Where are you currently employed?

I’ve been a freelance editor for approximately 18 years.

Current projects?

I just locked picture on “New Year’s Rev,” a feature premiering at the 2025 Toronto International Film Festival. It’s a buddy road trip comedy influenced in part by Green Day’s early days of touring before they were famous.

Describe your job.

I primarily cut dark comedies, so my job is to balance the darker/dramatic sides with comedic elements. There’s a fine line between letting a scene breathe or pacing up a joke to keep things moving. Dark comedies feel like the best of both worlds because they always keep me on my toes.

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

I started shooting and editing skateboard videos with my friends when I was 17. I found the editing process fascinating and endlessly creative. In order to make edits, I had to hook up my Sony 8mm camera to a VCR, hit play on the camcorder, and record/play on the VHS. Needless to say, I was thrilled when nonlinear editing came along. I think the first nonlinear software I learned was Media 100, then Premiere, then Media Composer in college.

Who gave you your first break?

Fred Eldridge, who was a colorist at Level 3 Post in Burbank. He got me an interview for a vault position. Working the graveyard shift for minimum wage certainly didn’t feel like my first break at the time, but it got me in the door at a union post house. I remember my first night on the job, a runner dropped off several 35mm film rolls of “The Simpsons.” I couldn’t believe they trusted me to handle something so valuable!

What was your first union job?

I worked the dub rack at Level 3 and was later bumped up to online assistant editor. Those two jobs were probably the most stressful jobs of my career, but they taught me how to stay calm under immense pressure.

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

I’m proud of all the projects I’ve worked on, but “Paper Heart” (2009) holds a special place in my heart. We got to make a film that blended narrative and documentary elements in a way that felt unique. We were young and inexperienced, but we got to create the film we wanted to make. It was my first feature and got accepted into Sundance, so that felt like a crowning achievement right out of the gate.

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

The biggest challenge as a film editor is bringing everyone’s voices to the table, making them feel heard. Each project brings its own set of challenges, but being open to new ideas is how I stay above the fray. I pride myself on my professionalism and will try every note because it often sparks a new idea that wasn’t there before.

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

Editing “Detroiters” and “I Think You Should Leave with Tim Robinson” was the most fun I’ve had on any show. The show creators are hilarious, so it was a pleasure going to work every day and laughing at their jokes.

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

I’ve been cutting comedies my whole career, so I’d love to branch out to dramas. I’ve also thought about teaching film classes at the university level.

What are your outside activities, hobbies, passions?

Snowboarding and golf, i.e., all the cheap hobbies. I also play trombone and piano.

Favorite movie(s)? Why?

“Gummo” (1997). It was Harmony Korine’s directorial debut, which he also wrote. I saw it in college and was blown away by how weird and cool it was. I’d never seen a movie with a tone like that. It made making movies feel possible to me, whereas all the studio movies coming out around that time felt so out of reach. As a film student, I wondered, how do you even get to make a movie like “Pulp Fiction,” which had been released a few years before?

Favorite TV program(s)?  Why?

“Garth Marenghi’s Darkplace.” It’s an unconventional British TV series that first aired in 2004 before it was unceremoniously canceled after six episodes. It’s where I discovered Matt Berry, one of my favorite comedy actors of all time. I’ve watched it close to 100 times, and it’s still as funny as it was on the first viewing.

Do you have an industry mentor?

My mentor was Danny Leiner, who passed away in 2018. He directed many films and TV shows, including “Harold & Kumar Go to White Castle.” Danny had an enormous impact on my approach to editing. He was tough as nails and wouldn’t accept anything short of perfection, but his mentorship was an invaluable education. I can still hear his voice in my head all these years later and will make choices based on what I think he’d want.

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

Don’t get into this line of work unless you’re passionate about it. In my experience, there aren’t any shortcuts and everything is earned. I still feel like I have to prove myself on every new project.

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

Nothing specific, but knowing that they always have our backs means the world to me.

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

Before I moved to LA, I used to watch movies and be so intimidated by the craft. A film career seemed like an insurmountable obstacle, but if you keep pushing and creating things, eventually the mountain turns into a molehill.

-Compiled by David Bruskin.