by Rob Field
Eleanor Infante’s experience as a film editor was a masterclass in how to build a career by building relationships and seizing opportunities that arise.
She grew up in Los Angeles, where her siblings also pursued art-related careers, and creativity was in her blood. Her parents owned a video store, which introduced her to the world of art and unconventional thinkers, sparking her interest in art. Although she initially studied theater at the Los Angeles County High School for the Arts, a chance encounter with a film school student set her on a different path. Infante ultimately chose to attend UCLA, where she discovered her skills in editing class projects and was encouraged by peers who saw something special in her work.
But it’s not a direct jump from there to editing. Infante’s early career took her into production, before a lucky break led her into the world of movie trailers. For a decade, she honed her skills as a trailer editor under the tutelage of Skip Chaisson, who worked closely with Ridley and Tony Scott. The experience taught her the technical aspects of editing and the importance of style and rhythm, which she later adapted into a feature-length narrative.
Infante’s big break in film editing came from the relationships she had built over the years, particularly with director Nisha Ganatra. Their collaboration on multiple projects, including PBS shorts and Hallmark films, gave Infante the experience and confidence needed to transition into narrative filmmaking. This was further enhanced by another chance connection with Glen Morgan, which landed her in projects such as The X-Files and The Twilight Saga (2019). All in all, her career has allowed her to work in a variety of genres and styles.
movie montage: Why film and not ballet, painting or anything else?
Eleanor Infante: I grew up in Los Angeles. My brother is a production designer, my sister is a painter, and my parents own a video store. I was surrounded by art, but I didn’t know I wanted to make movies. I went to high school and studied theater, and then I met some people from film school and thought, “Maybe I should go to film school.” So I did that, and at UCLA, everyone said I was good at editing. I didn’t know I wanted to be an editor—I just wanted to do something creative. But people kept telling me I was good at it, so I thought, “Maybe this is something I can do.” After that, I worked in production, did some public broadcast work, and then started making movie trailers. I was a trailer editor for 10 years, working with Skip Chaisson, and he taught me a lot. It’s through people giving me opportunities that I’ve been able to improve.
movie montage: What did you get out of the clip trailer?
Infante: The trailer editing is sharp and abstract. You’re prolonging the moment, and sometimes you’re not even sure if you’re in the past or the future. It works great for some things, but when I transition to long format I have to learn to be more subtle. Not everything requires a lot of flourish; sometimes, you need restraint. But the trailer background gave me a toolset that was very useful in certain situations. It’s about knowing when to use it and when to leave it in the jar.
CineMontage: Your career spans film and television. How do you balance both worlds?
Infante: For me, it’s about relationships. Working in trailers and commercials for so long was not really who I was, but it taught me to think abstractly and be open-minded. Directors like Peter Atencio, who I worked with on The Twilight Saga, noticed this. We clicked on that project and a year or two later, he called me and asked me to be a part of his movie Machine. I’ve never been a super strategic person. I just try to get on the same page with the directors and build those relationships. When you do this, they begin to trust you, and that trust allows you to try and come up with new ideas.
movie montage: Can you tell us about the tools you’ve used along the way, especially in transitioning between different genres like comedy and drama?
Infante: I never expected to do comedy. I worked on Late Night and The Machine, which are very different types of comedies. These jobs have taught me that you can find humor in unexpected places, even in darker or more serious content. For example, in “Presumed Innocent,” I noticed a comic duo dynamic between Peter Sarsgaard’s character and another character that I tried to represent in the editing. It’s about recognizing what exists naturally and amplifying it through editing. But again, the key is using the right tool for the right job. Sometimes you want to push things and be more stylized, and sometimes you need to step back and let the material speak for itself.
movie montage: What’s the biggest lesson you’ve learned in your career so far?
Infante: The biggest lesson is to listen. Really listen to what people have to say—whether it’s the director, the producer, or the audience. You have to be open about your work, not defensive. It’s about finding ways to creatively meet everyone’s needs while staying true to the project. Sometimes that means trying something new, even if it feels risky. But as long as there’s a safety net, it’s worth a try. Trust your instincts, if something feels weird, it probably is.
movie montage: Which course taught you the most?
Infante: I’ve worked with Anne Sewitsky twice – she was one of the directors of “Presumed Innocent” and we also worked together on “Castle Rock”. Her style is very interesting. She loves doing these cool zooms, and she shoots a lot of extra material that you don’t always know how you want to use it. It’s almost like a fever dream or Terrence Malick. She may know what she wants from it, but she’ll just give it to you. So, when you pass the editing exam, you just do it and figure out what it is. It was neat for me because it was a completely different style of editing that I didn’t have the chance to do with sci-fi, comedy, or light horror that I’d done. Then it’s neat to make something that feels more artistic or a little bit in someone’s head, where you can get abstract. I felt like I was being stretched and doing more drama. The abstract editing reminded me of the time I was making trailers in a way, it was non-linear, two separate timelines happening simultaneously. I love playing with editing and time, and working with her is a way to do that.
CineMontage: You move fluidly back and forth between TV and film – you’re currently filming a major studio sequel. How do you find the process?
prince: Making movies and making TV shows are actually completely different. In addition to being the sole editor, you are in many ways the primary person responsible for every aspect of editing, from sound to music to VFX, as well as directing. Additionally, you stayed in constant contact via email and phone calls, and shared set sets during filming so that the director could ensure they were getting the shots and performances they needed. I think as an editor it definitely makes the job not only creative but also having to run a department with the help of a first assistant. You’ll definitely have to utilize your leadership and creative skills here, and be good at delegating additional responsibilities. You’re more involved in the overall look and feel of the movie. I think that’s the equivalent of a production editor in television. I think the great thing about television is you have an editorial team that you can connect with and learn from. Also in a TV show you have a peer group and mostly a set style that you all need to work together to stay consistent with. You can certainly give your opinion on various aspects of the show, but usually you’re more limited to the editor.
CineMontage: It seems like the strong relationships you develop with filmmakers continue to define you.
prince: I feel so lucky to have had director Nisha Ganatra work with me on Late Night, You Me Her, and commercials for Stacy’s and Google Home. and writer/producer/director Glen Morgan, who I worked with on The X-Files. These two distinct paths must be followed. I’ve had the opportunity to edit most comedies in film, and I’ve had the opportunity to edit science fiction, drama, and horror on television. I love every opportunity I get to challenge myself and explore new tools in my arsenal, I’m a little scared but excited.
