all.
