For some reason, clients or producers always get around to the question, βDid you go to school to edit?β Usually they ask this after theyβve seen a little bit of what I actually do, and they see how odd and specific a profession editing isβI mean, the skills donβt exactly carry over to other lines of work. Sometimes the question is asked because they are just interested in getting to know me better, but Iβm always a little suspicious. Will my value go down if they find out that I didnβt go to a prestigious film school? (I didnβt.) Is there something that they only teach in film school that I donβt know about? (No.)
When I get the question, my answer is usually no. But thatβs not really the truthβI studied Communication with an emphasis in Electronic Media. Not exactly film school, but not unrelated. I took plenty of film classes. But anyone who has been in the post production trenches knows the truthβfilm school doesnβt help. Much.
Think about it. One college class works out to about 42 hours. A little over one work week. Unless youβre an editor, in which case that works out to about 3 days. I once worked with (kind of under, actually) a guy who was 4 years younger than me. But instead of going to college, he went right into post production (the long, hard way). Because I spent 4 years in college, we both got in at around the same time. And I consider his technical knowledge to be superior to my own (not that Iβm some genius).
I donβt want to belittle film school, because I think itβs valuable. But it should be seen in context. Beyond giving the student a broad overview of the industry, and precious resources to experiment with his own films, there is only one real advantage to film schoolβthe network. You get to meet dozens of other students, all going into the same industry. You can help each other out with first jobs, gossip about professors to older alums who might want to hire you, and build a piecemeal film crew for your short film fairly easily once youβre out of college. Thatβs the main reason I regret not going to a proper film school.
But other than that, there is very little to learn about the craft of editing in film school. In his book The Paradeβs Gone By, film historian Kevin Brownlow recounts an enlightening interview with William Hornbeck. He was one of the all-time great film editors, starting out in the silent era working for Mack Sennett. On editing he said, βof course, you canβt teach anyone how to editβ¦you can pass on advise; after that, youβve got to use judgement.β And itβs true. There are no rules. Only what works and what doesnβt.
Which brings me to this humbling conclusionβeven people with little to no film background can give notes that improve your film.
Thatβs not always the case. Iβve received plenty of notes that drive me batty. Sometimes the network has a specific agenda that only tangentially relates to your film. Though itβs far less frequent than many might think, sometimes you get notes that the film is too politically liberal or conservative. Itβs too edgy or not edgy enough. Stars give notes. Agents give notes. Executives give notes. Directors give notes. Producers give notes. Art directors give notes. Lawyers give notes. Other editors give notes. Interns give notes (you donβt have to pay attention to those, but sometimes theyβre insightful).
As you may well guess, sometimes these notes contradict each other. Hopefully, the editor is lucky enough to have a gifted producer compile the notes, and reduce it to something that makes sense (an art form itself). Then the editor is left with a pile of tasks to do. Sounds easy enough, but there is a potentially huge ego blow in there. If the editor does her job properly, she has put a lot of thought into each cut and transition. Each take was carefully chosen. The music hits the perfect note at just the right spot. So when the director says, βI donβt like that shot,β there is a moment of humiliation and defeat. Or at least there can be.
If I were to make a single recommendation to an aspiring editor still in college, it would be this: take a creative writing class. One with a workshop. My creative writing class is the reason I have no problem when my work is critiqued. Well, Iβve also grown up a little since I started out. In creative writing, we had workshop days. The entire class was encouraged to pretend that the author wasnβt in the room, and they tore it apart. It can be brutal. But once the storm is weathered, you come out with some positive ways to improve your story.
The same is true in editing. Even though in one sense the editor is the final storyteller (after the writer and director), the film is never considered as belonging to the editor. Our job is to make the best possible film from the footage we receive. And despite the fact that an editor may know a project like the back of his hand, sometimes a valuable tip comes from an unlikely source.
Iβve had plenty of helpful notes from producers and directors. More surprisingly, Iβve had helpful notes from studio executives and even clients completely outside the film industry. Notes that genuinely improve the project. Early on in my career, I was perhaps a little scornful of these βoutsiderβ notes. What did they know about it? It took a little maturing on my part, but I eventually realized, βwhat do I know about it?β The only true βruleβ of editing, is that it has to work. Thatβs it. Doesnβt take film school to figure that one out. Most people know when theyβre watching a bad movie.
Hereβs a common scenario: Iβm in the editing bay with a client or producer, reviewing the cut. Client says, βthatβs not working. Can we try this instead?β
After making the edit in my head, I say, βI donβt think that will work. But letβs give it a try.β
Sometimes it doesnβt work, but because Iβve tried it, the client now knows it doesnβt work. But a surprising amount of the time, it does work. Maybe it introduces some more issues I have to fix later on, but it still works.
That is truly humbling. And itβs why I take every note I get seriously. Because I want the best possible film.
So did I go to film school to edit? Answer:Β I go to film school everyday. And I have many teachers.
33 Responses
Matt Lambro
Wonderful article. As a producer this is helpful and enlightening. Should also add that I think you’re an extremely talented editor.
Mark Petitfils
Thanks, Matt. And you always give great notes!
Tamara Gonzalez
Mark, it’s been great reading your article and getting a closer look at what you do!! Love the humility you communicate!
Terry Klipfel
Enlightening. Interesting read. π
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