If I’m doing it right, no one ever notices. When I’m editing dialogue and trying to get everything into 30 seconds, sometimes I have to speed up the moments of silence in a take. I can’t say that I really have one, although I use FluidMotion a lot. All I can say is thanks again to Jim Tozzi, Lisa Leone and Desmond Lavelle. They made my career and spoiled me for every job after that. Anyway, the spots broke and went to Cannes, getting a lot of attention. We just laughed the entire time and made the spots as funny as they possibly could be. The concept was genius, the art direction and scripts were so ridiculous and off-kilter - the whole time, it was like we were getting away with something. I was so lucky because everyone was so good. The creative team was young, the director was unknown, and the project was flying under the radar. One of my earliest projects as an editor was for Rice Krispies Treats, and I think it was the first time that creatives requested me specifically. What is the project that you are most proud of and why? Maybe that person is perfectly happy, but you have to ask - and then be prepared to deal with the answer. Sometimes it’s the person who hasn’t said anything at all. It’s not always the loudest person in the room, or the most senior. You didn’t ask, but the biggest job for me is to figure out who I’m supposed to be listening to.
Being in the edit room and bouncing ideas off each other is one of my favorite things.Īre you often asked to do more than edit? If so, what else are you asked to do?Īside from editing, I’m also asked to be a diplomat, a psychologist and a bartender - all of which I enjoy doing. Then somehow, they do, and they are funnier than the scripted spot. Comedy is subjective, and I’ve been asked to put together edits that I was convinced wouldn’t work. I genuinely love playing with the footage and trying new things with my clients in the room.
Maybe that editing can be so surprisingly collaborative. What would surprise people the most about what falls under that title?