I’ve worked with noob editors and seasoned professionals. Some newbies who’d rather be directing and others born with a burning desire to cut. One thing is for sure – all editors approach editing differently. As a director, it’s polite to ask how a person likes to work – whether they have a tried and true process or not. “How do you like to work?” one asks. In many cases, the question is met with a blank or even perplexed stare. “I usually get the footage and start cutting,” comes the (often embarrassingly predictable) reply. “What other way is there?”
Obvious? … Maybe. But we directors have to listen carefully to our creative accomplices, which often means learning to read between the lines.
Here are a few other responses an editor might give you.
1. Process? Just give me the script and the original footage.
This always works well with very experienced editors. Hand the script and the footage over.
I once had the opportunity of working with Tim Wellburn – an Australian feature film editor with over 40 years of feature films to his credit (including Mad Max 2). He knew how to read scripts and get to the core of the character. As a general rule, it’s polite to let anybody more experienced than you to do their thing. There’s no need to look over his/her shoulder.
You might also get this response from an inexperienced editor. Perhaps let them have a go and see what they come up with. But make sure they know that you will, ultimately, want final say and that it may have to be done again … and again … and again (and in my experience … again).
2. Give me the footage. I don’t need the script.
Okay. For me – this answer rings alarm bells. The story (providing the Director has captured it on film) should be in the script. It’s the blueprint. It’s what attracted the actor/money in the first place. Something there has already worked – especially if you are in production.
Respect the script!
Having said that – many beginner editors have shown me new and interesting things when I’ve left them to it. I try not to hover. In most cases, we eventually come back to the screenplay. If you have an iconoclastic editor on your hands, it might be a nice idea to see what they come up with. Sometimes the Director’s intentions weren’t manifest on the day and throwing things up in the air like this may be a good way to solve coverage problems.
3. I dunno. What do you want?
Here’s an editor willing to open lines of communication. Or – they might be tired or suspicious because they’ve heard this question before. Sometime editors might hear I’d like you to do it my way. There’s nothing more annoying for an editor than a director looking over your shoulder while you make – every – single – cut!
Be sensitive, Directors. Or – choose an editor who (you think) is better than you are at editing in the first place. Cut it yourself if you can’t.
In other words, Directors, find a way to trust your editor. Editors should be adding something to a work. Good ones fix director’s mistakes!
4. I have no idea what I’m looking at. I need your script, notes, camera sheets, a paper cut etc.
The admirable answer. This editor knows that his time will be cut in half if he gets inside the director’s head. A rough Director’s paper cut is one good way of doing that. In most cases, directors don’t know what they want. Giving the editor as much information as possible saves time and frees up the editor. You want your editor involved! This answer does mean more work for the director.
5. Chillax! Let’s have a cup of coffee.
Another good answer. But beware. It might be an alarm bell.
Getting along with your editor doesn’t guarantee great work. Even though an afternoon coffee may turn into an all night pub-crawl and finding your new best friend, it doesn’t mean that you are both on the same page. The first rough cut will tell you that.
Make sure, if you do have coffee, beer or biscuits with your editor, that you talk about the film. Don’t talk too much about life and philosophy – especially if you’re on a budget – or you’re working with an experienced professional who has cut fees to help you out. He may not want to be your friend and so you have to respect his time. The person you are talking to may not be a good listener – or what you are hearing might make sense in a different way to what your editor intends.
You really need to get into the cutting room after the editor has had a go at the film.
Whoever said that a director’s job finishes at “It’s a wrap”?
NB: The knife cuts both ways. An editor might ask the director how he/she likes to work. Each and every film – whether drama or documentary comes with its own cutting-room challenges. Ask the right questions, be nice to people and don’t treat your editor like a splicing machine.
I’m in the opposite situation. I’ve got five years of experience plus a degree while my director has “read a lot of books” and “watched a lot of behind the scenes footage.” I’m trying to figure out how to show him ways to take actually take charge instead of wasting time.
Some directors go their whole lives making stuff on the backs of experienced and dedicated crew. And I’ve met a lot of wishy-washy directors like yours. I guess, when you get a gig like yours, respecting the director’s wishes goes right out the window and, if the film’s half good, you might end up directing it in the editing room yourself. As long as you get a credit on a good film. Your work (as an editor) is more “quantifiable” so watch that you do your best job (despite Mr Wishy) as what you’re doing is very easy to assess by the audience and you want to come out of this experience with something useful. Word will get around ;)