From Editor to Director A Conversation with Farrel Jane Levy, A.C.E. Event Organized by Sharon Smith Holley Farrel Jane Levy, A.C.E., was asked to speak at the August "Fireside Chat" because she brings a slightly different perspective to the job of editor: that of a working mom in one-hour television. The mother of two girls, Farrel's job as supervising editor of N.Y.P.D. Blue allows her the opportunity to blend the joys of a family with the satisfaction of stimulating work. Farrel Jane Levy, A.C.E. Even though most of the audience were not parents, Farrel started off the evening with a discussion of the realities of the working parent. The intention was two-fold: so that those children could better understand what editors who had children were facing, and so that when those people became parents, they would know what to expect. She explained that editors who were moms were like other editors in that they wanted to make a living at something they enjoyed - something that they had an aptitude for, that was fulfilling and creatively stimulating. On the other hand, in a business known for its long hours, moms and all working parents have a strong need to carve out time to be with their families. The ideal editing job would have normal hours, weekends off, stress-free time off between jobs, and flexibility while on the job to allow a parent to care for a sick child or to attend a ballet recital or baseball game. Since jobs like that are more the exception than the rule, Farrel suggested some strategies for working parents: 1) Try to work with people who are "family friendly." Assistants should try to find editors who are sympathetic and editors should try to work with producers and directors for whom family life is an important part of the big picture. This is not always possible, but when it is, favorable working conditions make family life more reasonable. 2) Work as hard and as well as you can on the job. Having a family is not an excuse for not giving your all at work, and parents do not want to give some higher up any unnecessary fodder for why a job might not be done right. 3) At home, spend quality time with your family. Limit your time on the phone, for example, in order to be there for your kids and spouse. Try to limit television time so that you can actually interact with those you love. Often it is tiring, but it is important. 4) Have a good support system. An understanding spouse makes a big difference to everyone's peace of mind and sanity (Farrel's husband and one of her daughters were in attendance that evening). When that is not possible, extended family or reliable caretakers are essential. Farrel's discussion of working in one-hour television began with a "defense of television," since she feels that television is often given a bad rap. Those of us in the audience who work in episodic were happy to have someone "toot our horn." She made the argument that a great story, well told and beautifully executed, is just as possible on television as in the feature world. Dramatic television series allow characters to evolve slowly, almost as they would in real life. Stories often get told on television that cannot find a home in features. Television attracts millions of viewers who tune in each week to follow their favorite show, and for whom the characters on these shows become etched in the viewers' consciousness for life. Because there are more television shows produced, there is often room for experimentation. She conceded that there is a lot of bad TV, but she pointed out that there are lots of bad features as well. From an editing point of view, Farrel showed the group television's advantages. People working in television have the opportunity to work on many shows over the course of one series' season. Over one nine-month period, editors get the chance to shape many scenes and stories, constantly honing their skills at solving editing and story-telling problems. An editor working in television learns how to work fast and work well. One learns how to be decisive. Television is a writer's medium and television editors work closely with often highly skilled writers who have refined their craft by meeting the demands of turning out high quality shows, week after week, year after year. This collaboration is often stimulating, challenging, and highly rewarding. Editors on a television series have the opportunity to work with several directors during the course of one season, often leading to relationships that lead to editorial opportunities. Often, the stages where television productions are shot are close enough to the cutting rooms that those involved in post-production have the opportunity to learn more about the production end. Farrel will be directing her second episode of N.Y.P.D. Blue this season; her assistant David Crabtree will be editing that show. Farrel Jane Levy, A.C.E. with Fireside Chat organizer Sharon Smith Holley She pointed out that television has advantages for working parents, too. The hours are often more regular. Weekend work is not as constant as in features. The somewhat more dependable yearly schedule allows a parent to make plans. The summer hiatus permits more time off with one's family. Farrel also pointed out that television offers assistant editors excellent opportunities to move up to editor since more television shows than feature films are produced. If an assistant is already working on a show, producers are often more likely to give an established member of their team a break than to hire from outside. Additional advice she gave the assistants on moving up: work hard and with good people on good projects. That way, an assistant can really learn about editing and telling a story. And working on worthwhile projects as an assistant can have weight with a producer or director who is looking for an editor. Work with editors who are known to advance assistants. If a great opportunity presents itself to edit a show, take it. Do not be afraid to take a step backward - working as an assistant after one has had the opportunity to edit a show or two might be a financial necessity. As long as one keeps his or her eye on the final goal, it will happen. Farrel ended the evening with the opening sequence from the pilot of "Brooklyn South." First, she showed the editor's cut which reflected the script as it was shot. But the story did not fall into place. There were many minor story points and characters which slowed the pace of what was supposed to be a fast paced action sequence. There was confusion about critical plot points and motivation of the main characters. She then showed the same sequence in the final cut and explained how the problems were solved editorially. The order of many events had been switched, some characters had been dropped or their roles reduced, a shot had been stolen from another part of the show and "reverse-actioned" to help sell a plot point that had been weak. Lines of dialogue had been changed and some dialogue had been dropped. The pilot won its director an Emmy.   Thanks must go to Sharon Smith Holley, our tireless Board Member who organizes the Editors Guild Fireside Chats. It was a great opportunity for those of us who attended the "Conversation with Farrel Jane Levy, A.C.E." The event was held on Tuesday, August 31, 1999, at the DGA. It was, as usual, a worthwhile and informative evening, jointly sponsored by Diva Post, Directors Guild of America Theatre Department, and the Editors Guild.   Reprinted from The Motion Picture Editors Guild Newsletter Vol. 20, No. 6 - November/December 1999   Guild Home | Newsletter Home | Top of Page   Copyright © 1999, All Rights Reserved by The Motion Picture Editors Guild, IATSE Local 700