Where are you working at the moment?
I am currently unemployed.
Describe your work.
As a film editor, I consider myself a storyteller. Editing is the ultimate “rewrite”, many of which are flexible and countless options are available. Performance selection is the main focus most people consider in the editing room, but shooting sequencing, rhythm and length are all major factors. Additionally, the order of words and scenes can reshape the project to another level. I also want to say that being a film editor is like a conductor: the final product has a considerable nuance of the nuance of landing. Emotions are always my main focus.
How did you become interested in this work in the first place?
After high school I received my bachelor’s degree in communication from the Technical College then known as Sydney, Australia. I studied art, literature, writing and film studies. We also made small movies, working on each other’s projects in different identities.
Who gives you your first rest time?
Honestly, I don’t know how to find a job or what it looks like. I wrote to many different film companies hoping to work in any starting position. Then a friend who works in the studio is there they mix the sounds of the movie and tell me a voice editor who is looking for a second assistant. I remember being very excited during the interview because the sound team did Foley’s work in the studio. I got a job. My first honor was working as a second assistant voice editor in Peter Weir’s Year of Dangerous Life.
My editorial “Growth” is in Australia. I was lucky to land with many great people who became my mentor. I went from Assistant Voice Editing to Assistant Image Editing. I was usually also a music editor or contact with composer, and the position did not exist in Australia at the time.
I’ve worked on some Peter Weir projects and also worked on Kennedy Miller’s Productions. My breakthrough into picture editing was a screen letter from another Peter Weir movie, Dead Poets Society, for which I edited several scenes. Before that, I had worked as an assistant editor for Kennedy Miller many times, with the greatest honor being “Mad Max Beyond Thunderdome”.
When they made a movie called “Dead Calm,” the editors didn’t have the ability to start the project, so they asked me to step in for the first six weeks. This is especially exciting because I spent three months on a tropical island in the Great Barrier Reef! The editorial room is a staff cafeteria room with views from the island. This is also where we screen daily newspapers every night, so I learned to run a projector!
Kennedy Miller is very prolific and has made several mini series. One of them is “Hilton Bangkok” starring Nicole Kidman, which is my first honor as a film editor. One of my mentors brought me to the United States and worked at Saul Zaentz Company, where I studied a large feature, “Play in the Main Field.” It was filmed in the Amazon jungle for seven months, but it was not edited! There are boxes and boxes to see. I worked there for a year. It was really exciting for my first job in the United States.
What was your first union job?
After I went to Los Angeles and made a few TV movies, my first feature, Foxfire, became a union so I became a union member. My first TV series was “X-Files.”
What credits or programs are you most proud of and why?
There are many highlights. I like working with producers who see me as collaborators rather than just workers. I love experimenting and shaping the freedom to tell stories. I love working with people who totally trust me.
On “True Blood”, working with Alan Ball is undoubtedly a highlight. Freedom and fun!
Also, a series called “Opportunity”. In Season 2, the editorial is fascinating. Director-producer Jonas Pate wants to create some kind of internal POV, mood and feeling. I can easily say that none of the other projects I work on rely on edits to create it. The editorial was given complete freedom – hard to describe – but it worked! Executive producer Alexandra Cunningham trusts us completely. I really feel the command of the project.
I worked for FX for six years on the TV series “Snowfall”. They promote diversity and promote new talent, especially directors, so experienced editorial departments provide stability. I directed many new directors and once again gained the freedom and trust of the producer. In my 18 episodes, 12 episodes from the directors made their debut.
My recent project, “Pinch”, was an independent film I helped reshape, with so many hearts. I love this movie! It’s a dark comic exploration of guilt, trauma and the power needed to stand up. Turtera Singh – writer, director, producer and star – trust me completely. I made a leap during the writers’ strike and now I’ve paid off: nominated for this year’s Tribeca Festival. Of the 13,541 submissions, this is one of only 118 movies accepted! Definitely a highlight.
What is your biggest challenge at work (or in a specific project)? How did you overcome/solve?
Well…Editor challenges occur every day. There is no right or wrong or perfect. Even with experienced directors, there may be some problems to be solved. In one project, the director did not create any transitions for the “leap of time” in the court scene. They shoot it in a continuous way, so when one scene ends, the conversation makes no sense and the other scene has no boundaries. The producer asked me to establish a transition. I did the camera moves, changed the shooting size, used sound interference, and didn’t have much transition style at all.
“Friday Night Lights” is an ongoing challenge as there are three cameras per scene and seven football games are available. The crew is often on the shots and the actors keep promoting. It’s all about frustrating things, but it makes sense too. After that show, I always said that nothing can be that difficult.
What is the most interesting thing in your work?
Definitely an independent film “Pinch”. Like I said, the heart and humor of this movie. We are setting our own schedule and focusing on doing it correctly without supervising the producers forcing our hands. The editorial team has a lot of fun. My editorial room always has a mini trampoline. I think it’s important to offset all sitting. We edited “Pin” in the house with a huge trampoline in the backyard. That’s our fun healthy break, and resting in restorative yoga replenishes our energy.
Jobwise, what do you want to do in five years from now?
I would love to make a heartfelt movie. I do like guidance, so maybe some teaching too.
What are your external activities, hobbies, passions?
Yoga, hiking, cycling, traveling. I’ve been practicing meditation for 30 years, so this is very important to me.
Favorite movie? Why?
Even though it is a bit outdated, I still like “intangible heritage”. Plus, anything from Hitchcock. The film directed by Eastwood and Hitchcock has a big impact on me, edited – Storytelling in Silence. I like that.
Favorite TV show? Why?
That is constantly changing. I don’t think I can be sure of any issues. Great writing is what I respond to.
Do you have an industry mentor?
In many ways, I would consider a mentor as anyone I’m creative with in the editorial room. There is always a lot to learn. I’m curious and open. And I think we learn from each other no matter how much experience we have in the room. The early mentor I am most grateful for is Richard Francis-Bruce. As his assistant, I sat next to him and passed him on to him. He actively told me what he was doing and why. William Anderson is also very educated. He brought me to the United States. Plus, it’s great to be in the room with a master filmmaker like George Miller. George is a director who fully understands and respects the power of editors.
What advice would you give to those interested in pursuing a job?
It is important to find editors who want to guide you. Be curious and ask questions. Make yourself useful and reliable. Listen to others, even if you think you are wrong; just listen. Make sure to take care of your physical health and balance your lifestyle. Don’t eat on the machine! take a break. Become a team player.
Has this ever happened when you had to rely on the guild for help or help?
Just recently, the guild has been very helpful. I was displaced due to the Los Angeles fire and the guild provided me with certain paperwork and resources. This made me more aware of the importance of the community and joining the union.
What do you want to say to your guild members, and some encouragement?
I hope everyone has peace in this crazy time. I don’t think technological advancements can replace storytelling. I prefer to think of AI as a resource. And, I long for editorials to appreciate it even more in this industry. I also long for more equal distribution of wealth. It needs a village.
Compiled by David Bruskin.
