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 a single question for feature directors to answer as well as questionnaires for cinematographers and first-time Sundance feature producers.

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

“Anyone That Watched the Early Cuts Had the Same Reaction”: Editors Dashya Broadway and Jon Higgins on Your Monster

“I Approached Each Edit as I Would an Onion”: Editor Julian Ulrichs on Kneecap

“We Realized During the Edit That There Were Several Options for the Ending”: Editor Sofi Marshall on I Saw the TV Glow

“Crafting Stories With My Head and My Heart”: Editor Amy Foote on Girls State

“Creating Editorial Iterations Can Often Be Like Smelling Too Much Perfume”: Editor Susan Korda on Sujo

“We Didn’t Want to Just Chuck in a Bunch of New Bits”: Editor David Timoner on Dig! XX

“We Knew It Was Going to Be a Bit of a Sprint”: Editor Arielle Zakowski on Didi

“When You’re Telling a Story About the Future, the Conclusion is Itself Inconclusive”: Editor Conor McBride on Love Machina

“I Still Find Myself Getting Moved by the Film, Despite Having Watched It Hundreds of Times”: Editor Mari Bakke Riise on A New Kind of Wilderness

“Bringing Different Stories Together To Create an Exciting Narrative”: Editors Anne Juenemann and Lisa Zoe Geretschläger on Eternal You

“In Some Mysterious Way, the Material Itself Begins To Speak to You”: Editor Amrita David on Girls Will Be Girls

“The Rhythms of the Film Mirror Their Artistic Spirit”: Editors Brendan Bellomo & Aniela Sidorska on Porcelain War

“It Was a Lot of Experimentation Along the Way”: Editor Jennifer Vecchiarello on My Old Ass

“Retain the Depth and the Breadth of This Community”: Editor Nathan Punwar on Sugarcane

“This Particular Film Felt Like Whittling Down a Single Object Until It Was Smooth”: Editor Graham Mason on Good One

“Feedback Helped Shape a More Comprehensive Narrative”: Editor Stephania Dulowski on Tendaberry

“I Was Keen to Challenge Myself with Film Language That I Hadn’t Tried”: Editor Arttu Salmi on Sebastian

“It Was Necessary to Make Non-Obvious Cuts”: Editor Marilia Moraes on Malu

“The Turning Points of the Story are Painful and Challenging Moments”: Editor Hayedeh Safiyari on In The Land of Brothers

“I Hope Watching Her Will Spark That Curiosity in All of Us”: Editor Celia Beasley on Penelope

“We Wanted To Embed the Viewer in the Energy of the Campaign”: Editor Aaron Soffin on And So It Begins

“A Fundamental Quality for the Editor is to Investigate the Director’s Unconscious”: Editor Paola Freddi on Reinas

“Like If Pablo Larrain’s Jackie Was About Jason Voorhees”: Editor Alex Jacobs on In A Violent Nature

“We Allow Each Person to Identify with Any or All of the Main Characters”: Editor Adam Dicterow on In the Summers

“Some Moments Feel Like They’re from a Totally Different World”: Editor Tory Stewart on Conbody VS Everybody

“The Ending Was Always Clear for Us”: Editor Emma Backman on As We Speak

“I ‘Write’ My Films in the Editing Room”: Editor Jules Rosskam on Desire Lines

“How You Bring a Story to Life Is Just a Question of Your Imagination”: Editor Otto Burnham on Super/Man: The Christopher Reeve Story

“The Point Is to Struggle With What You’ve Been Given”: Editor John Magary on Between the Temples

“This is the Story of Environmental Racism”: Editor Rosella Tursi on God Save Texas: The Price of Oil

“Establishing the Idea of Ending Scenes Abruptly…”: Editor Greg Jardin on It’s What’s Inside