Electric Owl Creative works hand-in-hand with filmmakers and studios alike to craft captivating visuals geared for today’s content-hungry audiences.

Mission

The company was forged under the mission that we can do better—that, by combining passion and prowess, we can produce compelling marketing campaigns for films that deserve to be seen.

Founder

Founder Greg MacLennan is the former Head of Video and a programmer for the Alamo Drafthouse, where he honed his artistry painstakingly making movie montages that moved people to laughter and tears, while also creating action-packed movie experiences, like CAGED, Denzel Watchingthon, Russellmania, Cruise Control, and The Stallone Zone. With the Drafthouse Films’ purchase of Mood Indigo, Greg jumped at the chance to edit the trailer for Michel Gondry’s heartwarming romance and became the company’s in-house A/V Creative Director. Following his time at Drafthouse Films, Greg worked under Tom Quinn at NEON, also as his A/V Creative Director.

For Drafthouse Films, Greg worked on the following films: The Invitation, Spring, Roar (indiewire.com’s No. 7 best trailer of 2015), and even The Tribe—where, literally, no one speaks a single word!—amongst others. He also edited the theatrical trailer for The Greasy Strangler for Film Rise (Paste magazine’s No. 9 best trailer of 2016). Upon departing Drafthouse Films for NEON, Greg created materials for Colossal, Bad Batch, Beach Rats, and the Oscar-winning I, Tonya. He’s had the pleasure to work closely with several talented directors, such as Nacho Vigalondo, Ana Lily Amirpour, Craig Gillespie, Joshua Oppenheimer, Michel Gondry, and many others.

Services

Director Reel
Cinematographer Reel
DCP Creation
Sound Mixing
Home Video Extras

Trailer Editing
Trailer Cutdowns
Custom Videos
Online Social Video Campaigns
Commercial Editing

Testimonials

“During post-production the filmmaker often doesn’t have enough distance to improve the cut in ways that challenge, even contradict, the original plan. Working with Greg MacLennan is one of those cases in which a creative and precise point of view makes you rethink the rhythms and meanings in a productive way. He was also fast and intuitive when he had to translate my intentions and needs into the cut. In other words, he knew how to hear my plan but also how to improve it.”

- Nacho Vigalondo (Writer & Director of COLOSSAL)

“Trailers are hard. Practically any filmmaker will tell you how stressful/painful it normally is to see the first attempts at a trailer for one’s film. Not with Greg Maclennan. On THE INVITATION, everything, and we mean everything Greg presented us with felt exciting, felt powerful, felt like it belonged to our movie. It’s very clear from the beginning how good Greg is at getting inside the vibe of the project and delivering something true and also surprising. He just gets it. He also happens to be a lot of fun to hang out with, which ain’t nothin’. We can’t wait to work with him again.”

- Karyn Kusama, Phil Hay & Matt Manfredi (Writers & Director THE INVITATION)

“If Greg weren’t an editor, he’d be homeless. There’s no backup plan for a man this obsessed. Luckily for all of us, he is an editor, so we get avant-garde editing couched in a pop style that appeals to everyone with a birth certificate. He can see your film and know exactly the teeny tiny little molecules that make an audience wanna check it out, loads them all into his editing-cannon and blasts them back onto the screen. It’s something that comes not just from years of experience, but also a born intuition for it. He also has a killer WWE announcer-voice imitation that, if asked, he will permanently use when you’re having creative conversations.”

- Aaron Moorhead & Justin Benson (Directors of SPRING)

“I loved working with Greg on the trailer for THE BAD BATCH; he has great taste and instincts that can adapt to incredibly tight budgets and schedules, and end up with a fantastic trailer to represent the film.”

- Ana Lily Armipour (Director THE BAD BATCH)