Each year, Filmmaker sends all Sundance feature film or series editors a questionnaire to complete ahead of their film’s festival screening. We also send out cinematographer questionnaires and a single question for feature directors to answer.

Below, find links to individual editor responses, which will be updated daily during the festival.

“I Love To Look For Good Reactions”: Editor Whitney Houser on Aliens Abducted My Parents and Now I Feel Kinda Left Out

“Don’t Settle for What Your Eyes See on the First Day”: Editor Clara Martínez Malagelada on La Pecera

“My Techniques Are Intuitive”: Editors Marc Boucrot and Jacqueline Castel on My Animal

“Figuring Out How and When to Peel Back the Layers of the Story Was Crucial”: Editor David Mehlman on Murder in Big Horn

“I Couldn’t Even Tell You Who Cut What”: Editors Brett Banks and Chris Iversen on Willie Nelson & Family

“Be Very Conscious About Pruning Unnecessary Branches”: Editor Silvija Vilkaite on Slow

“The Process Is Similar to the One I Go Through When I Direct”: Editor Babak Jalali on Fremont

“The Freedom To Find My Own Way Through Such a Personal Story”: Director-DP-Editor Sierra Urich on Joonam

“The Second Act Is Always a Challenge”: Editor Taryn Gould on Nam June Paik: Moon Is the Oldest TV

“I Was Struck by the Danger of Ideology”: Editor Keita Ideno on AUM: The Cult at the End of the World

“The Complexity of Parenting Adults”: Editor Tricia Holmes on A Little Prayer

“Music Became an Important Voice in the Storytelling”: Editor Beverly Mills on Poacher

“In This Case, Starting at the End Made Sense”: Editor Julian Hart on The Deepest Breath

“We Wanted To Create a Mosaic Film”: Editor Ula Klimek-Piątek on Pianoforte

“Most Films Go Through What I Call an Accordion Process:” Editors Inbal Lessner and Kim Roberts on Victim/Suspect

“The Awkwardness in the Air is the Spirit We Want to Capture”: Editor Yang-Hua Hu on The Accidental Getaway Driver

“We Initially Imagined It as a Rectangle That From the Left Starts Off Dark, Gray and Gloomy”: Editor Iva Radivojevic on King Coal

“Each Film I Make Will Require New and Different Ways of Thinking”: Editor Luke Lorentzen on A Still Small Voice

“Creative Storytelling Needs Rather Simple Tools”: Editors Tushar Prakash and Hendrik Mägar on Smoke Sauna Sisterhood

“A Family Drama and a Whodunnit at the Same Time”: Editor Robert Grigsby Wilson on Fancy Dance

“Nothing Is Wasted in the Process of Documentary Editing”: Editor Jean Rheem on Bad Press

“Post-it Notes Always Are a Huge Help”: Editor Thomas Pooters on When It Melts

“This Is Filmmaking as an Artistic and Cultural Necessity”: Editor Nathan Delannoy on Mami Wata

“A Collaboration of Kindred Expression”: Editor Mark Bukdahl on Twice Colonized

“Develop a Workflow to Effectively ‘Play Ping-pong’”: Editors Roman Liubyi and Mila Zhluktenko on Iron Butterflies

“Even the Biggest Fight Scene Was Ultimately About Character”: Editor Robbie Morrison on Polite Society

“The World Just Sounded Different 50 Years Ago”: Editors Peter Hagan and Lawrence Klein on Fairyland

“I Never Realized How Gifted He Is With Comic Timing”: Editor Michael Harte on STILL: A Michael J. Fox Movie

“When a Place Is Transformed and Scrubbed, so Are the Original Memories”: Editor Mel Mel Sukekawa-Mooring on The Stroll

“From the First Assembly, I Knew the Film Was There”: Editor Lindsay Armstrong on Young. Wild. Free.

“It’s Great When an Idea Is Transformed So Much That the Author Is Rendered Unknown”: Editor Jon Philpot on Theater Camp

“The Tonal Balance Was a Bit of a Tightrope”: Editor Jacob Craycroft on Cat Person

“I Usually Prefer To Embrace the Rushes as a Whole”: Editor Hoping Chen on Drift

“We Would Light a Candle and Some Impepho at the Start of the Work Day”: Editor Hankyeol Lee on Milisuthando

“I Like To Edit Ideas, Not Sequences”: Editor Geraldine Mangenot on Other People’s Children

“Bodies With a Vulva Have Been Suppressed Over and Over Again”: Editor Eileen Meyer on The Disappearance of Shere Hite

“I Consider Myself a Sensitive Person”: Editor Carolina Siraqyan on The Eternal Memory

“The Best Tool for Capturing Human Behavior”: Editors Axel Danielson and Maximilien Van Aretryck on Fantastic Machine

“I Like to Channel Musicality Into the Act of Editing”: Editor Adam Dicterow on Mutt

“Remember To Let Go of the Plan Now and Again”: Editor Andrew Bowser on Onyx the Fortuitous and the Talisman of Souls

“The Role of an Editor Is Similar in Many Ways to a Good Translator”: Editor Simon Price on Bad Behavior

“The Feeling of Interconnectedness We Share as Humans”: Editor Chris McNabb on Invisible Beauty

“There Was a Lot of Important World Building To Be Done”: Editor Sam Levy on The Starling Girl

“Curiosity and Fear Are Strange Companions”: Editor Stella Heath Keir on Girl

“My Goal Is Always To Move People to Laughter or Tears”: Editor JoAnne Yarrow on The Persian Version

“I Don’t Think I’ve Ever Cried So Much in the Edit”: Editor Michelle Mizner on 20 Days in Mariupol

“A Joyful Film About a Complicated, Well-Lived Life”: Editor Tal Ben-David on Judy Blume Forever

“I Studied Experimental Filmmaking, Not Editing”: Editor Nico Leunen on The Eight Mountains

“Intently Listening to ‘Mmmbop’ on Repeat”: Editor Reynolds Barney on Jamojaya

“Funnier Is Almost Always Better in My Book”: Editor Robert Nassau on Shortcomings

“Rules Are Perhaps the Most Useful Ally in Creativity”: Editor Meredith Perry on PLAN C

“The Main Goal Was To Make the Audience Connect With an Unusual Protagonist”: Editor Fàtima de los Santos on MAMACRUZ

“A Narrative That Exposes the Horror of Losing One’s Autonomy”: Editor Taylor Mason on birth/rebirth

“With This Film, It Came Full Circle”: Editor Ron Patane on The Pod Generation

“We Hope That This Film and Its Female Narrative Will Echo the Voice of Iranian Women”: Editor Elika Rezaee on Shayda

“Emanuele Asked Me to ‘Undertake the Journey’ With Him”: Editor Clelio Benevento on L’Immensità

“I Wanted To Make Sure the Film Felt Lived In”: Editor Ryan Kendrick on Sometimes I Think About Dying

“A Foray Into the Heart of Different Family Dynamics”: Editor Anouk Deschênes on The Longest Goodbye

“I Use Split Screens as a Tool for Ensuring Any Performance Can Be Used”: Editor Franklin Peterson on Fair Play

“A Rom-com That Knows Exactly What It Is”: Editor Victoria Boydell on Rye Lane

“Most Films Go Through What I Call an Accordion Process:” Editors Inbal Lessner and Kim Roberts on Victim/Suspect