What Our Members Do

Where are you currently employed?
I just wrapped on season 3 of The CW’s “Superman & Lois.”

Current projects?
I’m enjoying my time off after wrapping on the show, but I’d say my biggest project right now is joining the WGA on their picket lines as often as I can.

Describe your job.
I’m an assistant editor in live-action scripted TV, although I have also worked in animation as an assistant editor and animatic editor. (Animatic editors are editors in animation who cut together the storyboards before they start to animate. It’s the blueprint for the show/movie.)

My tasks as an assistant editor vary quite a bit. If we are in dailies, I start the day by prepping footage for my editor. Every editor has different workflow preferences, so it’s important to communicate with them about how they like their dailies prepped. Everything in this industry is about collaboration, and part of my job is to make sure that my editor’s day goes as smoothly as possible. As I go through the footage, I keep all the paperwork from our script supervisor close by, and I consult it to make sure we have all the material that was shot for a scene so we can put it together according to the script.

When dailies are done, I hand everything off to my editor and take a coffee and/or snack break. Once my editor has finished a scene, she will pass it off to me to do temp sound work. A scene can take anywhere from minutes to several hours to do sound work, depending on the type of scene it is. Dialogue scenes with just a few characters having a conversation are usually quick, but heavy action scenes with lots of punches, whooshes, and explosions can take all day. This repeats until everything for our episode has been filmed.

After that, my other AE duties are more in flux. Once an episode comes together, I output cuts of the episode and send them off to whomever needs to see them. The first cut (editor’s cut) goes to the director, who gives notes. Once those notes are applied, I would then send the episode to the showrunners and the process repeats. The episode will keep going up the ladder until it gets to the network.

Once the network notes are applied, the episode is considered “locked.” Once we lock an episode, we do turnovers. That’s when I package all the materials for an episode (footage, production sound, sound effects, temp ADR — everything, all of it digital) and send it to two different teams: picture (our online house) and sound (our post-production sound team). It’s also my job to update those materials in new smaller turnovers if there are any picture changes later. This is a long and complicated process, and although it’s not necessarily difficult, it can be easy to make a mistake if you’re not paying attention. Some assistant editors love turnovers, some hate them. I’m still learning to love them.

How did you first become interested in this line of work?
I’ve been working on visually creative projects all my life. My first NLE (non-linear editing system) was Windows Movie Maker back when computers were secluded in the home office and Justin Timberlake was still in a boy band. I was the kid making elaborate school projects and stealing my parents’ old camcorder to record videos with my siblings. As a Los Angeles native, I was always aware that the film industry was right in my backyard.

But the first time I considered building a career doing something visually creative, it wasn’t related to film or TV at all; I wanted to be a graphic designer. So as a teenager, I taught myself Photoshop using an old installation disc from 1999 that my dad borrowed from a friend. I even chose my university (UC Davis) based on the fact that they had a program specifically for graphic design. But when I landed at college, I wasn’t able to start my graphic design degree because of an administrative issue, so instead, I took a different class called “Filmmaking Foundations,” a hands-on film production class. As it turned out, I really enjoyed making TV and movies, too.

During my time at UC Davis, I worked at an on-campus studio making promotional content for the school as a videographer, editor, and eventually technical director. I directed/edited a web show, and I co-directed/edited a short film that went on to win a Best Screenplay award at the annual Film Fest @ UC Davis. By the time I graduated and went back home to Los Angeles, the decision to work in the entertainment industry felt like the most practical (and enjoyable) one.

Who gave you your first break?
There have been a few times in my career that felt like a “first break.” The first time was when I got an internship out of college after cold-messaging several employees of the company I wanted to work for (including the CEO). That was the first time I got paid to edit in the “real world.” Another first break was when I shifted into the TV space by landing a job as an assistant editor working on promos, which helped get me my union hours. But perhaps the most relevant and/or significant break came from a fellow MPEG member who is actually a Foley artist, John Roesch, who gave me a connection at a studio where I eventually landed an assistant editor job on the show “Robot Chicken,” my first job in scripted TV. Q What was your first union job? My first union job was season 2 of “Superman & Lois.”

What credits or projects are you proudest of, and why?
I’m definitely proudest of my animatic editor credit on “Robot Chicken.” There were 20 episodes that season and I was an assistant editor on all of them, but I received an animatic editor credit for episodes 19 and 20. The two editors I had the pleasure of working with (Becca Berry and Jeff Newman) were very supportive of letting me edit. Animated projects take a long time to make, so we had more time to work together and get to know each other compared to many live-action projects, especially in television. I had been cutting comedy sketches the entire season (the show is a sketch show done in stop-motion animation), but when it really came down to the end, Jeff Newman was vocal to our producers about getting me a credit.

I think the reason I’m proudest of this is that editors really have to believe in you for them to support you. “Robot Chicken” was my first scripted show, and I didn’t have a background in animation. So for my editors to let me gain experience cutting and then to have my back when asking for a credit meant a lot to me. It made me feel like I was doing a good job, that I truly deserved to be there.

What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
Working on “Superman & Lois” was a new challenge for me in two ways:

1. It was my first live-action scripted show; and

2. It was entirely edited on Avid Media Composer. (Previously, I had only ever worked in Premiere Pro.)

I jumped on the show mid-season and had to learn Avid very quickly on the job while also keeping up with the fast-paced environment of television— specifically, a visual-effects-heavy superhero television show. It was hard! There’s no other way to spin it, but I owe everything to my fellow assistant editor (and editor in her own right) Isabel Yanes, whose limitless patience and constant willingness to jump on the phone with me whenever I had a question is the No. 1 reason I survived.

What was the most fun you’ve had at work?
There was a sketch in “Robot Chicken” that I had the opportunity to cut. In it, Batman catches his reflection in a mirror and, because he’s afraid of bats, has a bit of a comedic meltdown. I remember laughing when I read the script and had a very specific vision for how I wanted to cut it. When it finally got in front of the producers, the entire room (well, Zoom meeting) laughed and there were no notes!

Jobwise, what do you hope to be doing five years from now?
I want to be an editor in the scripted comedy world. I love to laugh, and I love making people laugh. It would be a dream to get paid to do both of those things. Is five years enough for that? I don’t know. But five years ago I was an unemployed recent grad hoping to edit something — anything — I could get my hands on, so let’s shoot for the moon this time.

What are your outside activities, hobbies, passions?
Anyone who follows me on Instagram knows that I love to bake (and share it)! I once went on a mission to find the best chocolate chip cookie recipe out there and must have tried 15 different recipes before landing on my favorite. (For those who are curious, it’s the “Bingeing with Babish” recipe, closely followed by the LAUSD chocolate chip cookie recipe, although that one might be influenced by nostalgia.)

I also love to run! I’m a pretty active person in general.

Favorite movie(s)? Why?
Disney’s “Tangled.” I could watch it over and over and never get tired of it. I don’t know exactly why, but the way that Rapunzel and Flynn Rider’s relationship develops over the course of the film is something that always struck me as just a good, humble, and engaging story. I’m a sucker for characters that feel real, characters that convince you that, despite living in a world without magical hair and anthropomorphized animals, we can still relate to them and their journeys in some way.

Favorite TV program(s)?  Why?
I am a huge fan of “Brooklyn Nine-Nine.” My sister and I used to watch the show together, and we still quote lines from it to each other all the time. No other show has gotten me to belly laugh so hard that I had to rewind it to make sure I didn’t miss any of the plot.

Do you have an industry mentor?
I don’t have a specific mentor by name, but I consider anyone who has ever taken the time to answer a question, offer advice, or lend a hand to be my mentor in some way. I have been extremely lucky in my career, and no part of it was earned by my hard work alone; it has been the amalgamation of different people taking a chance on me at different points in my career. It’s something I intend to pay back as my own career progresses.

That being said, while I have the opportunity to give shoutouts: John Roesch (for seeing in others what they fail to see in themselves), Becca Berry (for trusting me), Isabel Yanes (for the endless support), and Jeff Newman (for believing in me).

What advice would you offer to someone interested in pursuing your line of work?
Be kind. Be humble. Be willing to learn. But overall, be kind.

Was there ever a circumstance when you had to rely on the Guild for help or assistance?
Luckily, no. But I’m confident that if I ever needed to, the Guild would be there to support me.

Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
I’m very proud to be a union member, especially during a time when it seems like unions are more important than ever across the U.S. and the world. I look forward to being an active participant in our union and am always excited to meet fellow members. 

Compiled by David Bruskin. 

Where are you currently employed?

My most recent project was season 6 of the show “9-1-1” for FOX where I edited four episodes (603, 607, 611, and 615).

Current projects?

I’ve also finished an indie LGBTQIA+ film called “F.L.Y.” which premiered at the Outfest LA Film Festival in July. It stars one of the same leads from an indie movie I edited called “Lupe.”  

Describe your job.

I’m a film and TV editor with experience in drama, horror, action and comedy. I’m also an elected picture editor representative on the MPEG board of directors, serve on multiple committees, and I’m the co-chair of the MPEG Young Workers Group.

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

I grew up in Israel where you pick majors in high school. I majored in theater and media studies. I loved acting and performing, so theater was an obvious first choice. Media studies was a distant second; I chose it because it was the only other major that enabled me to avoid science. Little did I know my second choice would grow into a love of filmmaking, specifically editing — so much so that it overtook my first love of theater. I leveraged my high school editing experience so that for my two-year mandatory military service, I got drafted as an editor for the air force filming unit, where I was trained on Avid.

Who gave you your first break?

My first break in Israel: There was a big military operation after I had already finished my service, so I was called back as reserve force, which is when I met a fellow reservist who got me a job editing local celebrity news bulletins at E! Israel.

My first break in the US: Before relocating to the States, I Googled and cold-emailed post houses relentlessly until I received a response, which was from a fellow Israeli, a post supervisor named Nadav Streett. He gave me advice and agreed to talk about helping me find a job after I moved to Los Angeles. I landed in L.A. in July 2009 when the economy was in bad shape. Nadav informed me there were no jobs — but two weeks after I arrived, he needed a night-shift assistant editor on a reality clip show, and I jumped at the opportunity.

What was your first union job?

In 2014, I was a night shift assistant editor on an Endemol Shine reality show called “Restaurant Startup.” After that, I switched to work on scripted content. 

On a related note, I was elected to the board of directors as an assistant editor representative in 2017. The nomination came as a surprise, and I learned a lot “on the job” about what it means to serve as a board member. I served two terms as an assistant editor rep before I became a picture editor representative.

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

In 2022, I was incredibly honored to be nominated for an ACE Eddie award for editing the indie film  “Lupe.” Actually, I had edited that film back in 2017, and it was the first film that I’d edited solo, start to finish. HBO Latino bought it and released it in February 2021, so there was a long delay before the world-wide release. ”Lupe” currently no longer lives on the Max platform but can be streamed elsewhere.

Most recently, I’m very proud of my work on “9-1-1,” especially my first episode of season 6, “The Devil You Know” (ep. 603), which is a powerful character journey for Athena Grant Nash, played by the phenomenal two-time Oscar nominee Angela Bassett. I got to edit a chilling nighttime running chase sequence that takes place concurrently in two different time periods, all under a wonderful Nina Simone cover of the song “Lilac Wine.”

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

“Lupe” had an unusual post process on multiple levels. Principal photography was already done, and the co-directors (André Phillips and Charles Vuolo) had already assembled a first cut when they realized they were in over their heads and needed an editor. Their assembly had pieces of the story puzzle, but it was disjointed. I started my edit from scratch. Having worked so long in Avid, I utilized the opportunity to relearn Premiere Pro.

The co-directors were based in Boston and I was in L.A., so we set up a remote workflow. This was long before that became a pandemic norm. Because the film features a trans non-actress, many parts were improvised to help her feel natural and in the moment. It meant the film had drifted so far off from the original script that the co-directors advised me to not even read it. I was handed a hard drive and basically told, “Here’s a bunch of footage. Disregard the script and go make a movie.” (More about the editing of “Lupe” can be heard in audio excerpts and read in interviews at shirancarolyn.com/press.)

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

Recreationally, I’d say I had the most fun when I assisted Chris McCaleb, ACE, on “Fear The Walking Dead” interstitials alongside the editorial crew from the season, and we attacked each other with nerf guns from the writers room. Creatively, I’d say it was co-editing a few episodes on season 1 of “Chucky” with Randy Bricker, ACE, which brought the famous murdering doll from the movies to the TV screen. Given the freedom of exploration a first season provides, I had a lot of creative input on the editing styles, graphic styles, and song choices for the season. (I even have a little whistling cameo in the last episode of season 1.) That show was a ton of fun to work on.

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

I want to edit dramatic features that are so thought provoking, they leave a long-lasting impact on the viewer. That’s something “Requiem For a Dream” did to me when I first saw it, and it cemented my decision to become an editor.

What are your outside activities, hobbies, passions?

I enjoy salsa dancing, karaoke, board games, traveling, and I sketch occasionally.

Favorite movie(s)? Why?

For childhood nostalgia, “The Lion King,” “The Sound of Music,” “Mary Poppins,” “Hook,” and “What About Bob?”.

Favorites that stayed with me long after watching: “Requiem for a Dream,” “Her,” “Eternal Sunshine of the Spotless Mind,” “Whiplash,” and “Arrival.”

Favorite TV program(s)?  Why?

Scripted: “This is Us,” “The Queen’s Gambit,” early-mid “Game of Thrones,” “The Crown,” “The Night Of,” and “House MD.” The first five shows for their well-written dramatic stories that “squeeze the heart” or leave you contemplating, or both. “House MD” for the wacky medical cases and the razor-sharp sarcasm.

Unscripted: “Chef’s Table” — great-looking food with captivating origin stories. “Queer Eye” — a heartwarming group that helps people.

Animation: “Big Mouth,” for the grotesque yet hilarious and relatable humor.

Do you have an industry mentor?

Over the years, I’ve assisted many talented editors and learned from all of them. I’d say my most influential mentor who initially taught me how to assist within scripted content is Dan Lebental, ACE.

I first heard of him when the school in Israel where I once studied After Effects emailed and said this big-shot Hollywood editor is coming to speak at the school. I asked the head of the school if she could e-introduce me to Dan. She said to just reach out to him directly. I wrote him a long message in Hebrew introducing myself. I waited a month with no response, then decided to send it again. This time I got a one line response: “Sorry, I don’t speak Hebrew.” Oy! I translated my message. We became friends and stayed in touch. One day, I wanted feedback on a rough cut of a short film I had edited, so I sent it to him.  He was about to start an indie and needed an assistant editor. He hired me for the job, and the rest is history!

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

Even if you’re currently assisting, always keep editing on the side: short films for film students, Craigslist jobs, whatever. It’s a whole other brain muscle that needs to be exercised. Don’t lose sight of your initial goals. If you’re on the “wrong ladder” (not the genre you want, or not the type of job you want), switch to climbing the right ladder before the money or work conditions make you too comfortable to turn down the next promotion. Your “no’s” define your career path even more than your “yesses” — one of the many pieces of wisdom given to me by Dan.

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

While editing a show on location, the production ran out of money mid-season and attempted to  terminate many union positions and finish the show non-union. I contacted a field rep. Within a few days, production backtracked after realizing they would be in violation of union contracts. Another time, I had a show with very messy payroll accounting; it was clear that the payroll company was understaffed after COVID hit. When I wrapped, I sent my timecards and stubs to a rep to double check and verify that I was paid correctly, which I was not, and I got some money retroactively. 

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

If you want the Editors Guild to do more or do things differently, it’s up to you not only to communicate what you want,  but also to be part of that change. It’s really rewarding to make a difference, and it is also an excellent networking environment when you work with others toward the same common goal that helps the collective. For a tangible example of what I first did that made me want to do even more within MPEG, read my opinion piece from January 2021 titled “How the New Member-to-Member Section was Born to Help Job Hunters.” For links to get involved, visit editorsguild.com/volunteer and editorsguild.com/committees. 

Where are you currently employed?

I am currently an Assistant Editor on an indie feature called “Here’s Yianni,” that is being cut by the wonderful Mindy Elliott.

Current projects?

When I am not assisting I am cutting as much as possible. Lately I’ve edited dance performances and Zoom shorts, and I freelance as an editor for various shows at MSNBC.

Describe your job.

When working as Assistant I’ve been mostly working remotely. I organize the dailies, script sync, find stock footage, and do sound design and temp VFX while also sending outputs — really anything and everything that’s needed!

At MSNBC, I remotely edit packages, voiceovers and interviews for various MSNBC shows, like “The Eleventh Hour with Brian Williams”, “The Rachel Maddow Show” and “All In with Chris Hayes.” MSNBC taught me the ins and out of AVID, how to do things quickly and correctly, and how to collaborate with other editors, directors and producers. 30 Rock was a very fun place to work; from the holiday parties in the “Saturday Night Live” studio, to the random celebrities you met in the elevator, to watching the tree-lighting from Brian William’s office, there was always something going on.

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

My love for TV and movies goes way back. My dad took me to the movies every Tuesday and throughout the week we’d all gather around the television to watch our favorite shows. I started making movies with my sister and friends growing up for fun. Later, for every school project, instead of giving an oral report I would make a video of myself presenting.

I was always choosing between attending film school and studying meteorology. The movie “Twister”inspired me to go into meteorology. While at Rutgers University I worked at RU-TV as a lead producer to bring daily weather reports to the campus, all while hosting movie nights to try and watch as many of AFI’s Top 100 movies as I could. I realized I liked working behind the scenes and after I graduated I became an editor at MSNBC. I worked at MSNBC for seven years before moving out to Los Angeles to pursue more creative work in scripted.

Who gave you your first break?

 Two amazing editors, Kelly Sol and Jen Rosenthal, who I met at Editfest, gave me my first job after I moved to Los Angeles. I was the DIT as well as the Assistant Editor for a Duplass Brothers Productions pilot series.

What was your first union job?

My first union job was as an Apprentice Editor to Editor and ACE President Kevin Tent for a feature called “The Holdovers,” which is going to be released in theaters November 10. I can’t wait for everyone to see this movie!

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

I really loved working on “The Holdovers.” I learned so much from everyone on that film and I’m really proud of the movie. Everything came together for this film the writing, acting, directing, score and editing. I felt extremely lucky to be able to witness the incredible shorthand that Kevin Tent has with the director Alexander Payne. I also felt that I was included in many conversations that I might not have been had I been working on a bigger blockbuster movie, so I am very thankful for that.

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

My biggest challenge is always feeling confident in myself. When I was starting out I felt confident in my Avid abilities, but I was nervous about being able to succeed in the rest of the role. Imposter syndrome is real! But as Lady Gaga once said, “There can be 100 people in a room and 99 of them don’t believe in you, but all it takes is one and it just changes your whole life.” I was lucky enough to have way more than one person believing in me. So with a lot of coaching and guidance from my mentors I proved to myself that I could do the job and be successful.

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

 On Friday evenings, while working on “The Holdovers,” martinis would be made and everyone at the cutting room would hang out, guests would stop by, and sometimes Alexander Payne would set up his projector and we would watch short films. His collection was great!

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

 I hope to be in the editor’s chair! My dream job would be to work on something in the Batman universe. As someone who has read many of the comics I know there is so many great stories and characters that have yet to be explored. I also really enjoy the range of tones Batman stories can have: Silly, dark and campy, to name a few.

What are your outside activities, hobbies, passions?

 I volunteer at a Cat Cafe in Westwood, play golf, and travel whenever I can.

Favorite movie(s)? Why?

 My absolute favorite movie is “Parasite.” I remember seeing it in theaters and leaving just being in awe of what I just watched and not really speaking about it for like two hours after. “Parasite” is the movie that I measure all other movies against.

Favorite TV program(s)?  Why?

 My current favorite TV show is “Succession”. The blend of drama and comedy is next level and I was so happy with how they ended the series. I also really love “Bob’s Burgers.” I’ll put it on whenever I need to relax and watch something wholesome.

Do you have an industry mentor?

 I’ve been lucky enough to have many industry mentors. Sven Pape, Erik C. Andersen and Jason Ballantine have all given me great advice throughout my career. The person I can really ask anything is the Editor I am currently working with, Mindy Elliott. She hired me for “The Holdovers” and taught me so much on that film and I am so lucky to continue working and learning from her!

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

Keep networking! Even if you think you have enough contacts, keep networking! And make sure to keep in touch with the network you’ve set up. For me in the beginning I thought I was bothering people, but Editors are really nice people so just reach out. All the jobs I’ve worked on is because someone vouched for me.

Also, try to be up to date on both Avid and Premiere. I am seeing more and more job postings for Premiere.

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

I go to as many Guild events as I can so I can stay informed about what’s going on. I even joined the Basic Agreement Committee so I can be involved in the conversation when contract negotiations are up. 

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

Stay hustling and be excellent to each other. 

Q: Where are you currently employed?
I am currently employed at Signature Post as a mix technician, but I also freelance at different facilities as a dialogue editor, re-recording mixer, and mix technician.

Q: Current projects?
My recent credits include dialogue editor on Amazon Prime Video’s documentary “Reggie” and the Sundance Film Festival feature film “King Coal,” mix technician on Brie Larson’s latest Apple TV+ series “Lessons in Chemistry,” and Searchlight’s feature film “Chevalier.”

Q: Describe your job.
As a mix technician, I work closely with re-recording mixers and post producers in order to set up the technical requirements for feature films and television series so that the sound mix is recorded and delivered correctly for release. My job as a dialogue editor requires me to edit, fill sound dropouts with ambience/room tones from the specific takes and angles, and clean up production recordings for episodic series, feature films, and documentaries. This includes filling sound dropouts with ambience/room tones from the specific takes and angles, finding and editing alternate takes as needed, and deciding which audio of the three microphone types that simultaneously record production sound will need to be edited in—boom, lavalier, sometimes plant microphones, or all microphones—to create the best possible dialogue track.

Q: How did you first become interested in this line of work?
I have always been fascinated with sound in films. I grew up singing and playing piano and studied classical music and jazz for many years. While pursuing a Film and Media Scoring degree at Berklee College of Music, I was exposed to the re-cording studio for the first time and ended up adding a major in Music Production and Engineering. During my studies, I fell in love with the creativity and storytelling process of post-production audio, and as soon as I graduated, I moved to LA to pursue a career in the industry.

 Q: Who gave you your first break?
I got my first big opportunity in the film and television industry from my mentors, sound editor Alexandra Fehrman and re-recording mixer Rich Weingart. They brought me on to be the mix technician for the Emmy-nominated series “The Boys.” Through Alexandra, I have been offered many opportunities to mix and supervise indie films and documentaries. My first big opportunity in the video game industry came from Duncan Brown at Formosa Interactive. I worked as the supervising dialogue editor for video game series such as “League of Legends” and “Call of Duty” as well as “Ori and the Will of the Wisps,” for which I was a nominee for dialogue editing at the Motion Picture Sound Editor (MPSE) Awards.

Q: What was your first union job?
My first union job was working as a mix technician on a Netflix series, “Archive 81.”

Q: What credits or projects are you proudest of, and why?
“The Boys,” “Ori and the Will of the Wisps,” “Chevalier,” “Spellers,” and “King Coal.” I worked as a mix technician on “The Boys” and “Chevalier.” That I got to be a part of the sound team for “The Boys” was very surreal for me because I was such a big fan. It was challenging yet extremely fun. Seeing the whole soundscape come to life—the balance between sound effects and music for the big superhero fights—always feels incredibly impactful on the mix stage. About “Chevalier,” I am proud to have been part of a film that tells the story of a historic figure who was a talented musician, composer, and revolutionary leader. I also worked as the lead dialogue editor for the video game “Ori and the Will of the Wisps” and the documentary “King Coal.” For “Ori,” I got to make the creative decisions on combining vowel sounds to create a brand new language for all the creatures in the game. And for “King Coal,” besides editing and cleaning up the production recordings, I got to work closely with director Elaine McMillion Sheldon to place each line of voiceover into the film. For the documentary “Spellers,” I mixed the score and pre-mixed the music. I’m grateful to have been a part of a film that raises audience awareness of autistic non-speakers’ journeys to communicate in the world.

Q:  What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it?
In general, the biggest challenge of being a mix technician is to pay attention to all the little technical details and to create complicated technical setups under pressure. Over the years of working this job, I’ve used every project experience to develop a checklist so I can confirm that I’m executing all the crucial steps of each project’s workflow. 

Q: What’s the most fun you’ve had at work?
It’s fun for me when the content I work on inspires me. The storytelling process is what drew me into the film and television industry initially, and to help tell impactful stories is where I have the most fun and feel the most inspired.

Q: Jobwise, what do you hope to be doing five years from now?
I would love to be able to continue my work on inspiring stories, mixing and supervising, and mastering my professional skills.

Q: What are your outside activities, hobbies, passions?
I love to dance. I take craft lessons such as pottery making. I also enjoy traveling and off-roading. When I’m not at work, I try to spend my time surrounded by nature, and I participate in community classes to learn new things.

Q: Favorite movie(s)? Why?
I have so many favorites! One of my all-time favorite movies is Stephen Chow’s “Kung Fu Hustle.” I’ll always remember watching it with my dad when I was a kid. I’ve watched it multiple times at different stages of my life. When I was a kid, I hadn’t learned to appreciate my own culture; all I remembered was giggling with my dad at all the film’s funny moments. But watching it again as an adult living in a different country made me homesick, and I realized the movie was about loving deeply and supporting your community. I am also a big fan of Miyazaki’s work, including “Spirited Away” and “Ponyo.”

Q: Favorite TV program(s)?  Why?
One of my favorite TV series is “Black Mirror.” I find it highly thought-provoking and at times a little too scary to think about how realistic it is. The plotline for each episode is so different and constantly keeps me on my toes. Another one of my favorite series is “BoJack Horseman.” Living in LA, I often found the story to be very relatable. That animated series can make me feel sad or it can make me feel peaceful. I really enjoyed watching it.

Q: Do you have an industry mentor?
I have many! My mentors include Alexandra Fehrman and Richard Weingart who taught me a lot about mixing. From Daniel Raphael, Bryan Parker, and Mark Relyea, I learned so much about editorial. I also have to give a shoutout to Alex Gerbrandt, Duncan McRae, and Caleb Hollenback who mentored me when I first started mix-teching. I would not be where I am today without my mentors.

Q: What advice would you offer to someone interested in pursuing your line of work?
I recommend people take the time to train. Be detail-oriented; you can never be too careful! Take time to practice, and present your work to your mentors for feedback. When you get opportunities to work alongside people who have been in the industry for decades, you will learn from the best. Don’t waste that opportunity, and don’t be afraid to reach out and branch out!  

Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance?
I haven’t personally needed help or assistance from the Guild yet, but I know they’re here for me if anything were to come up.

Q:  Is there anything you’d like to say to your fellow Guild members, some words of encouragement?
We are very lucky to have this community, to have a labor union that keeps us together and helps us stand up for our rights. I hope to connect with more Guild members and that we always remember how important it is to support each other.

—Compiled by David Bruskin

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. 

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