Words of wisdom

My advice to young editorial aspirants is to take any job offered, in any subset of this field, work hard, learn your tools and only then decide where to specialize. Meanwhile, keep working.

A great amount of an editor’s time is spent at the junction of what the director shot and what he thinks he shot. Your job is to navigate that space and deliver the best possible version of the project.

If you want to edit, my best piece of advice is to edit. Try to work with editors who are collaborators and will share both their scenes and their experience with you. While it is increasingly more difficult as an assistant editor to find a spare moment in the day, it is also vastly easier than ever to cut from anywhere. So, find the time on the weekends or after work hours to cut a scene. This is not just to show others that you can tell a story, but also to hone your craft and add tricks to your toolbox.

One you’ve reached the editing chair, it is important to remember that filmmaking is a team effort. Be someone that people want to spend time with, be open to ideas and willing to try something that you think won’t work—you’d be surprised how often it does, or that bad idea leads you to something better. Most importantly, learn how to read the room and then lead the room.

Year you began work in editorial

I attended C.U.N.Y and started working in 1958 (nights and weekends) at a jack of all trades editorial house, doing a little bit of everything and keeping the music library in order. I then became a sound and music editor on some industrial films and a couple of TV series.

Year you received your first editing credit

My first picture editing credit was on The Seagull for Sidney Lumet in 1968, after editing sound on three of his films, The Pawnbroker, The Group and Bye, Bye, Braverman. This was my first real break, even though I had finished the picture editing on The Producers while doing the sound editing.

Did you have to go back to assisting?

I was never a picture assistant except for a very short stint at a commercial editing house, which I hated.

Did you remain in your chosen venue or did you cross over from time to time?

I had done several films for Ralph Rosenbloom as a sound editor and he suggested I finish Newport for Murray Lerner which led to my editing several additional scenes for the film.

Influential editors

Sidney Meyers was another stellar example of how to negotiate the editing room and Dede Allen was also a guide through the process. Of course my main guide was Sidney Lumet who taught me many things on The Seagull and Bob Fosse, who really gave me the confidence to let myself out and really attack material.

Awards

Emmy for Holocaust
Emmy nomination for Liza With A ‘Z’
Emmy nomination for Grey Gardens, Introducing Dorothy Dandridge
Academy Award and Bafta for All that Jazz
Academy and Bafta nominations for Network
ACE Eddie award for All That Jazz, Introducing Dorothy Dandridge

Words of wisdom

As far as the most important quality an editor needs, I would say it’s an elevated level of taste, so that one knows the difference between performances and material that belong in the cut and that don’t, and so that one can recognize when a scene is working and when it isn’t or when the piece as a whole isn’t working. Without that sensibility it doesn’t matter how fabulous the cuts, rhythm or pace are. I would add that an extremely important quality for an editor, right up there with taste, is emotional maturity. Considering the pressures of the job, how closely and intensely we work with producers and directors, the rounds of changes and notes not simply to be endured but embraced, the passion we all bring to the work, and how little credit we often get for major contributions, every editor had best bring his most grown-up self to work.

Year you began work in editorial

I began work as an apprentice in 1986.

Which venue?

Feature.

Year you received your first editing credit

I received a back end film editor credit on Medicine Man in 1992. In 1994 I had my first solo credit on At First Sight, but unfortunately it ended up as a straight-to-video release.

Mark Conte gave some small bits to cut when I was assisting him in 1989 on Turner & Hooch. I also worked with Charles Bornstein on several projects; he gave me scenes to cut, went over them with me very carefully, and was extremely kind and helpful. Seth Flaum also allowed me to cut a scene on The Guardian (1990) and recommended me for the first short that I cut.

Did you have to go back to assisting?

Most definitely I had to go back to assisting!

How many times?

My guess is that I took about three more assistant jobs before I firmly decided I was only going to take editing jobs. I was hired to edit At First Sight not too long after that and have been editing ever since.

Did you remain in your chosen venue or did you cross over from time to time?

I have always crossed over and done whatever interested me, or projects involving people with whose work interests me. Shortly before Star Wars I cut a pilot written by David Milch just because I’ve always admired his writing and wanted to work with him.

When I was first starting out, someone arranged for me to have coffee with Lynzee Klingman. I was naive and intimidated by the whole industry at the time, but she was so approachable and kind, and she made me feel that it was possible for someone without a taste for the jugular to succeed (that was my view of the business at the time). She wasn’t really a mentor, because we did not see each other again for many years, but she was an inspiration.

Honestly, I don’t believe I had any real, long-term mentors, but a lot of people offered me encouragement along the way, sometimes only a sentence or two, but I locked their words away, and used them to push myself forward at critical moments along my way.

Influential films

The Italian neo-realist films, especially The Bicycle Thief, The Children are Watching Us, Germany Year Zero—but really all of them. These films tell their stories from such a strong point of view; EVERYTHING is seen through a particular pair of eyes, so that the viewer becomes completely immersed in the experience of the main character. They show how powerful a perfect collaboration between director and editor can be. I am all about point of view in my work.

Influential editors

Dede Allen, because I worked with her first, and she was such a powerhouse. Lynzee, because of her incredibly beautiful dialog cutting. Tom Rolf, because he was so successful and still managed to have so much fun. Bud Smith, because he turned off the KEM at 6:00 and always stood up for his crew.

Awards

Emmy for single-camera picture editing for the pilot episode of Lost.

Words of wisdom

My best piece of advice about how to advance to editor is to participate in the process: have an opinion, your own honest opinion when asked about a sequence. Don’t give the answer that you think will please someone else, express what you’re feeling. Be reliable, give everything your best effort regardless of the task, don’t be afraid to ask questions and keep a sense of humor.

As far as conducting oneself, as difficult as it might be, always try and take the high road. The quagmire of politics can be daunting and counter to how things should proceed in the cutting room. Stand up for your crew. Be aware of hours worked and what is demanded and when. Personal lives and priorities supersede any deadline. Try everything, never say “no” to a request to change an edit or try something new. Being surprised by a note you might consider unworkable is one of the joys of editing. Avoid saying “it won’t work” without giving the note a try.

The most important attribute an editor should possess is patience and having the conviction of your point of view.

Year you began work in editorial

I began work in editorial in 1975 for Gene McCabe Productions. I joined the Editors Guild in 1977.

Which venue?

My first venue was in Features (Semi-Tough for UA/directed by Michael Ritchie).

Year you received your first editing credit

I received my first Music Editing credit in 1977. I received my first credit as a Film Editor in 1984 (Streets of Fire) and my first Main Title credit as Film Editor in 1987 (Beverly Hills Cop II with Billy Weber and Chris Lebenzon ACE).

Who gave you your first break? On what show?

My first break as Music Editor was with Dan Carlin, Sr. on Semi-Tough. My first break to cut picture was with John Wright on a TV movie for Disney, Double Switch. My first feature break was given to me by Freeman Davies on Streets of Fire and Billy Weber and Chris Lebenzon ACE on Beverly Hills Cop II.

Did you have to go back to assisting?

I was never an Assistant Editor. My career took a leap from Music Editor to Film Editor.

Did you remain in your chosen venue or did you cross over from time to time?

I remained largely in features but crossed over to TV for one series, several movies-for-TV and one documentary for ESPN.

Influential mentors

Dan Carlin, Sr., Ralph Burns, Billy Weber, Dennis Virkler, Peter Berger, Dede Allen, Freeman Davies.

Influential films

City Lights, Best Years of Our Lives, everything by Kubrick, David Lean and Alan Pakula, Bonnie and Clyde, Amadeus, The English Patient, City of God.

Influential editors

Dede Allen, Billy Weber, Chris Lebenzon, Tom Rolf, Conrad Buff, Mark Goldblatt, Paul Hirsch, Richie Marks, Walter Murch.

Words of wisdom

My piece of advice to all assistants making the move to editor is this—find an editor who likes to have two martinis and a glass of white wine for lunch. Before they take their nap ask them if you can work on a scene. If they say yes, voilà! Edit the scene and at the end of the day wake them up and ask them for their opinion. But not everyone can find an editor who likes two martinis and a glass of white wine. When working as an assistant ask your editor if you can work on a scene if they agree then work on the scene after all your work is done. Come in early or stay late to work on it. And when you are finished show it to the editor to get their feedback. Never take criticism personally.

When you are an editor it is important to be a good listener and a collaborator. Discretion is vital. What is said in the cutting room stays there. Be grateful. When you have to work the long hours remember what it was like to be an assistant especially when a post production supervisor asks for an output at 8 o’clock at night for a midnight delivery to the director. Really, is the director going to be watching the three-hour cut at midnight! Or can the assistant make the output in the morning? Use common sense and always protect your crew. Don’t argue over a cut. Know when to give it up. Friendly discussion is encouraged because at the end of the day it is the director who is in charge and it’s his vision. You have the power to protect your crew—after all you are a department head. Make sure your assistants are not being taken advantage of by the producer or post production supervisors. When you show loyalty you will get it back a hundred fold.

But more importantly have fun and laugh. I encourage this because you spend more than half of your waking hours at work and away from your family. If you are not having a good time then it is time to do something else. Leave your personal problems outside the door. No one wants to be around a “debbie downer or a sad sack.” Have a sense of humor.

What an editor should know is that it is important to get your wish list in writing. You may not get everything that you asked for but at least you tried. Having an upfront credit in your contract will make the difference in getting an Academy nomination for best editing and not getting the nomination. This happened to me on The Player. Even though I was the second editor and had edited half of the movie. Altman wasn’t feeling generous that day and decided to give me the back end credit. The other editor had the upfront credit and was nominated for an Academy Award for best editing and I wasn’t. The Academy rules only recognize upfront credits. So, make sure you see in your deal memo or that your agent has secured this for you before you start on any project.

I wish you all luck because it is a fun business and there are lots of people who are more than happy to help you along the way but you must be open and know when an opportunity is presented to you.

How did you get started in the film industry?

I started out as a whore. A Seattle whore.

I was cast in Robert Altman’s McCabe and Mrs. Miller as a Seattle whore. Meeting Robert Altman changed my life. I left Vancouver for Los Angeles after the movie opened and never looked back.

Year you began work in editorial

I began work in editorial in 1976. I got into the union in 1977.

Who gave you your first break? On what show?

In 1976 Robert Altman has just finished shooting Buffalo Bill and The Indians. He had shot a million feet of film and there were at least twenty trim bins lined down the hallway outside the editor’s rooms. One day I was on my way to see them when all I could see was film flying out of a bin. As I looked down the hallway I saw that almost all the bins were emptied and there were piles of film thrown everywhere on the dirty floor. I walked up behind the editor and tapped his shoulder, “Dennis, what are you doing?” With half of his body in the bin he said, “I’m looking for two frames.” I said to him, “It looks like you need help reconstituting the film. I think I can do that.” (Reconstituting the film was syncing the picture and sound back together into its original dailies reels.) “What do you think?” “Yeah, I think you can do it but you have to go ask Bob.” Oh great, so I went into Bob’s office. He looked at me and said, “This isn’t a film school you know.” “I know that but the editors need help.” He stared at me for a minute and said, “If it’s okay with the guys then it’s ok with me.” “It’s ok with them,” I ran out of his office so fast, worried that he might change his mind.

But I think the REAL reason I got hired in editorial was because I could roll the PERFECT joint. That was one of the many duties that I had as an assistant. I would clean the stuff. Roll the joints. Put it in a marked trim box and snuck it in with the rest of the picture and sound for later use.

I got my start in features but have worked in TV.

Year you received your first editing credit

The year I received my first credit was 1989. It was a shared credit on Limit Up. I was assisting Danny Greene on it. He left the show early and I finished it. He was very generous in sharing his credit.

Who gave you your first break? On what show?

My break came when Danny Greene asked me to assist him on There Goes My Baby. I didn’t want to take the job because I had finished editing Limit Up and Boris and Natasha. Not great credits but I had gotten a taste for being an editor and I was given editing credits on both films. I told Danny my situation and he said that this director always hired a second editor after principal photography. So, I told him I would take the job on one condition, that when it came time to hire the second editor it would have to be me. Or I wouldn’t take the job. Well, Danny kept his word and because I got along with the director I was given the opportunity. I also believe that had one out of the five producers felt I wasn’t capable of being an editor I would not have moved up.

While I was finishing There Goes My Baby, Robert Altman was in post on The Player. He asked me to come look at the dailies for the entrance of the museum scene. Apparently, his second unit film crew had shot the backs of the movie stars making their entrance. I went and watched three hours of dailies. I knew that after I finished watching them that Bob would ask me for suggestions. As I exited the screening room, just as I thought, he asked. “What do you think? How can I fix this?” Off the top of my head I blurted, “Well, you jump cut it like ET, Entertainment Tonight using the good stuff. Have an announcer introduce the stars as they make their way past the paparazzis. What do you think?” His eyes lit up and he turned to his producer Scottie Bushnell. “Hey, Scottie I have this great idea.” So, that’s the way the museum scene appears in the final version.

Did you remain in your chosen venue or did you cross over from time to time?

After I finished The Player I was unemployed for a whole year because when you are the second editor, agents and directors are leery of what part of the movie you edited. I would say, “the good parts.”

At the time my sons were young and my husband who was in the film business was also unemployed. During this time, I was offered assisting jobs but I turned them all down because I realized that I had just finished working on a critically acclaimed movie and if I went back to work as an assistant no one would ever take me seriously as an editor. I have heard of editors who for a multiple sets of reasons went back to work as an assistant and it took them years to find work as an editor again.

During this time of unemployment, I got an agent who found me an editing job on a low budget film. When I screened my cut to the producer I knew he didn’t like it or me. So a few days later I was let go. That night I went home despondent and complained to my husband, “I haven’t worked in a year. Where am I going to get another job?”

My husband who was watching the football game turned to me and said, “All this means is that something bigger and better is going to come your way.” And just like in the movies, the sound of my telephone ringing overlapped his last line and it was The Joy Luck Club. What was a terrible day turned into a great day and a phone call that would change my life, forever.

Mentors

Robert Altman—because he cast me as an actress in McCabe and Mrs. Miller and later gave me an opportunity to edit The Player. Danny Greene who edited, M*A*S*H and Blazing Saddles. Hired me as an assistant over the phone and then moved me up to edit.

Words of wisdom

Moving up from assistant to editor is difficult because there isn’t a clear path on how to get there. As an assistant you have to start developing the skills to be an editor by watching how your editor works, the way he or she approaches scenes, learning how to tell a better story through editing. Hopefully along the way you’ll get to cut scenes on your own, because doing it is the only way to learn. Getting feedback on those scenes and interpreting the notes you receive is another invaluable skill you need to develop. As far as getting jobs, what worked for me was doing shorts films for free while I was assisting. Through one of the shorts I met a director who gave me a paying job on an HBO film. Once you’re there you have to conduct yourself with as much honesty and integrity as possible. No matter how much pressure you’re under you can never show it on your face. Take criticism in a positive way and remember that it’s about the film and not you personally. The most important attribute you can have is having an open mind to any idea that might make your film better.

Year you began work in editorial

My first job was in 1983 as an apprentice for John Wright on High School USA.

Which venue?

Television movie for NBC.

Year you received your first editing credit

My first editing credit was on Alive in 1993.

Who gave you your first break?

My first big break was getting a job on Heat in 1995. Michael Mann saw a HBO film I did called Citizen X and hired me on Heat.

Did you remain in your chosen venue or did you cross over from time to time?

I have done one TV pilot called Over There, but other than that I’ve been doing features.

Influential mentor

Michael Kahn mentored me and it has been the single most important relationship of my career.

Influential films

The Conversation, Lenny, All That Jazz.

Influential editors

Michael Kahn, Dede Allen, Don Cambern, Alan Heim.

Awards

Oscar, Bafta and ACE awards for Argo.

Year you began work in editorial.

1977.

Which venue?

Very low-budget indie, though we didn’t use the word “indie” yet …

Year you received your first editing credit.

1981.

Who gave you your first break?

Lou Lombardo. I was assisting him on a recut of a TV movie: Kiss Meets the Phantom of the Opera. He wasn’t really all that interested, so he gave me a bunch of scenes to edit. The next project, The Changeling, was also a re-edit, and the same thing happened. A few years later, he was offered a horror film, and recommended me as editor. I owe everything to Lou. He was a great editor and a great human being.

Did you have to go back to assisting?

Once I received my first editing credit, I was lucky enough to keep working as an editor.

Influential mentors

Lou Lombardo. Glenn Jordan, a hugely talented and successful TV (mostly) director, back in the golden age of TV movies and mini-series. I worked exclusively with Glenn for something like ten years. John Frankenheimer, with whom I worked on two cable movies, and who then gambled on me to cut his next feature, against the wishes of the studio who didn’t want to hire a “TV” editor.

Influential films

So many I don’t know where to start.

Influential editor

Lou Lombardo, Michael Kahn, Sam O’Steen (never met him), Verna Fields (never met her), so many more …

Awards

Nominated for two Oscars (Collateral and The Insider), one Bafta nomination, two Emmy nominations, nominated five times for an Eddie; only won once—an ACE award for the cable movie Andersonville, directed by John Frankenheimer.

Words of wisdom

My best advice on how to advance as an editor is to cut anything you can get your hands on: student films, shorts, docs, commercials … anything! When working as an assistant editor, make it clear that you want to be an editor. If you don’t express any interest, how will your co-workers know whom to turn to when their friends or colleagues ask for an eager young editor to cut an independent feature? You must have a great work ethic, be personable and have a critical eye. As an assistant, you are a valuable sounding board for the editor, who needs honest and critical feedback, particularly during the assembly process. Work as an assistant editor and a sound editor so you know how these jobs are done. It helps improve the quality of your rough cuts once you are an editor. Most importantly, to be a good editor you must know your story (the film), be a good listener and be adept at reading the subtleties of human emotion. This enables you to find the best performances. Be flexible and able to approach your material from varying perspectives.

Year you began work in editorial.

1989.

Which venue?

Documentary.

Year you received your first editing credit

1989 or 1990.

Who gave you your first break?

Talked my way into an editing job when interviewing for internship at a documentary company. It was a three part PBS series on Samuel Beckett. I was editor on two of the three parts.

Did you have to go back to assisting?

Yes. I had not assisted at that point, and really wanted to work on feature films. A former professor of mine recommended me to Ang Lee when he was making his first film, Pushing Hands. That was my first assistant editor job. It was in 1991. I also worked as a dialog editor on the film.

I went back and forth between editing and assistant editing for approximately three years.

Did you remain in your chosen venue or did you cross over from time to time?

When I started out I would cut anything: docs, shorts, industrial videos, music videos, indie features. I also worked as a dialog editor for some time.

Influential mentor

Tim Squyres.

Influential films

Anything I watched and enjoyed must have influenced me, though I couldn’t narrow it down to a list. I have so many favorites!

Influential editors

Anne Coates, Thelma Schoonmaker, Dede Allen.

Awards

2 Eddie Award nominations (The Fighter, Little Miss Sunshine) Oscar nomination (The Fighter)

Words of wisdom

If you’re an assistant editor who wants to advance to editor—be lucky enough to work for an editor who mentors, or at least recognizes talent in others. Hopefully you’ll be in an environment where the editor welcomes feedback. In that case, be an assistant with ideas and offer constructive criticism—suggest something. Maybe the editor will say to you, “Go ahead— give it a shot.” And even if the editor doesn’t—go ahead and try what you were suggesting on your own time (you’ve got your own Avid, why not?). You’ll learn something. Edit as much as you can. The more time you spend editing—the more experience you’ll have, and the more you’ll learn from doing. Experiment.

Look for opportunities to get an editing gig, but be careful to be respectful and not annoying about wanting to advance. Once you get the break—be grateful.

There are so many attributes a feature editor should possess.

• Patience—because it takes a long time with many revisions to craft a feature.

• Confidence—because the director is relying on you to achieve his or her vision.

• A Point of View—You’re not there to be “a pair of hands” for the director—you were hired because you’re an artist. However, your POV may be overridden, and that’s something all editors have to accept as part of the job.

• Enthusiasm—because you’re working as an editor! That’s awesome!

• Generosity—let your assistants be as involved as they want to be. Let them learn as much from you as they can because they might want to become an editor too someday.

Year you began work in editorial

1979.

Which venue?

Feature.

Year you received your first editing credit

1983.

Who gave you your first break? On what show?

Cannon Films—on the feature Revenge of the Ninja.

Did you have to go back to assisting?

No.

Did you remain in your chosen venue or did you cross over from time to time?

I mainly edit features, but occasionally cut a television pilot.

Influential mentor

I assisted Larry Bock, and watching him work made me want to edit.

Influential films

Performance, Don’t Look Now, Quadrophenia, The Hunger, All That Jazz, Beyond The Valley of the Dolls.

Influential editors

Gerry Hambling, Alan Heim.

Awards

Won Satellite Award for Best Film Editing (along with Mark Goldblatt and Julia Wong) for X-Men: The Last Stand.

Words of wisdom

The best steps you can take to get into the editing chair are to work hard as an assistant editor to prove your diligence and work ethics, always have a positive attitude and to take an interest in editing and story. As an assistant editor one’s focus tends to be very technical these days but to advance you have to have the interest in the creative! And once you get into the editing chair remember you always have to be pliable. Think of yourself as Gumby! You must roll with the punches everyday and meet the tasks that are asked of you. Some days you will just be able to do your job as editor. That is only part of the job, however. So many other moments you may need to be a cheer leader, listener, psychiatrist, babysitter, a mom or dad, referee, juggler or just a flat out magician! Just remember to have no fear and embrace the challenge.

Year you began work in editorial

In LA—1989 (prior to LA 1984).

Which venue?

I started in corporate/educational shorts as editor then edited an independent movie 1989, moved to LA—transitioned to scripted TV as assistant.

Year you received your first editing credit

1992.

Who gave you your first break? On what show?

Producers Jon Avnet and Jordan Kerner gave me a TV movie to edit For Their Own Good.

Did you have to go back to assisting?

Yes—once I moved to LA. I assisted for three years.

Did you remain in your chosen venue or did you cross over from time to time?

Have transitioned into features.

Influential mentor

First person I met in LA was Debra Neil-Fisher.

Influential editor

Alan Heim’s work on All That Jazz woke me up to the world of editing.

Awards

Eddie nomination for Uprising (TV mini-series)

Emmy nomination for Houdini (limited series)

Words of wisdom

Make the most of every opportunity and soak up information, protocol, technique and creative thinking from the people you respect and admire. Make yourself indispensable by being hard-working and dependable. When you have to make a superior aware of a problem, try whenever possible to suggest a solution as well. Be kind and respectful to everyone you work with because the kid who is the lunch runner today could be your executive producer in five years. Be a team player. Don’t stay in a job you hate. And buy a lot of socks and underwear because you will never be home to do laundry.

Year you began work in editorial

1993.

Which venue?

I started assisting on small feature films and scripted television but got my break cutting non-fiction and doc television.

Year you received your first editing credit

1992. I cut two things in film school that went to air. One was on a docu mentary that aired on POV and my own short film made the festival circuits and also aired.

Who gave you your first break? On what show?

My sound teacher from USC got me an assist job on a low budget feature called Treacherous, which was non-paid. My first paid gig was an assistant editor/receptionist/runner job on a doc series called L. A. Stories about life in the year after the LA riots for World of Wonder.

Did you have to go back to assisting?

Yes, for a couple of years I would assist on scripted TV series and cut nonunion non-fiction television.

Did you remain in your chosen venue or did you cross over from time to time?

I had gotten to cut a little on the scripted TV series I was assisting on, but I really preferred cutting the doc and non-fiction projects so I stayed with that and it morphed into reality television which I love cutting and still cut today.

Influential mentor

Kate Amend. She was my doc teacher at USC, taught me a lot about editing, but also that you could make it a life.

Influential films

I grew up at the world’s oldest drive-in theater, so I was immersed in the films of the 1970s and early 1980s.

Influential editors

I was very inspired that women were such key players in the entire history of editing in Hollywood.

Awards

Emmy nomination AFI’s 100 years…100 Movies: 10th Anniversary

Words of wisdom

My career has a stranger path than most. I came to Hollywood without a clear vision of what I wanted to do, only that I wanted to do something in entertainment. This led me to working in a wide variety of positions, from preproduction to post production and even international sales and delivery. I researched, wrote, gaffed, worked in the art department, was a post coordinator and producer and even did some accounting. Along the way I did edit sound on film for a couple of features, but I could not seem to stick in any one job.

Eventually, I began producing promos for network and cable TV. I was supervising people cutting, often doing paper cuts, but not cutting myself. I was recruited by a boutique promo company with the caveat that I learn to edit my own material. After two years, I realized I had an eye for editing as well as the sensibilities of a producer. Suddenly I was sought out by companies not only to edit but to be someone to help guide a project that might have younger, inexperienced producers.

Year you began work in editorial

Although I worked extensively with post as an international sales agent for film, creating deliverables for foreign countries film release from 1988–1991, my first editing job in post was in 1991 as an assistant sound editor.

Which venue?

When I was assisting in sound, I worked in features. I now cut reality TV.

Year you received your first editing credit

I started cutting promos and trailers in 1994.

I received my first ‘on screen’ credit in 1997.

Who gave you your first break? On what show?

Emily Aiken and Chris Berthelsen hired me to produce and edit my own promos.

Eric Schotz gave me my first show, when I recut a pilot for Lifetime TV called New Attitudes.

Did you have to go back to assisting?

No.

Did you remain in your chosen venue or did you cross over from time to time?

Although almost everything I have done can be labeled reality. Reality often expands to include the other genres. Many of my shows are mostly documentary style. I have cut variety shows which has included scripted material, both single camera and multi-cam. And some features now (particularly comedies) use a freeform ‘ad lib’ approach which is similar to the soft scripted style of many reality TV shows.

Influential mentors

A post producer named Frank Merwald helped me to see how all the knowledge I had gained from my myriad of jobs fit together.

Chip Matzamitzu.

Influential films

The Cabinet of Dr. Caligari, All That Jazz, Raiders of the Lost Ark, Jaws, North by Northwest, Psycho.

Influential editors

Alan Heim, Michael Kahn, Dede Allen, Verna Fields, George Tomasini.

Awards

ACE Eddie Award in 2011 for Reality Series Editing for the MTV series If You Really Knew Me.

Nominated for the ACE Eddie in 2013 and 2014 for Non Scripted Series Editing for the A&E Series Beyond Scared Straight.

2012 nominated for an Emmy for Outstanding Picture Editing for Nonfiction Programming for Beyond Scared Straight.

Words of wisdom

If you want to edit, my best piece of advice is to edit. Try to work with editors that are collaborators and will share both their scenes and their experience with you. While it is increasingly more difficult as an assistant editor to find a spare moment in the day, it is also vastly easier than ever to cut from anywhere. So, find the time on the weekends or after work hours to cut a scene. This is not just to show others that you can tell a story, but also to hone your craft and add tricks to your toolbox.

Once you’ve reached the editing chair, it’s important to remember that filmmaking is a team effort. Be someone that people want to spend time with, be open to ideas and willing to try something that you think won’t work—you’d be surprised how often it does, or that a bad idea leads you to something better. Most importantly, learn how to read the room and then lead the room.

Year you began work in editorial

I worked as an assistant in 2000 with Lori Coleman on The Shield. After that I worked mostly on one-hour TV dramas, but occasional features.

Year you received your first editing credit

I received my first editing credit in 2004 on The Shield.

Did you remain in your chosen venue or did you cross over from time to time?

Lori Coleman gave me my first break as an assistant and then Shawn Ryan and Scott Brazil as editor.

I was very lucky and did not go back to assisting.

I’ve worked on both TV and features—drama/thriller/horror. I’ve worked on one comedy (pilot to Arrested Development) and one documentary/reality show for Country Music Television.

Influential mentors

Lori Coleman, Jim Gross, Lee Haxall.

Influential films

I’m a big believer in the use of sound and picture editing being used in tandem to tell the best story. The Conversation is one of my all time favorites. Contact is another I go to for inspiration.

Influential editors

Lori Coleman, Jim Gross, Lee Haxall—anyone with a varied and long career.

Awards

2011 ACE Eddie for The Walking Dead pilot—Days Gone By.

Words of wisdom

I believe that one of the most important attributes of the road to becoming an editor is patience. This is probably one of the hardest pills to swallow for anyone in the creative arts, but the journey along the way contributes to the destination. However, if you are just stagnant as a production assistant or an assistant editor while you wait for the opportunity to edit to be handed to you, you will be waiting a LONG time. Never stop being the best PA or AE you can be—and learn anything and everything as you go. Make yourself invaluable so that people want to keep you around.

Year you began work in editorial

My interest in editorial began during my Freshman year of high school in 1998 when I took a sort of independent study class and learned Adobe Premiere. My first union job was in 2006 on The Curious Case of Benjamin Button.

Which venue?

Feature—though I got my union days working in commercials in 2005.

Year you received your first editing credit

I received my first editing credit in 2013 on a music video. I will receive my first editing credit for an HBO series called Videosyncrasy.

Who gave you your first break? On what show?

Kirk Baxter gave me my first break on Videosyncrasy.

Did you have to go back to assisting?

Between the music video and the TV series, I did. I worked as an AE on Gone Girl. I assisted for about 1 1/2 years.

Did you remain in your chosen venue or did you cross over from time to time?

I prefer features, but I do whatever Fincher needs me to do.

Influential mentor

Kirk Baxter.

Influential films

Requiem for a Dream and Memento made a big impact on me in college.

Influential editors

Kirk Baxter, Stephen Mirrione and … Walter Murch.

Words of wisdom

Moving up to editor isn’t easy and there are no guarantees that it will happen. However, you can increase your chances by trying to create as many opportunities for yourself as possible by editing as much as you can, both on your day job (assisting in TV or feature) and on the side (editing shorts, web series, music videos, commercials, sizzle reels etc.). The more people you work with and get a chance to impress with your yes-attitude and skills, the better. My move from assisting to editing happened not overnight, but because of years of hard work. I got my first feature (Squatters) because I was recommended by my friend Tyler Nelson who I worked with on The Girl With The Dragon Tattoo and who couldn’t take the job himself. Fort Bliss happened because I edited some scenes for my editor Matt Chessé when I still assisted him. He liked my work and called me up a year later to co-edit the movie with me. And Earth To Echo happened because I have cut short projects for director Dave Green on the side and for free since 2008. All these opportunities opened up because I laid the seed to them sometimes years before. So in the words of Lori Jane Coleman ACE: “Cut! Cut! Cut!” Also, be prepared to take a financial hit during the time of transition. You need to be able to afford not to take assistant editing jobs anymore, so you can wait, and be available for editing gigs. You will work less in the beginning, make less money, but if you’re able to ride out the lows, you’ll be fine. Good luck!

Year you began work in editorial

2008.

Which venue?

Reality (Take Home Nanny, TLC/Discovery) at Alpha Dogs.

Year you received your first editing credit

I received my first solo feature editing credit on the movie Squatters in 2013.

Who gave you your first break? On what show?

I have so many people to thank. My entire career has been full of ‘breaks.’ Without the following people I wouldn’t be editing period: Terry Curren, Sandy Solowitz, Richard Halsey ACE, Lori Jane Coleman ACE, Matt Chessé ACE, Tyler Nelson, Dave Green, Martin Weisz.

I think my biggest break ever was getting to be the ACE intern in 2008. That opportunity opened many doors for me and I’ll be forever grateful. So thank you from the bottom of my heart, ACE and the internship committee, especially Lori Jane Coleman ACE and Diana Friedberg ACE.

Did you have to go back to assisting?

Yes.

How many times?

My first few movies were non-union and I was about to run out of health insurance hours when I took an temp AE gig on White House Down before I started on Earth To Echo, my first union feature as editor. And I also took a VFX Editor position on Money Monster, reuniting with Matt Chessé, who I previously assisted on Machine Gun Preacher and World War Z.

Did you remain in your chosen venue or did you cross over from time to time?

I’ve only edited features so far.

Influential mentors

Lori Jane Coleman ACE, Richard Halsey ACE and Matt Chessé ACE are the editors who taught me everything I know. I hope my career will live up to their talents. Thank you for your love and support throughout the years.

Influential films

When I turned twelve in 1989, I was allowed to go to the movies without my parents for the first time. That year I saw Indiana Jones and the Last Crusade, Ghostbuster II and Back to the Future 2. Despite being sequels to classic films, they still hold a very special place in my heart and are very much part of the reason why I became obsessed with film. Other movies I saw in theaters and that had a huge impact on me before deciding to pursue a career in film: Terminator 2, Jurassic Park, Independence Day, Titanic, Pulp Fiction, Fight Club, The Celebration, Winter Sleepers, Magnolia, Gigantics, The Insider, The Thin Red Line, Eyes Wide Shut, Memento (not to mention hundreds of movies I saw on VHS).

Influential editors

My mentors aside: Thelma Schoonmaker, Pietro Scalia, Sally Menke, Ray Lovejoy, Michael Kahn, Billy Weber, Christopher Rouse, Arthur Schmidt, Lee Smith, Angus Wall, Kirk Baxter, Richard Francis-Bruce, James Haygood, Chris Dickens, Eddie Hamilton.

Words of wisdom

In order to give my best advice on how to advance to editor in my chosen venue of scripted television, I have to quote my mentor, Lori Jane Coleman: “Cut, cut, cut!” Whether it’s scenes, acts, gag reels, recaps, music, montages, etc., these are all opportunities to graciously show off your talents, practice your skills and get face time in with producers and showrunners. And once you have this valuable opportunity, you must ensure that producers/ showrunners view you as not just a superb assistant, but also as a valuable creative force. For this reason, my best advice to assistants looking to bump up is to have confidence. In addition to the technical and creative skills that will be discussed at length in this book, you must also exude the confidence that will convince the people in a position to hire you that you will be able to navigate their episode, their movie, their “creative baby” so to speak, through the editorial process and protect their interests, all the while, still elevating the story using all the tools that editing has to offer.

Year you began work in editorial

2005.

Which venue?

Started as a post pa/logger in reality, then moved into scripted television shortly after completing the ACE Internship in 2006.

Year you received your first editing credit

2012—co-editing credit on In Plain Sight.

Who gave you your first break?

Jennifer Barbot (editor) and Debra Lovatelli (associate producer) gave me my first break when I co-edited an episode of In Plain Sight with Jennifer.

Did you have to go back to assisting?

Yes I went back to assisting for three more years. In 2015 I was again bumped up to co-editor with Jennifer on a pilot for NBC. And subsequently, I’ve just booked my first editing job on a new TV show for ABC.

Did you remain in your chosen venue or did you cross over from time to time?

So far, I’ve stayed in scripted television.

Influential mentors

Lori Jane Coleman ACE, Diana Friedberg ACE, Jennifer Barbot, Ron Rosen, David Greenspan, Debra Lovatelli.

Influential Films

Chinatown, Double Indemnity.

Influential editors

Lori Jane Coleman ACE, Jennifer Barbot, Ron Rosen, Sally Menke, Thelma Schoonmaker, Steven Mirrione, Pam Martin.