What Our Members Do

Where are you currently employed?

I’m a freelance editor. Like many of us these days, I work remotely from home. My employer, Stone Village Films, is best known for “The Lincoln Lawyer,” “Chef,” and “Empire Falls.”

Current projects?

I’m working on a feature documentary called “Understanding Autism.” I’m excited about this project because not only is it an emotional journey into autism education and awareness, but it’s also directed and produced by people who are on the spectrum and have firsthand experience with the topic.

Describe your job.

I’ve edited both narrative and documentary, and in some ways, they are vastly different animals. With documentary work, you aren’t just editing the material; you’re also a writer. Since there’s no script, it becomes a really intricate editing puzzle of seeing how the pieces fit together.

With narrative, I’m typically given a script very early on, which then becomes my “guide” as dailies begin to roll in. Inevitably, a lot of things change during production, and my job then becomes to creatively find ways to best present the material.

At the same time, there’s also a ton of overlapping between working with fiction and nonfiction material. Both are highly collaborative, whether it’s with directors, producers, or executives. This is my favorite thing about editing: I often get to learn from top-notch creatives in the field and then get an opportunity to apply my craft to their vision. We work closely with composers, sound designers and re-recording mixers, colorists, and pretty much everyone involved in post. And there is a constant flow and communication between the editor and the assistant editor. We can’t survive without our assistant editors!

How did you first become interested in this line of work?

When I was about three or four, my mom took me to see the movie “Free Willy.” When the film finished and the credits started to roll, my mom pointed out that her longtime friend from college, Lauren Shuler Donner, had produced the movie. My eyes grew wide and I exclaimed, “You can make these?” That’s when the fire was ignited.

When I was a teenager, I started filming little skits, short films, and documentaries on a Digital Video (DV) camera. I was fortunate enough to have access to a video production class in high school and made a  short documentary about the United Farm Workers. The film got accepted into a few film festivals and helped me get into film school at Chapman University.

I had always gravitated towards post-production, but during film school, I got an internship on the Fox lot where I had an opportunity to learn from some terrific people. They placed me in the editing room for the film “X-Men: Days of Future Past” where I had a chance to meet and absorb knowledge from editor/composer John Ottman, editor Mike Hill, and assistant editors Steve Bobertz, Erik Jessen, and Pearce Roemer. It was a fantastic experience that I’ll never take for granted, and it motivated me to continue to grow as an editor.

Who gave you your first break?

Early in my career, I was struggling to get assistant editor jobs. I was called in to interview with Spencer Averick (editor on “Selma,” “When They See Us”), who was hiring an assistant for the Ava DuVernay documentary “13th.” I instantly knew it would be a special project. My excitement must have been evident in the interview, because although I was totally underqualified, Spencer later called me and said, “Alex, let’s do this.” It was a career-altering moment. Two years later, the documentary was nominated for an Oscar.

My second big break came years later when I made the jump from assistant editor to the editor chair. After “13th,” I worked as an assistant editor for Spencer on several projects directed by Ava. I had been hired to work on another documentary she was directing. and we were in the early stages of gathering archival footage when the project was canceled. When Ava asked me to come to her office, I thought for sure I would be out of a job. Instead, she told me about her new show on the Oprah Winfrey Network (OWN) called “Cherish the Day” and asked if I wanted to be a picture editor on it. I was floored. I had edited several indie features and shorts between my assistant editor gigs, but I didn’t expect to get an opportunity to edit on a major network show so early in my career. I still can’t believe just how much of a gamble this was on Ava’s part, and I know she has elevated the careers of so many other people like me. I had the opportunity to work on “Queen Sugar” for two seasons and “Cherish the Day” for two seasons.

I’m still so grateful for these two influential and talented people in my career. They saw my work ethic and dedication and decided to trust me and take me under their wing. I definitely wouldn’t be where I am today without the effect they’ve had on my professional life.

What was your first union job?

When Ava asked me to work on “Cherish the Day,” not only was it a major shift in my career, but it also was my first union job. I had been working my hours and always figured I would join the union as an assistant editor, but when I was hired on “Cherish the Day,” I had the incredible opportunity to join the union as a picture editor.

What credits or projects are you proudest of, and why?

There are several, but it was definitely special to be a part of “13th.” It was such a small team, but we poured every bit of our hearts into that documentary, so it’s been extremely gratifying to see what a profound impact it’s had.

I’m also proud to be a small part of the great legacy that Ava created on “Queen Sugar.” She hired 42 female directors across seven seasons of the show, which is a huge (and unheard of) step forward in Hollywood. I’m honored to have been a part of that moment in history.

Lastly, I have a 30-minute documentary that was recently released called “ifine (beauty)” which I’m really excited about. It’s being very well received at festivals and was just accepted into the Cannes Short Film Corner. I was not just the editor on this documentary but also a producer, so I’m proud to add that credit for this meaningful work.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

Each project has its own set of challenges. The film “ifine (beauty)” was shot on location in Sierra Leone, where they speak a language called Krio (which is a dialect of English, but very different from American English). Though I worked with a translator, I picked up the language on my own very quickly, so I was  able to cut the film together and add subtitles. I hope to improve my Spanish so that I’ll be ready to edit a film or show in Spanish when the opportunity arises.

What was the most fun you’ve had at work?

Collaborating with fellow creatives is always the most fun in what I do. I’ve met some really fantastic people, and I just love to talk craft with them. When I work in episodic, I always look forward to “director’s cut” days. On “Queen Sugar” and “Cherish the Day,” there were typically different directors on each episode, and I had a chance to work with so many of them.

Of course, maybe the most fun I’ve ever had was getting a chance to attend the Oscars when “13th” was nominated in the Documentary Feature category.

Jobwise, what do you hope to be doing five years from now?

I’d love to work on effective, meaningful stories, not just as an editor but also as a producer and creator. From “13th” to “Queen Sugar” to my current project (“Understanding Autism”), most of the projects I’ve worked on have been socially influential, and I’d like to continue that career trend. Now that I’ve achieved my goal of becoming a union editor, one of my next goals is the honor to have ACE (American Cinema Editors) after my name.

What are your outside activities, hobbies, passions?

I love anything and everything to do with art. Living in LA, we have access to a rich variety of arts and culture, so I’m often going to concerts, theatre, dance performances, and museums. I’m also a huge baseball fan, so I love going to baseball games, and I play in a recreational softball league. I also love to travel.

Favorite movie(s)? Why?

“City of God” for its amazing editing. I love its documentary style, the handheld coverage and angles. Another favorite is “Whiplash,” also for its meticulously planned editing. My favorite movies of the past year are “Bardo” for the brilliant writing and “Everything Everywhere All At Once” for its imaginative editing and effects. 

Favorite TV program(s)? Why?

My favorite show of all time is “Breaking Bad.” It’s iconic and some of the most brilliant storytelling in TV history. “Euphoria” is superb and inventive. I enjoy a lot of the dark comedy series of the past few years like “Atlanta,” “Reservation Dogs,” “Master of None,” “Dave,” and “Insecure.” Also, “What We Do in the Shadows” is always hilarious. I would love to work on shows like these. I edited on seasons 5 and 6 of “Queen Sugar” and was a fan of the show even before I worked on it.

Do you have an industry mentor?

Yes! Spencer Averick is a super-talented editor and a great person. We’ve been close ever since he hired me to be his assistant editor on “13th.” I was his assistant for several projects, and he was an enormous help as I navigated my transition from assistant editor to picture editor. I’m also extremely grateful to Alexander Aquino-Kaljakin who was a fellow editor on “Cherish the Day” and “Queen Sugar.” He made the jump from assistant to picture editor a few years before I did, and he gave me a lot of valuable support and advice.

What advice would you offer to someone interested in pursuing your line of work?

Ask questions as much as possible. Find a few solid people who are more experienced than you and pick their brains. Not only will it give you useful tools and advice, but it also shows them how dedicated you are to learning, which makes it more likely that they’ll want to bring you onto a project or recommend you for one.

Also, be ready to take rejection. This is an inevitable fact of being an artist. Continue to work hard, educate yourself, and stay humble.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Actually, the Guild is helping me now! The show I’m currently working on started as nonunion but is in the process of switching to union. It feels amazing to have an entire union on your side, working for your rights.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

As MPEG members, we are an important part of the industry and how it functions. Be proud of that, and also be proud of being a part of a union. My mom and uncle were union members when they worked in New York, and I’m proud to carry on the tradition here in LA with the IA and Local 700.

Compiled by David Bruskin. 

Where are you currently employed? Warner Bros Animation.

Current projects? “Merry Little Batman.”

Describe your job. My job’s not too different than when I was cutting live-action projects. The only difference is now instead of camera footage, we’re working with disembodied voices, thousands of jpeg images (animatics), and then thousands of animated shots to make cartoon characters yell at each other. But the job is still the same: creating the right rhythm, tone, and juxtaposition to tell engaging visual stories.

How did you first become interested in this line of work? I think like a lot of people my age, seeing a sketch group like The Lonely Island go from the Internet to “Saturday Night Live” to their first feature, “Hot Rod,” and beyond really unlocked that DIY part of my brain showing a new path into the industry. You didn’t need a famous uncle; you could just start making sketches with your friends and grow from there. So I did a lot of that from high school to film school, but my favorite part was always editing: You skip all the stress and headaches from being on set, you’re piecing together all the elements to make the film people will see, and you use both sides of your brain in being organized and analytical but also creative and spontaneous.

Who gave you your first break? When I was in film school at UT Austin, there was an independent production company called Ralph Smyth Entertainment. They’d made a short I loved called “The Man Who Never Cried,” and I skipped class to go to the table read of their “Hot Rod” style sports feature. The next day, they offered me an internship that changed my life. I wasn’t just taking coffee orders (because I was terrible at it); instead, I was organizing footage, working on sets, covering scripts, and I even got to do a ton of editing. Seeing how they solved problems creatively, fostered relationships, and put a high premium on quality had a massive influence on me, and every success I’ve had since then I can tie directly to lessons I learned from those four dudes.

What was your first union job? Editing animatics for season three of “Harley Quinn,” the animated series on HBO Max. It was also my first animated project and my first studio job, which was intimidating at first, but once I started cutting comedic dialogue scenes (which has always been my bread and butter), I quickly got comfortable making these iconic characters fight or crack wise or have wild sex, and everything in between.

What credits or projects are you proudest of, and why? Over the last few years, I’ve been making music videos with my favorite singer/songwriter, Justin Courtney Pierre of the rock band Motion City Soundtrack. It’s not my widest-seen work, but I’m so proud of these projects we’ve made together, and it’s been a real dream-come-true experience to collaborate with one of my favorite artists. Sometimes it rules to meet your heroes, and seeing Justin’s creative energy up close always reminds me why I love what I do.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it? I was one of the editors on “YouTube Rewind 2018” (aka the most-disliked video in YouTube history). After reaching this massive stage and being unanimously reviled by hundreds of millions of people, I truly thought I was never going to work again. But then a few days later, I booked a streaming series and bought my niece a Christmas present, so life goes on. You strangely kind of feel invincible after bombing at that scale, and it inspired me to leave the branded world entirely and start actively transitioning my career toward booking film/TV work. The biggest advice I give kids who are scared of their work failing is “Call me when you have 22 million dislikes. And even if you top that? Keep making stuff, anyway.”

What was the most fun you’ve had at work? I grew up watching Saturday morning cartoons on Kids’ WB, so I always imagined how working on that lot would be filled with actors reading scripts in horse costumes, coyotes leaving coyote-shaped holes in the walls, and somebody yelling “MAKEUP!” before smacking you in the face with powder. It’s not quite that zany, but it’s not too far off, either. On my breaks,  I like to sneak into the soundstages and watch these massive productions shoot work that millions of people are going to see. That electricity of being surrounded by so many talented artists and filmmakers never goes away. I also wander around the lot and basically take their tour for free. (If any of my bosses at WB read this, that was all just “a joke.”)

Jobwise, what do you hope to be doing five years from now? There are still so many big goals I have. I want to edit the Muppets. I want to edit a Miranda July indie darling. I want to edit a massive, saturated Hollywood musical. While I’ve built myself a stable niche of comedy editing work, there’s still so much I want to do in my career, so I’m always trying to take on projects that can lead to the kind of opportunities I’m chasing.

And I want to edit at least ONE “I Think You Should Leave” sketch. But c’mon, who doesn’t?

Favorite movie(s)? Why? Because I’m cutting a Warner Bros animated feature right now, I’ll go with “The Iron Giant.” It’s a purely entertaining film that also had these raw emotional themes Brad Bird wanted to explore. It’s aesthetically incredible — everything from design to score feels so of the era it’s in while still being timeless. I’ve watched it move adults and children alike to laughter and tears and even existential musings on why we’re here. Movies that are so undeniably good like that always excite me, regardless of their box office or streaming numbers.

Do you have an industry mentor? I’ve been very blessed to work with and learn from so many talented filmmakers, but I’ll always be grateful to editors like David Ward, Chris Roldan, Neil Mahoney (#Neiledit) and Al Levine to name a few. They all went out of their way many times to teach or give me advice or help me advance my career, expecting nothing in return. It’s been a huge honor of my career to also start mentoring upcoming editors and bring the ladder down like so many others did for me.

What advice would you offer to someone interested in pursuing your line of work? Don’t wait for permission to make something — Make Something! Make a LOT of things. They’ll start crappy but they’ll keep getting better, and you’ll keep getting better, too. And take any and every job you can get; even on “boring” jobs we all start with, like weddings and corporate videos, there’s something to learn or practice or improve. Look at every new opportunity as a learning one.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement? Animation is cinema, and animation editing is editing. Despite doing the same job, we often make much less than what our live-action counterparts do in the same position. So I would encourage you to stand with all animation workers in fighting to close the pay gap! 

Compiled by David Bruskin.

Q: Where are you currently employed?
I’m currently working for Netflix.

Q: Current projects?
“Rebel Moon.”

Q: Describe your job.
As an assistant editor, my responsibilities include various aspects, from creative to technical and anything in between. The goal is to maintain a well-organized and technically precise editing project with creative integrity throughout the production and post-production processes. The job usually begins before the shooting starts. We start by testing out the hardware and software on the editing systems, making sure everything in the cutting rooms supports the project requirements. And we anticipate sound and music needs, such as building a sound effects library in Avid for special sound effects, and collecting and organizing music in advance. During production, the priority is compiling dailies, where clear and organized media management is the key. I also get opportunities to cut scenes and get feedback from the editor. We talk about character motivations and the meanings behind each cut as we work on the scenes together, which is a very collaborative and invaluable experience for me. While scenes are being cut, we start cleaning up production sound, designing sound effects, and adding/editing temp music, as well as creating temp visual effects. As the cut becomes more refined, we continue to refine all the other things I just mentioned until they’re in their best form. From there, we send the turnover to different vendors (sound, music, visual effects, digital intermediate [DI]) for a finer polish. During the whole process, we are in constant communication with all the other departments (such as camera, playback, sound, DI, etc.) to provide what they need, and we take part in technical troubleshooting.

Q: How did you first become interested in this line of work?
My dad had a large collection of DVDs when I was young, and our family would always watch something together during weekends. I started to get obsessed with immersing myself in movies, and the idea of being a filmmaker began to grow. With that in mind, I went to film school after college. The next thing I knew, I found myself spending countless hours in the cutting rooms. I realized editing is my favorite part of the filmmaking process, so I decided to pursue it as my career.

Q: Who gave you your first break?
Dorian Harris, ACE. I had the great pleasure to meet Dorian when I was working non-union in a local post house in 2019. I was her assistant on “Maximum Truth,” a mockumentary feature directed by David Stassen. We had a blast working together, and I ended up co-editing the movie with her. She is my first mentor and also the one who helped me get into the union.

Q: What was your first union job?
It was a Showtime pilot called “Coercion,” directed by Susannah Grant and edited by Dody Dorn, ACE. I was introduced to Dody by Dorian, who was then looking for a tech-savvy assistant editor who knew Avid Media Composer 2021 well. I think my experience in the post house also helped me get the job. Because it was a pilot, we didn’t have enough time for the vendors to finalize everything before we screened the cut for the studio. So I was able to make some extra changes to color and visual effects using different tools, such as DaVinci Resolve and After Effects. I’m grateful to Dody for taking a chance on me, and I learned a great deal from her on that show.

Q: What credits or projects are you proudest of, and why?
I’m proud of each project I’ve worked on because I love all of them and I always learn a lot from each experience. But I would say the project I’m proudest of is “Rebel Moon,” which I’m currently working on. It’s not only the biggest movie I’ve worked on but also the most challenging. Every day, I learn something new from the talented people I work with. I find myself pushing my limits to excel at my craft, and I’m proud to say that “Rebel Moon” will be an unforgettable project in my career. I can’t wait to see the finished movie!

Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
Working on “Rebel Moon,” my biggest challenge was sound design. I was in charge of sound design for several complicated MOS sequences. Without production sound (recorded in sync with the camera), everything is dauntingly silent. It was very difficult to start painting an empty sound canvas where crazy sci-fi elements, slow-motion fighting, or even monsters are all involved. I learned it’s best to start small, so I began by breaking down the characters and scenes while considering emotions and themes. Then I dug deep into sound libraries to collect and try different effects until I found the best ones. Sometimes, I built new effects if I needed something unusual. I find the story is a great anchor for everything; the emotions drive what the story needs, and then you add the elements, layer by layer. Even though your sound design may not survive the final mix, you still always try your best to serve the story as much as you can. It’s a challenge, but a very satisfying one.

Q: What was the most fun you’ve had at work?
I enjoy having Friday treats with my coworkers. We started the Friday afternoon treat time in the first month when our project began. Every Friday, we’ll order something sweet, sit around the lunch table, and have fun conversations. Once, we also printed out miniatures of one of the characters from the movie and hid those in each person’s room. Then we had a contest to see who could find the most miniatures. It was fun!

Q: Jobwise, what do you hope to be doing five years from now?
To work on more projects that I can be proud of!

Q: What are your outside activities, hobbies, passions?
I like photography and camping. When you work in post, you spend way too much time in dark editing rooms, so I cherish the moments when I can take the time to walk outside, explore the city, or enjoy nature. Q: Favorite movie(s)? Why? “Eternal Sunshine of the Spotless Mind” is for sure one of my favorites, the innovative and unique storytelling blew my mind when I first saw it. And “Chungking Express” — I like Kar Wai Wong’s movies because he’s so great at conveying emotions through subtle details. I also enjoy his visual styles a lot. “La Ciénaga” is another movie I love so much. It’s so beautiful and realistic, and the director, Lucrecia Martel, is one of my favorite female directors.

Q: Favorite TV program(s)? Why?
“Euphoria,” “Succession,” and “White Lotus” are definitely the tops on my list. The story, performance, editing, cinematography, music… Everything works perfectly. Watching shows like these is pure joy! “The Rehearsal” and “How To with John Wilson” are docuseries that I really enjoyed watching. The creators and their ideas are so brilliant! And “Breaking Bad”— it’s always my top pick.

Q: Do you have an industry mentor?
Dorian Harris. She always supports me and encourages me. She makes me believe I can accomplish more. And she’s someone I can always come to with questions or concerns. And Dody Dorn. She gave me the best assistant editing training. I continue to learn from her on everything we’ve worked on together, from “Coercion” to “Rebel Moon.” I’ve been learning so much about editing, storytelling, and the politics of the industry. I am very grateful for their guidance and wisdom.

Q: What advice would you offer to someone interested in pursuing your line of work?
Be kind, work hard, always be eager to learn, and make the most of every opportunity you get.

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?
On one of the shows I worked on, I was having trouble getting my timecards and MPI hours updated. I reached out to my field representative and he was super helpful. The production company wasn’t very cooperative, but he chased them down and solved my problem. I’m very thankful for the Guild’s help. Q: Is there anything you’d like to say to your fellow Guild members, some words of encouragement? It’s awesome to be part of the Guild. I’ve met so many nice, talented people here who are always willing to help others, for which I’m very grateful. I’ve also learned to help people as much as I can so we can support one another and keep building a better community.

Compiled by David Bruskin. 

Q: Where are you currently employed?

I just finished working on “The Woman King.”

Q: Describe your job.

As an assistant editor, it is my duty to help my editor create the vision of the director or showrunner. Whether I’m grouping dailies, adding temp sound effects or providing feedback when I have the chance, it is my job to help my editor perform at their optimal level and to do my best to stay a step ahead of them.

Q: How did you first become interested in this line of work?

I was introduced to editing in high school where I learned Final Cut Pro 7. But college really sparked it. I went to Florida A&M University where I majored in broadcast journalism. We had to edit segments for our live newscast three times a week. We were handed the manual and tutorials. The tutorials gave you the basics but, of course, I was one of the nerds who read the entire manual.  Also, our documentary class really set it off for me. I was good at the other bits — producing, shooting — but editing seemed to really mesh with me. I loved figuring out the deeper details of Final Cut Pro 7; it helped us learn how to heighten the storytelling for our doc. In my senior year, I interned at ESPN as an editor and cut highlights for shows like “NBA Fastbreak” and “Sportscenter.” That was when I realized editing was not only something I was good at — I also wanted to make it my career.

Q: Who gave you your first break?

My first break happened twofold. I worked in advertising so I didn’t know many people working in scripted. A friend, Aziza Ngozi Walker, was bumped up to editor on an OWN (Oprah Winfrey Network) Christmas movie called “First Christmas.” She knew I was looking for my break and asked me to be her assistant. I was grateful for the opportunity because it was difficult to transition from advertising. The TV movie had a fast schedule. I learned so much from her on that project. Coincidentally, Aziza used to assist my most recent editor, Terilyn A. Shropshire, so you could say it was fate! “First Christmas” definitely helped prepare me for the next opportunity: Aziza passed my resume on for my next big break, where editor Jeremy Cohen gave me the chance to work on my first major TV show, NBC’s “Young Rock.”

Q: What was your first union job?

That was the OWN TV movie, “First Christmas.”

Q: What credits or projects are you proudest of, and why?

So far, “The Woman King” is the project I’m most proud of. As a kid, I grew up watching “Love and Basketball” over and over again. So to have an opportunity to work for two amazingly creative and legendary Black women, Terilyn Shropshire and Gina Prince-Bythewood, is something I simply could not have fathomed. But I am blessed to have had the opportunity. To have worked on a film that was #1 in the nation opening week, and to see its impact on social media, has been amazing.

Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

My biggest challenge was to just get a job in the first place — to find the path to scripted/union work in post-production. It was a journey. Coming here to Los Angeles without any industry contacts, I unfortunately spent a while just trying to figure out which way was right. Then I learned there was a union process to get the post jobs for scripted TV. I found that answer by networking and getting to know more people who were working on the types of things I wanted to work on. These jobs were not posted in places like LinkedIn. Eventually, I was able to create a vision and get everything in order to join the union.

Q: What was the most fun you’ve had at work?

The most fun I’ve ever had in post was working in marketing. Our editorial department hosted a ping pong tournament for the entire office. It was fun and competitive and created a lot of camaraderie amongst everyone.

Q: Jobwise, what do you hope to be doing five years from now? 

I’m in the process of figuring out what this may look like, but I would like to be a producer/editor. I love editing, but I also enjoy writing and creating stories and inventing different worlds. I want to be able to use all of my skill sets to create my own shows. I already have two created that I would love to see on TV one day. Hopefully, I’ll have the opportunity to fulfill both career paths. We’ll see in five years where I land. Maybe you’ll soon see my first “Created By” credit!

Q: What are your outside activities, hobbies, passions?

Outside of work, I love traveling and trying new cuisines and restaurants. My passion is also teaching. I co-founded a non-profit called The Hue Collective where we teach youth of color about post-production. So far, we have taught in Alabama, Florida and recently California. During COVID, we hosted bootcamps virtually and taught students from all across the country.

Q: Favorite movie(s)? Why?

My favorite movie of all time is “Pan’s Labyrinth.” I love fantasy, drama and sci-fi. When I first saw this film, I was captivated by the storytelling. I love the fusion of real life with the fantasy world. Everything in that movie is so well done.

Q: Favorite TV program(s)?  Why?

I absolutely love “For All Mankind.” When I saw the first season and watched the alternate history unfold, I was blown away. I said, “Now THIS is storytelling.” Everything in that show is perfect. They elevate the story for all characters season after season. And it’s sci-fi. I love space shows.

Q: Do you have an industry mentor?

One program I have been blessed to be a part of is the ACE Diversity Mentorship Program. I met editor Shannon Baker Davis as I was trying to make my way to scripted. She helped me so much by submitting me for this program and, thankfully, I was chosen. This program has given me access to many people who have given me advice, shadowing opportunities and encouraged me as I worked toward getting my first scripted gig. And I can still reach out to people and ask about future moves and scenarios I may not be familiar with.

Q: What advice would you offer to someone interested in pursuing your line of work?

My first piece of advice is to use whatever you have access to. DaVinci Resolve is free software, so get your feet wet by learning that. Then start to invest in yourself. Take courses to learn other software like AVID and workflows. Save to go to EditFest. As we open back up after COVID, see if you can shadow assistants so that you’re ready to hit the ground running when the opportunity happens for you. Shadowing helped reinforce workflows I had read about but had not seen in action.

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Our reps are amazing. There was once a circumstance where we needed assistance with a pay situation. They got right on it and got everything in order.

Q: Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

We work hard, but always remember that life outside of work is important, too. Create, but always make time for family and friends. Living and rest is needed to continue to grow in our craft and stay creative.

Compiled by David Bruskin

Q: Where are you currently employed?

I’m currently on a WB show.

Q: Current projects?

The WB show I’m on is “Manifest.” I’ve been on the editorial team since the beginning of the second season. We spent a few years on NBC, and after we aired our incredible third season cliffhanger, the plug was pulled and suddenly it was over. “Manifest” had been cancelled. We all scattered, off to other projects, and the audience was left to wonder what could have been.

A few months after we departed the show, Netflix began adding our previous seasons to their platform.  The show’s devoted fans saw “Manifest” breaking records in the charts and they created a groundswell through social media, thrusting the series back into conversation. Fittingly, on August 28, 2021, Netflix made the announcement that the band was getting back together. Just a few weeks ago, we dropped 10 new episodes on Netflix!

Q: Describe your job.

My job is to be the editor’s right hand. Whatever they need to make their day easier, I’ll be there to help make it happen.

The position covers a massive range of line items. During production, we prep the dailies, making sure that all the listed shot footage is accounted for. Assistant editors will frequently add temp sound and music to scenes after they’re cut, do temp visual effects, and compile the scenes into acts. We’ll build the shows and export them to whoever needs them throughout the process. I’m often involved in taking notes and helping the editor as they work with directors and producers.

On the backend, once the show is locked, we help facilitate its delivery to all the different departments that need it and help push it along until it’s completed.

Q: How did you first become interested in this line of work?

Growing up, I absolutely loved monster movies. I spent my summer days endlessly haunting the local video store, consuming as much cult and horror as I could. On the weekends, I would often use the family camcorder to try and recreate what inspired me. It was pretty common to see the neighborhood kids dressed up like ghouls on our front lawn and me running around with a camera in one hand and a bottle of fake blood in the other. I always dreamt of being a makeup artist like Tom Savini or Rob Bottin, creating ghastly sights out of liquid latex and foam.

I’d been working feverishly one semester to make a submission for our local film festival. I was editing it, tape to tape, in the high school television production lab when I realized that a bunch of the footage had been mangled by one of the VCRs. I knew I couldn’t reshoot the footage — my mom was still mad about the stains on her carpet from the week prior; no chance she’d let me do it again — so I had to figure out a way to solve it….

EDITING! I took my script, reordered some stuff, cut this and that, added a voiceover, and problem solved. Editing is awesome! After that, I was hooked. I used to think editing was just a way to put your footage together. I had never realized that editing could CHANGE the story! That was over 20 years ago, and I haven’t made up anyone as a zombie since.

Q: Who gave you your first break?

Phil Linson and Lynzee Klingman accepted me into the AFI Editing program in 2008. That was a life-changer. I had applied to a number of different film schools to continue my education, but AFI was just a shot in the dark. I’d first heard about the conservatory a decade earlier in “Weirdsville USA,” a book about David Lynch. Since I had nothing to lose except the $50 application fee, I applied and, by the grace of Eraserhead, got in.

Q: What was your first union job?

I was an assistant editor on “Zero Hour” in 2012. It was a TV series that aired briefly on ABC in 2013. I’m forever grateful to editor and AFI alum Jack Colwell for taking a chance on me. It was a fun show that unfortunately never quite found its audience, but it led to a ton of great things for me.

Q: What credits or projects are you proudest of, and why?

I’m proudest of the projects that connect with people. I’ve been fortunate to work on a handful of shows that have a really dedicated fan base. If the work we do can help someone overcome a bad day, that’s something to be proud of.

Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

The biggest challenges on the job almost always come down to personalities, relationships, and communication. Early in my career, I worked on a show that was particularly intense, so I started taking meditation and mindfulness classes through UCLA’s MAPs [Mindfulness Awareness Practices] programs. This greatly helped me work with all different personality types. Many times, just asking questions and looking at something from someone else’s perspective makes all the difference and helps avoid challenges.

Q: What was the most fun you’ve had at work?

I’ve had SO MUCH FUN, it’s hard to list one thing. I really love to work on studio lots and spend my lunch breaks walking around. It’s even better when I’m on a show that shoots where we cut. Going down and seeing stunts and big moments orchestrated in real time on stage is fantastic. I once got to try on Arnold’s jacket from “Terminator 2.” He wore it during the middle of the movie, so it had bullet holes and all. That was pretty rad!

Q: Jobwise, what do you hope to be doing five years from now?

Picture editing. Having the opportunity to cut on some episodes of “Manifest” this season has been an amazing experience. I’ve greatly enjoyed shaping the performances, crafting the stories, and working with the incredible producers. I’m always excited about the future, but I tend to focus on the day-to-day. Honestly, I’m just happy to work in this field.

Q: What are your outside activities, hobbies, passions?

I’m a big supporter of live events. I’ve always had a passion for music and try to get out to shows whenever I can. Live pro wrestling shows in VFW halls have a very specific form of contagious energy. Amusement parks are a great way to wash away the stress of the work week.

Los Angeles is the greatest place on Earth to indulge my cinematic obsessions, so I frequently go to screenings and horror conventions. I also like to track down filming locations from my favorite movies.

Most nights, though, I’m watching movies with my wife and cat.

Q: Favorite movie(s)? Why?

There are so many movies I absolutely love. I try to watch one movie a day whenever possible.

My favorite movie ever is probably John Carpenter’s “Halloween.” I originally became aware of it when Blockbuster Video offered it for sale next to the cash register as a “Blockbuster Presents” VHS tape. Standing in the checkout line to rent “Congo” or “Hackers,” I’d stare at the cover of a man in a white mask standing behind Jamie Lee Curtis and wonder what that movie was all about. Eventually, they could barely sell the “Halloween” tapes — they had manufactured way too many — and marked them down to a quarter. Who knew that for the same price as a pair of vending-machine vampire teeth, I could change my life forever?

The music, the cinematography, the slow-burn editing — it was all perfect. The creepiest moments took place during the day! I had never seen that before. These characters were realistic high-school kids instead of being the ‘80s horror caricatures we’d all grown accustomed to. Every piece of it worked so brilliantly, and it felt so effortless. I love it so much, I often try to watch it randomly throughout the year,  much to the discontent of those around me.

Q: Favorite TV program(s)?  Why?

The latest show at the top of my favorites list is “This Fool” on Hulu. It’s fantastic, especially the way it effortlessly balances gritty realism with comedy. I’m really looking forward to Season 2!

I’m also a big “Star Wars” nerd, so I watch all of those shows on Disney+.

Q: Do you have an industry mentor?

I’ve had many great people as mentors throughout my career. When I was a post PA on the movie “Everything Must Go,” Sandra Adair, ACE and JoAnne Yarrow, ACE mentored me really well on the ins and outs of the editing room, from assistant editor duties to cutting room etiquette.

When looking for an assistant editor spot, I always specifically seek out editors who are willing to nurture and mentor. I’ve learned something from every incredible editor I’ve been fortunate enough to work with. Ray Daniels, ACE, and Marc Pattavina on “Lucifer” taught me so much creatively and were instrumental in helping me shape my editing. Over the last three years, I’ve been fortunate enough to work under the tutelage of the incomparable Mark Conte, ACE. Mark’s constant support and insight have been invaluable, and his mind for the craft is next-level.

Q: What advice would you offer to someone interested in pursuing your line of work?

“Don’t be a jerk” is probably my most important piece of career advice. People will only work with you if they like you being around. Be nice to every single person you can.

Don’t turn down work just because it’s something you’re not into. It’s good to try different types of projects, and solid storytelling is possible in all different genres.

Always ask questions; it’s ok to not know something. We are all learning each and every day.

Every editor is looking for an assistant with a specific strength (usually sound, music, or visual effects). Pick one and excel at it. When looking for a potential job, make a point of letting people know what you can do for them.

Keep at it. As long as you stick around, good things will happen. It’s like riding a bike; you will fall off sometimes and scrape your knee, but it’s all about dusting yourself off and getting back on.

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?

There’s no specific instance where I’ve reached out, but it’s fantastic to know they’re there. The Guild is an amazing resource, not just in regard to labor but for education, events, and networking.

Q: Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Keep up the amazing work — it never goes unnoticed! The projects you’re on not only inspire the rest of us, but also the storytellers of tomorrow.

Q: Current projects?
I’m working freelance, editing two episodes on a non-union television show called “Snap.” It’s a psychological thriller anthology series for AMC/ALLBLK network and Swirl Films. Prior to this, I wrapped up being a first assistant editor on “End of the Road,” an action-thriller movie for Netflix starring Queen Latifah and Ludacris.

Q: Describe your job.
First and foremost, my job is to support the creative process between the editor and producers/directors as best I can. That includes assuring that nothing slips through the cracks when we send or receive anything to or from other departments or outside vendors.

Creatively, key things I do on my television shows and features include creating the first pass of sound design, giving the soundscape shape, spotting and choosing sounds that support the story, smoothing out audio levels, and patching in room tone. Sound should enhance the viewing experience and help the editor’s picture cuts work even better. I will sometimes temp in visual effects shots such as compositing a video clip onto a television in the scene (often recorded on set as a blank green screen; we add the TV image later). I help find stock footage to use as exteriors or b-roll shots, and I often record temporary new lines of dialogue that are used as placeholders until we re-record them with the actors or with a loop group team.

Logistically, I’m the conduit for footage and information going to post-production. When we receive the dailies, I prep them for the editor. When we lock the cut, I turn over the materials to all the teams such as sound (mix stage), visual effects companies, and post-production houses for online editing and fine-tuning color and for many small outputs such as closed captioning and marketing clips.

Lastly, the editors I work with will let me cut a scene or two, supervising my work and mentoring me toward becoming an editor.

Q: How did you first become interested in this line of work?
I was a directing major in college but always edited my own films. I found many people liked my editing, and I was hired to edit other students’ projects. I fell in love with the creativity and storytelling of editing and have been doing it for over a decade now in various roles.

Q: Who gave you your first break?
Honestly, I gave myself that initial break by writing and directing my own features and paying myself nothing to be my own editor! But doing something yourself is different than breaking into the industry as a professional. As for getting into the Editor’s Guild and working on a union show, I had a film professor,  Dana Wilson, who let me pick her brain over coffee. She suggested I enter the union as an assistant editor in television, and she helped pass on my resume. It landed at Disney where I got my first union job: assistant editor on a scripted TV show called “Kirby Buckets.”

Q: What credits or projects are you proudest of, and why?
I loved working on “Veep.” While I didn’t have much creative input (I didn’t get to cut any scenes because I was the night assistant editor), I LOVED watching dailies and seeing how they shot that show. I’m very proud of “Pose” because it leveled up my sound design game exponentially. I’m incredibly proud of my work on “Shameless” because of what an amazing mentor Nathan Allen was and how much creativity he shared with me during that process. We did the series finale, and it was a beautiful experience.

Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
Early in my career, I was quite intimidated by visual effects. I tended to avoid doing visual effects and would always pull in outside help. I knew I needed to grow, so I took a job as a visual effects editor on “Supergirl” and threw myself in head first. We had an in-house visual effects artist, but I took the opportunity to learn After Effects and Avid’s effects much better and levelled up considerably in that year. Now I’m known for my visual effects talent, and it adds to my abilities as an editor and assistant.

Q: What was the most fun you’ve had at work?
Something that was unfortunately lost during COVID: I love lunch with my coworkers. It’s a great time to connect, learn more about each other, and share our creative experiences on the show. I love to work on shows with teams that eat together.

Q: Jobwise, what do you hope to be doing five years from now?
I hope to be an editor regularly working on a scripted television series. I also hope to find an opportunity to direct an episode or two.

Q: What are your outside activities, hobbies, passions?
I love karaoke. I meet monthly with a fantasy-based LARP (live action role-playing) group. And I love travelling with my wife.

Q: Favorite movie(s)? Why?
“Léon: The Professional” – the filmmaking, writing, and acting are extraordinary. ANY films by Krzysztof Kieślowski, but particularly his Three Colors trilogy.

Q: Favorite TV program(s)?  Why?
“Ted Lasso” – it’s just the greatest space to be teleported to, with wonderful characters. And “Shameless,” which I fell in love with while working on the show.

Q: Do you have an industry mentor?
I have several that mean a great deal to me. Alan Heim, Nathan Allen, and a handful of other wonderful editors that have invested their efforts in me and helped my career.

Q: What advice would you offer to someone interested in pursuing your line of work?
Talent is important, knowing your job is important, but what will get you hired and rehired is being a lovely person no matter how hard things get. Don’t complain or gripe, just be there to support the team, and if you’re the coolest head in the room, you will undoubtedly be noticed for it. Lastly, take people to lunch or coffee and ask for advice, not directly for jobs. That’s how you create mentors.

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?
Thankfully, no, but I like to think the contract is there so that I won’t have to.

Q: Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
We are all here to support each other. To support our coworkers’ pay rates, to support them getting paid overtime just as you or I would want to be paid overtime. As you rise up the ladder, remember to support those below you, making sure they are taken care of, and to appreciate those above you who have your back and take care of you. We are a brother- and sisterhood!

Compiled by David Bruskin. 

Want to be featured in this space? Email: scollins@editorsguild.com. 

Q: Where are you currently employed?

The Walt Disney Studios.

Q: Current projects?

“Disenchanted.”

Q: Describe your job.

My job as a second assistant editor is to be there for my editor and first assistant editor. I bring in dailies during production, which means labeling and organizing them in digital bins for my editor and then sending them out on PIX [a post-production collaboration app] to whoever needs to see them, work on them, comment, etc. Once the editor puts scenes together, I do sound cleanup and temp sound design. Some of my other tasks include creating string-outs [assembling uncut shots from dailies in story order], exporting footage [getting scenes or reels out of Avid and converting them into QuickTime or audio files] to send to the director, cutting in music, turning over reels from editorial to other departments, light visual effects work, and the list goes on.

Q: How did you first become interested in this line of work?

Growing up, I loved TV and movies, and I knew I wanted to work in this industry. Throughout high school, I would change my mind about what I specifically wanted to do. I used to want to act, then changed my mind and wanted to become a screenwriter, but once I went to Chapman University to study film and took classes in everything, I was finally able to figure out what I wanted to focus on. After I took my first editing class, I was hooked. It’s funny, because I remember thinking I would never be an editor because it seemed too hard — but once I tried it, I had a lot of fun and wanted to continue learning.

Q: Who gave you your first break?

Shortly after graduating from Chapman, I got my first gig as a post-production assistant for the TV series “Ray Donovan” on Showtime. Two months in, I got hired to be the post PA on the movie “X-Men: Dark Phoenix.” “Ray Donovan” was wrapping up, so my bosses were totally fine with me leaving to do “X-Men.” Even though I technically started on “Ray Donovan,” I feel like “Dark Phoenix” was my big break because I was on it from the very beginning to the absolute end. I learned so much and made really great friends and connections, so I would love to thank [associate editor] John Lee and [first assistant editor] Pearce Roemer for giving me the opportunity to join their team!

Q: What was your first union job?

I was an apprentice editor for a Netflix rom com called “Resort To Love.” Someone I know who worked at Netflix told me they were trying to get apprentice editors hired on their lower budget films so there would be more opportunities to learn to be assistants. Apprentice jobs aren’t as common anymore, so Netflix and other studios are trying to bring them back with the Apprentice Program, which I think is amazing. I sent my friend my resume, and he told me that as soon as one of their movies needed an apprentice, they would call me. Very soon after that, I got a call from the post supervisor on “Resort To Love.” I chatted with him, then I spoke to the first assistant editor, and then to the editor — and they hired me! I am really glad I had the opportunity to be an apprentice before jumping into being an assistant because I was not yet comfortable with assistant duties.

What’s nice about being an apprentice on smaller films is that they aren’t as fast-paced and demanding, so it gave the first assistant editor time to teach me how to do literally everything! It was perfect — there was no pressure, and there was room to make mistakes and learn. By the end of the project, I was definitely comfortable with taking a job as a second assistant editor. I’ve sent along resumes of friends who were trying to find apprentice jobs, like I was, and they were hired and had successful experiences with their apprenticeships. They are now assistant editors in features and TV. I recommend that anyone who wants to be an assistant should try to get a job as an apprentice first. I believe it’s a very beneficial stepping stone for an editorial career.

Q: What credits or projects are you proudest of, and why?

I’m still pretty new, so I don’t have many credits under my belt yet. I went from “Dark Phoenix” to “Resort to Love” to “Disenchanted.” I’m proud of each project because I learned a lot and met a lot of great people, but I would say my proudest project so far is “Disenchanted” because I’ve had more responsibilities and done harder work on it. It’s much more involved than “Resort to Love” because it has visual effects and animation and harder sound design work. We’re almost done “Disenchanted,” and it’s definitely a movie I will look back on and think wow, my team and I really worked hard and put love and care into it.

Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

In any job, a person can miscommunicate or make mistakes that cause issues, but to solve them, it’s important to take responsibility for your actions. Fix the problem or ask for help if you need to, and communicate better to others. Communication and honesty are super-key.

Q: What was the most fun you’ve had at work?

I enjoy having lunch with my coworkers. It’s nice to sit around the lunch table and have fun conversations. It’s also cool when we play our favorite music out loud in the office and communicate with each other using quotes from the movie we’re working on.

Q: Jobwise, what do you hope to be doing five years from now?

I hope to be a first assistant editor on features, especially if there’s an opportunity to travel with production. I would love to temporarily work and live in a different state or country.

Q: What are your outside activities, hobbies, passions?

Outside of work, I enjoy hanging out with friends, traveling, trying new food and places to eat, working out, going to the movies, and going to concerts. I love listening to Reggaeton and K-Pop. I’m VERY into K-Pop. I love collecting albums, merch, and photo cards of members from my favorite K-Pop groups. I could talk about K-Pop for hours. Did I mention how much I love K-Pop?

Q: Favorite movie(s)? Why?

It’s always hard to answer this question because there are so many movies I enjoy, but the ones that come to mind right now are “Easy A,” “The Dark Knight,” “Step Brothers,” “Birdman,” “Babel,” “Rough Night,” “Spider-Man: No Way Home,” “Frozen,” “Spirited Away,” and “Eurovision Song Contest: The Story of Fire Saga.” I can watch these over and over and always have a great time. They never fail to make me laugh or cry, no matter how many times I see them.

Q: Favorite TV program(s)?  Why?

My favorite shows are “Rick and Morty,” “South Park,” “Solar Opposites,” and several animes and old Cartoon Network shows I watched as a kid. I may prefer to work in live action, but I prefer to watch animation. Cartoons are so fun, and I find comfort watching them. My guilty pleasure, though, is “90 Day Fiancé”! I’m addicted to that whole franchise.

Q: Do you have an industry mentor?

From the time I graduated college, my mentor has been Shelby Hall. She also graduated from Chapman,  so one day she came to talk to the senior editing group, which I was then a part of. I reached out to her afterwards, and she’s been a great friend and mentor ever since. She was an assistant editor when we met, but now she’s an editor for TV. My first assistant editor, Josh Kirchmer, has also been an awesome mentor to me. While I was an apprentice on “Resort To Love,” he taught me to do everything an assistant does, and I continue to learn from him while on “Disenchanted.”

I recently got to know Alexandra Scratch (who is a first assistant editor), and she, too, has given me great advice. I know she’s someone I will be able to rely on for years to come, and I am so thankful to have met her. One last person I would like to mention is Craig Smith. He’s a first assistant editor who has been in the business a long time. He’s incredible at his job and works on the biggest projects. He always makes himself available when I need to talk or meet with him. He also has given me important advice, and anyone who gets to work with him is really lucky because he’s one of the best!

Q: What advice would you offer to someone interested in pursuing your line of work?

Put in the effort to network. I know people say this all the time, but this industry is really about who you know, and it’s really important to reach out to people who are doing what you want to do. If someone comes to your class to give a talk, reach out to them afterwards and make the connection. Go to mixers and networking events, or cold-message people on LinkedIn. Most people are super nice and willing to answer questions or meet up for coffee. I am definitely happy to help anyone trying to get their foot in the door. I love helping people find work and pursue their passions.

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?

On one occasion, my coworkers and I weren’t being paid the proper amount for sick pay, so we contacted the Guild for assistance because we knew there were rules that accounting wasn’t following.

Q: Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

It’s awesome to be part of a union and the post-production community. There are many talented,  hardworking people that I’m honored and excited to work with as we bring fun, impactful stories to audiences around the world.

Compiled by David Bruskin. 

If you’re a Local 700 member and want to be featured in this column, email SCollins@editorsguild.com. 

Q: Where are you currently employed?

I’m not working as of this writing, but I’m starting a feature in the fall. I can’t say what it is, but it’s very exciting! My last job was a Chinese/US co-production feature called “Unspoken,” produced by Court Five and CMC Pictures. Before that, I worked on two Mike Flanagan horror projects for Netflix: “Midnight Mass,” a limited series, and a regular series called “The Midnight Club.”

Q: Describe your job.

As a feature picture editor, during shooting, I cut dailies. I usually receive them the day after they are shot. It’s preferable to keep pace with production because the editor’s cut is due a week or so after shooting wraps. During the director’s cut, I work with the director, doing their notes and ironing out kinks. This stage can sometimes involve significant restructuring and experimentation. After that, we work on producer’s notes together. Once there’s a cut that is generally well-regarded, there are usually screenings for a test audience. After a while, depending on time and budget, someone finally declares picture lock, which means post-production sound people can start to build dialogue, music, and effects tracks that will be in sync with picture for sound mixing.

Picture editorial not only handles picture. We are the first to set the tone with temp music, temp sound design, and temp visual effects to get the cut to work and communicate story points. It’s a lot of crucial work that is often overlooked when describing the editor’s and assistant editor’s jobs.

Q: How did you first become interested in this line of work?

After working in all sorts of jobs, including being a production assistant at a multimedia company that made CD-ROMs (it was the 90s!) and teaching English in Italy, I decided I needed a proper life plan and went back to education as a mature student. I found editing through a general art and design degree, and I immediately knew it was what I wanted to do. I played the piano from ages 6-18 (I find most editors are musical) and obsessively rewatched certain films as a teenager (excellent preparation for editing!). I also loved jigsaws and studying images of all kinds. So I really felt like I’d found my calling when I discovered there was a job that combined so many audio, visual, storytelling, and analytical skills.

Q: Who gave you your first break?

My first break came via my film school, The National Film and Television School in the UK. I worked on “Return to Cranford,” a period extravaganza starring Judi Dench. I was the cutting room trainee/second assistant editor, and it’s where I first learned assistant editing skills. After I graduated from film school, I pounded the pavements for a bit. Then a post house in West London, Coach House Studios, introduced me to my first editor, Dave King, who was about to start a BBC production of a series of classic children’s books called “Just William.” To my incredible luck, the series won a BAFTA.

A special mention in the break-giving category goes to Tim Alverson. He was pivotal in my getting the opportunity to cut “Ma,” which opened a lot of doors for me. He also taught me a lot of tricks of the trade that I still use today. Total mensch.

Q: What was your first union job?

It was a film for Blumhouse called “Curve.” I worked in some capacity for Blumhouse on 10 of their movies. I was there at a time of great expansion for them, which was very exciting.

Q: What credits or projects are you proudest of, and why?

I love all my babies! I think I have a soft spot for “The Choice” — a Nicholas Sparks adaptation for Lionsgate — as it was my first main title credit. I love “Ma,” also. We had a lot of fun on that, and it had something of a cult-following meme life on Instagram.

Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

There have been many times when restructuring a movie seems insurmountably complicated, but I actually really enjoy that process. With a good scene-card wall and a method of organizing alternate cuts, it can be very satisfying to reach an optimal scene structure. My most recent movie, “Unspoken,” contained scenes in English, Mandarin, and American Sign Language (ASL). My incredible assistant Melanie Kuan and I came up with a killer system of locators and script line numbering that enabled us to work pretty smoothly despite neither of us speaking Mandarin or ASL!

Q: What was the most fun you’ve had at work?

I was at Blumhouse working on “Happy Death Day” with Greg Plotkin when “Get Out,” his previous movie, was screened at Sundance. I had almost no involvement in “Get Out,” but to follow the growth of that movie was incredible. I saw it properly at an internal screening and loved it, of course, but had no idea what a hit it would be. To see the awards campaign gather steam was really fun. I was so happy for Greg and glad such a good movie was recognized.

Another time was an “all hands on deck” moment when I was at Blumhouse. “Truth or Dare” dailies were coming in thick and fast, and my friend and great editor, Sean Albertson, literally said at the lunch table, “Anyone wanna cut dailies? I’m drowning!” Sean, Kurt Nishimura, and I each cut different scenes that were then pieced together to form the basis for the editor’s cut. I had a blast working like that. It helped that everyone involved was fun and collaborative, too.

Q: Jobwise, what do you hope to be doing five years from now?

I’d like to cut a historical drama limited series — naturally with a great cast and high production values!

Q: What are your outside activities, hobbies, passions?

Apart from the obvious ones of watching oodles of movies and television shows, I do a lot of personal development activities. I love LA for that; I’m originally from the UK where no one talks about anything! I’m always trying to be mentally and physically healthier and happier.

Q: Favorite movie(s)?

“I, Tonya,” “Love and Mercy,” “Milk,” “The Devil Wears Prada,” “Margin Call,” “The Social Network,” “Maria Full of Grace,” “Young Adult,” “Eighth Grade,” “The Assistant,” “Jesus Christ Superstar.”

Q: Favorite TV program(s)?

“The Queen’s Gambit,” “A Very English Scandal,” “Fosse/Verdon,” “Chernobyl,” “Winning Time,” “The Offer,” “Normal People,” “The Act,” “Mare of Easttown,”, “White Lotus,” “The Morning Show.”

Q: Why?

I love any sort of story about the arts or business, workplace dramas, historical period dramas, and most things based on a true story. As well as watching for entertainment (and escapism), I have always looked to television and movies to learn about life. I find the most incredible stories are ones that have actually happened. I like suspenseful dramas and dark comedies that make the audience and filmmakers think.

Q: Do you have an industry mentor?

The Great Ms. Tatiana Riegel! She has been an incredible guiding light, support, and now friend. I am extremely grateful for her guidance and wisdom.

Q: What advice would you offer to someone interested in pursuing your line of work?

I enjoyed film school for the opportunity to be really creative, but it didn’t help me get work. During the period I was working as an assistant editor, I tried to keep the creativity alive by working on shorts. You have to take responsibility for managing your own career. Agents help but can only do so much. Work hard, be humble, be ready.

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?

I am extremely grateful to the Guild for the healthcare and pension plan benefits and for those who negotiate on our behalf. Generally speaking, editors can be solution-based to a fault, and without the Guild backing us, I fear we’d be continually taken advantage of.

Q: Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

Working in editorial can be magical, but it’s also a very tough business. I try to help people as much as I can and collect good people as I go. I hear terrible stories of how editors are treated and have walked through some very difficult times myself. Without my friends and supportive co-workers, it wouldn’t be half as much fun. In difficult times, I try to remember these two things: ”Nothing in this world can take the place of persistence,” and “Fortune favors the brave.”

Compiled by David Bruskin. 

Q: Where are you currently employed?
I just wrapped on a show in July with Paramount Animation. I was on the project for two and a half years!

Q: Current projects?
I completed work on a cute animated musical feature film called “Under the Boardwalk,” which is based on, and in, the Jersey shore. Our main characters are hermit crabs. It’s a family film, good for all ages, but currently does not have a release date.

Q: Describe your job.

I work as an Associate Editor, which is a title mostly used in animation. It means I work as a secondary editor. I work closely with my editor, David Salter, cutting in storyboards, sound effects, and dialogue. Once our film moves into the production stage, I cut in Previs/Layout (first stage of animation, focused on camera and blocking), Animation (where the roughly animated Previs characters come to life with lip sync and acting), and Lighting/Final Render shots (those beautifully finished, lit and fully textured shots you see in every animated show).

Q: How did you first become interested in this line of work?
When I was a child, I was obsessed with anything animated. As I got older and technology advanced, I was able to find more animated content online — shows that I would not have been able to find on TV — and I realized how vast and advanced animated storytelling is. There is so much you can do using animation as a medium, and I always wanted to be involved with it.

Q: Who gave you your first break?
There are a few people who gave me my big break, the first being Sharon Smith Holley for allowing me to intern at the Editors Guild and help with the 75th Anniversary celebration. She then invited me to all Editors Guild and ACE events, and I met Richard & Collen Halsey, who hired me as their assistant editor. I worked with them on a few live action feature films that enabled me to accumulate enough non-union work days to get on the union roster. Lastly, John Venzon hired me for my first animated feature, “Storks,” where I had temped for a few weeks while one of his assistants was on vacation. I had zero animation experience, but John believed in me. Thanks to him, I was able to get my foot in the door.

Q: What was your first union job?
My first union job was a CW TV show, “Beauty & The Beast.” Laughably, I did not last very long on the show, but it was a valuable lesson, and I am still grateful that I was able to work on it so I could finally get my union card.

Q: What credits or projects are you proudest of, and why?
There are a handful of films I take pride in, a mixture of both live action and animation. The two live action films were “The Invitation,” a drama/horror film where I was an assistant editor under Plummy Tucker, and “Dragged Across Concrete,” an action thriller I worked on as assistant editor to Greg D’Auria. The two animation shows were “The Lego Batman Movie,” the animation action hit on which I assisted Garret Elkins, and the animation comedy “The Addams Family,” where I worked as first assistant to David Salter. Although these shows range from thriller to family films, they have commonalities: my editors were fantastic, they each mentored me, and we were always able to talk about the story and dissect scenes together. I am forever grateful to each of them for hiring me and making me feel like a part of the team.

Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
The biggest challenge I face with any job is the politics. How do you handle an upset producer? How do you handle a moment when the director and editor have conflicting viewpoints? It’s taken me a while to learn how to become diplomatic and stop myself from responding reactively or defensively (although sometimes I still fail!). During those times, I have learned it is best to listen, take a step back, and give yourself a moment to come up with a solution to whichever problem arises in that moment.

Q: What was the most fun you’ve had at work?
I’ve had a lot of fun on all the animated shows I’ve worked on. In animation, editorial is the hub. You are involved every step of the way, from pre-production through post-production. How is editorial involved in pre-production when we’re clearly post-production? This is the magic of animation. When we’re in the storyboard phase, we’re reworking the story over and over again. Editorial is heavily involved with the storytelling process; it’s very collaborative and a lot of hard work, but I absolutely adore it. It certainly helps that everyone I have worked with in animation has been so great.

Q: Jobwise, what do you hope to be doing five years from now?
I hope to continue moving my way up the editorial chain and one day become a lead editor on a feature.

Q: What are your outside activities, hobbies, passions?
Work from home has really changed my lifestyle. I now walk my dog every day during my lunch breaks. It brings us both joy. I love reading, playing video games, cooking new meals, and learning more about Los Angeles history.

Q: Favorite movie(s)? Why?
Naturally, I feel I have to pick movies from both animation and live action. “Beauty and the Beast” will always be my favorite animated film. Belle heavily influenced my childhood, including reading because she loved it. “Kiki’s Delivery Service” is a very close second – really, any Miyazaki film because of his brilliant storytelling and animation. For live action, it would be “Run Lola Run” and “The Cook, the Thief, His Wife & Her Lover.” My European mother introduced both of these films to me as soon as I turned 18, and I had never seen such storytelling! Both films are so intense, and you get so invested with the characters. Of course, I can’t leave out my all-time favorite comedy, “Blazing Saddles.” Mel Brooks is a genius. Other honorable mentions go to a few Bollywood films that bring me pure joy: “Dil Chahta Hai,” a feel-good road-trip-with-friends movie, and “Singham,” a cop movie with such intense over-the-top action, it nearly puts our action films to shame.

Q: Favorite TV program(s)? Why?
This may sound scandalous in the golden age of television, but I’m not the biggest series viewer. I enjoy watching “Dr. Who” because it’s silly, and sometimes I need a quick pick me up after a long day. I like watching any shows that are on the comedic side and don’t take themselves too seriously, like “Curb Your Enthusiasm.”

Q: Do you have an industry mentor?
I have two mentors: Sharon Smith Holley, who is my biggest supporter, someone I can always come to with questions or concerns; and David Salter is always there for me, whether it’s to discuss a scene or be an advocate for me in the cutting room.

Q: What advice would you offer to someone interested in pursuing your line of work?
My advice echoes those who came before me: network, network, network. If you are passionate about a certain medium, find people who work in that area and offer them some coffee! Your enthusiasm will win people over and you will get in. Just keep doing it.

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?
I have reached out to our field reps several times over the years, once for a Tier 1 project that never paid on time (and I finally did get paid!), and other times with time-card questions (meal penalties, vacation/days off). Never hesitate to reach out to our reps. They are extremely helpful and they are here for us! I am so thankful we’re able to turn to our reps for help.

Q: Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
Always feel free to reach out to the union with questions or concerns, I’m always surprised how many Guild members don’t do that. We’ve got to stick up for ourselves and look out for each other because studios won’t. You are your own best advocate.

Compiled by David Bruskin.

Q: Where are you currently employed?

I’m currently assisting Kirk Baxter on David Fincher’s next movie, “The Killer.”

Q: Current projects?

Just the one above. Everyone always talks about what they’re doing on the side. My wife and I have four-year-old twins. There is no “on the side.”

Q: Describe your job.

Overall, the job is to make sure the editor has access to everything they need to work effortlessly with their footage so that they can focus creatively on building the story and not have to get distracted with technical or organizational details. This usually begins before the movie starts by supervising the build of edit systems to ensure they support the needs of the project. During production, the workload is heavy on receiving, processing, and organizing dailies each day so that the editor can review the footage and start building scenes quickly. Once production is over, the assistant editor role transitions more to fielding requests that support the editor and the completion of the movie. This can run the gamut from doing initial sound design or pulling and auditioning music, to recording temp ADR lines and hunting through takes for alternate performances.

As the movie progresses, assistant editors help the music, sound and visual effects departments get what they need to work in parallel with the edit. We also receive deliveries from these departments and cut them back into the edit for the editor and director to review. On Fincher’s projects, we also do a lot of temp visual effects – splitting together different takes, compositing green screen, stabilizing camera movement – right in the timeline so they stay live as the edit changes. All of our assistant editors are seasoned in these techniques. And while it’s not officially the assistant editor’s job, I do a fair amount of coding. There are magnitudes of efficiency that come from having the computer do repetitive manual work for you. Everyone should at least be willing to explore it.

Q: How did you first become interested in this line of work?

I’ve always loved movies. Even bad ones. If I started watching a movie, I had to finish it. I think I’ve only turned off one movie in my entire life… it will remain nameless here to protect me from the retaliation of those who worked on it. (I didn’t even turn off “Good Burger”… caught on TV by accident… with ads!) To this day, I’m captivated by the way movies transport us into their own world. You don’t even have to put in any effort and you’re somewhere new. That never gets old for me. I also love computers and tech — things like setting up video systems, digging through a tangle of wires, and making everything work. It just sort of comes naturally to me. I’d honestly say that, for this particular line of work, it’s where all my interests melded naturally.

Q: Who gave you your first break?

This is a tough question. My story isn’t so cinematically satisfying as a lifelong career of success and mentorship that blossomed out of one momentary spark of a relationship. I think it’s more that I’ve found myself at a number of forks in the road and approached them with a willingness to take new risks, even though it meant shaking up my world a little bit. I’ve always told myself that I want there to be a 5% chance on every project I do that I will completely fail, but also to be 100% confident that I can overcome that 5%. If that 5% risk isn’t there, I’m not pushing myself or taking any risks to grow, and I need that. It definitely informs how I make decisions at those forks.

But if I had to credit someone, it would probably be my friend Toby Louie, a producer I met while we were both working in commercials. Toby knew people whom I could only dream of working with, and his generosity with introductions made those dreams a reality.

Q: What was your first union job?

First assistant editor on “Mindhunter,” season 2.

Q: What credits or projects are you proudest of, and why?

I’m really proud of “Mank,” “The Batman,” and a commercial for a videogame called “Battlefield: Hardline” that I assisted on a number of years ago. “Mank” was my first project where I was first assistant from the start of the project. It was also my first time starting a Fincher project from the beginning. And literally days after we finished filming in early 2020, a pesky global pandemic collided with humanity. From the start of that show, I was determined for it to go smoothly, and COVID didn’t change that. We were actually ahead of the curve and had already begun work-from-home protocols a few days before California instituted them statewide. We weren’t caught off guard by the transition from the office to home, but it was still a fast transition and it had to go smoothly. We’re a very tech-forward team but we still had to invent a lot on the fly. I didn’t want anyone on our team to compromise how they work because work from home couldn’t accommodate it, and for the most part, no one did. We finished on time. The movie won awards. “It worked out,” as Mank himself says in the film. The editor, Kirk Baxter, mentioned to me that he was asked how the pandemic changed the way we had to work, and he answered simply, “It didn’t.” That was the biggest compliment I could have received.

“The Batman” was so much fun. It’s the kind of movie that made me want to make movies. Big on spectacle. Big on action. All-star cast. Huge audience anticipation. It was such a thrill to see fan interest and speculation evolve outside while watching the movie evolve inside. Working on a film like “The Batman” was always a dream, but an opportunity I wasn’t convinced I’d ever actually encounter. I’m very proud to have had the privilege to be a part of the team that made it. “Battlefield: Hardline” was a 360-degree immersive interactive experience that was created to market the game. You’d watch it online from the perspective of a bag of money being stolen by bank robbers. You could point the camera in any direction at any time as you were whizzed down city blocks on a motorcycle, thrown over people’s shoulders, tossed from car to car… super crazy fun stuff. In addition to the 360-degree experience, the advertising agency wanted to create more traditional media to run in commercial ad spaces. This meant that the director (Nicolai Fuglsig) and editor (Eric Zumbrunnen) could essentially choose any angle from within the 360 degrees to tell their story. They could cut. They could whip pan. They could do whatever they wanted as if they were operating the camera.

My job in the edit suite was to figure out how to actually do this — and this was still a few years before virtual reality editing tools were a thing. We created super-wide tiled media that allowed Nicolai and Eric to rotate the camera anywhere in real time. But the biggest fear was that Nicolai and Eric’s work wouldn’t translate to the finishing artists adding visual effects. I wrote some code that took all of their work from Premiere, collected the keyframes, and translated them into camera rotation data that let the finishing artists exactly match every decision that Nicolai and Eric had made. It was incredibly satisfying. With that project, it felt like we had actually brought something new into existence that had never been done before.

Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?

The biggest job challenge was definitely making the decision to leave where I was comfortable for the opportunity to grow. It’s scary, but necessary. In this industry, everyone fills a role that someone next to them, or above them, relies on. They need you there, so they want you to stay where you are and keep doing that thing you do better than anyone else. You have to step out of the box yourself. It’s the biggest challenge because it never became any easier to overcome – it was a leap of faith every time.

Q: What was the most fun you’ve had at work?

A friend and I were working on a movie in Winnipeg, Canada with one of the producers of “1408.” Our hotel, the Fort Garry, was rumored to be haunted – specifically, Room 202. When we mentioned this to the producer, he marched over to reception and booked the room for the two of us to stay in that night. We had no choice. This was not the kind of thing my friend was into. Every sound was an event. Every minute was an hour long. We heard and made up all kinds of things that didn’t exist. A room that is rumored to be haunted becomes haunted when you’re in it. We brought camera and recording equipment to the room with us and all it recorded were his screams and our laughter.

Q: What are your outside activities, hobbies, passions?

I like tinkering with electronics and robotics, things like that. I don’t really know what I’m doing, so when the robots attack, blame me. I also love camping and skiing.

Q: Favorite movie(s)? Why?

“Ace Ventura: Pet Detective.” Final answer.

Q: Favorite TV program(s)? Why?

Currently? “The Boys.” It’s dark and gritty and unexpectedly brutal. I love it. I’m also very much into “Raised By Wolves.” I know exactly what side I’m rooting for when I watch this show, and I’m continually impressed with how the other side continues to lure me in. Everyone has their own turn being a hero and a villain. It’s great. “Righteous Gemstones” is just a joy that I hope never goes away. And I just got hooked on “Outer Range.” Wow… it suddenly sounds like I have a lot of time to watch TV. I do not. All time favorites? “Seinfeld.” “Halt and Catch Fire.” “Deadwood.”

Q: Do you have an industry mentor?

Not really, but I think everyone should. It’s a relationship I wish I had. It’s easy to lose perspective of one’s own value, and we all need someone in our corner to remind us that we do good work. Someone we can ask questions. Try things out with. Be dumb with and not suffer judgement. A phenomenally talented editor once told me he worried every job he did was going to be his last – that he wasn’t sure why people would hire him after this one. I like to think that we were building a mentor/mentee relationship that would have matured if we had been able to continue working together, and that we were both creating a safe space for each other to be honest and dumb, because, in truth, his worry couldn’t have been more absurd.

Q: What advice would you offer to someone interested in pursuing your line of work?

Say yes. You’re entitled to nothing. Be patient.

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?

Not yet, but I’m immensely thankful for the Guild. Without the Guild and what it has fought for on our behalf, it would be much harder to enjoy working in this industry.

Q: Is there anything you’d like to say to your fellow Guild members, some words of encouragement?

I think we’re all too competitive and should focus less on that. We’re all way too good at faulting ourselves for missing out on opportunities we believe our peers are getting, and using that to define what our success should look like. This makes us competitive even though we haven’t necessarily defined what success means for ourselves. I find I’m much happier being proud of what I’m good at than frustrated by what I haven’t achieved yet.

Compiled by David Bruskin.