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No Sushi adds Keith Fraase to editorial roster
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The editor behind Past Lives, Severance and Shōgun joins for commercial work.
Editor Keith Fraase has joined No Sushi’s editorial roster for commercial work, following credits across film and television including Past Lives, Severance, Shōgun and Materialists.
The signing is the first individual editor announcement from No Sushi since the launch of its new website and wider editorial roster, and continues the post house’s push to bring film and television storytelling talent into advertising.
Fraase’s work spans long-time collaborations with directors Terrence Malick and Celine Song, with an approach shaped by performance, emotional rhythm, musicality and an understanding of how audiences move through a story.
Alexander Jamieson, founder and managing director of No Sushi, says: “Keith is exactly the kind of editor No Sushi was built for. Of course the credits are extraordinary, but what really matters is the way he thinks. His work is cinematic, emotionally precise and deeply musical. He understands how to protect a performance, how to find the rhythm of a scene, and how to make an audience feel something. That kind of craft is incredibly valuable for brands and agencies trying to make work people actually want to watch.”
Above: Severance, Apple TV+’s workplace thriller, is among Fraase’s television credits.
No Sushi was founded by Jamieson and director Daps to bridge the gap between advertising and entertainment, giving agencies, brands, directors and production companies access to editors, colourists and sound designers with experience across contemporary film and television.
Fraase did not set out to become an editor, with acting his first creative ambition before film studies drew him behind the camera. Watching The Graduate and reading Walter Murch’s In the Blink of an Eye helped shape his early understanding of editing, particularly the relationship between image, music, rhythm and feeling.
After early work as an assistant camera operator, he moved into post production through an apprentice editor role with Sandra Adair, Richard Linklater’s long-time editor, whose credits with him include the Oscar-winning Boyhood. That experience eventually led Fraase to the post team on Malick’s The Tree of Life, beginning a professional relationship with the director that would span seven years and five films.
Fraase says: “Being willing to try iteration after iteration and always asking, ‘Is there a more evocative way to portray this?’ is what has led to my most interesting discoveries in the editing room. I never approach a cut thinking my first attempt will be the final form. I work quickly to get to a first edit, just to get the ideas down, so that I can start experimenting with different ways of assembling the footage.”
Above: Fraase edited Past Lives, Celine Song’s acclaimed romantic drama about memory, migration and missed connections.
That process also shaped his work on Past Lives, which Fraase describes as a career-changing project. “I put so much of my soul into that edit,” says Fraase. “The film means so much to so many people. Of all the things I’ve worked on, it’s the thing most people want to have long discussions about. Even if I don’t consider it my most flashy or difficult editing, I’m so proud of the work we did to make that movie special.”
For Fraase, editing is closely tied to musicality, even in sequences without music. “My editing has always been musical in nature,” says Fraase. “Even when a sequence plays silently, there is still a musical rhythm to be found. It’s all about feeling the edit in your bones. If something feels off, then you can go in and try to dissect what the issue is. But it all starts from a feeling.”
Daps, co-founder of No Sushi, says: “Advertising is filmmaking. And Keith’s work is a reminder of how much feeling lives in the cut. The best spots have rhythm, character, emotion and point of view. They are not interruptions. They are pieces of entertainment. Keith brings the kind of taste, patience and emotional intelligence that can help make commercial work feel alive.”
Fraase’s signing is part of a wider visibility push for No Sushi’s editorial roster, with further editor announcements and craft-led features planned over the coming months.
Jamieson adds: “Keith’s signing really proves the point we keep coming back to. The best advertising is entertainment. And if you want advertising to feel like entertainment, you need editors who understand story, emotion and audience attention at the highest level.”
