In 2017, Patrick Colman edited the music video for “Holding On” by the indie rock maestros The War on Drugs. Brett Haley, the writer/director behind the 2017 Sundance hit The Hero, directed the clip. The director and editor reunite on Hearts Beat Loud, a family drama starring Nick Offerman, Kiersey Clemons and Ted Danson. Colman previously edited Sundance titles Other People (2016) and Hits (2014). Below, he shares his thoughts on cutting the music-driven Hearts Beat Loud. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this […]

German editor Philipp Gromov has cut 11 documentary features, series and shorts since 2010. He began his career on The Other Chelsea: A Story from Donetsk, which tells the story of a small mining town in Ukraine. His latest feature, The Cleaners, premieres in competition at the 2018 Sundance Film Festival. The film offers a rare glimpse into the lives of digital “cleaners”: anonymous people contracted by Silicon Valley companies to scrub the internet of content deemed “inappropriate.” Gromov spoke with Filmmaker about cutting the film and why The Cleaners has inspired him to cut his own use of social media. Filmmaker: How […]

Luke Dunkley began his career 20-some years ago as an editor on the short-lived BBC show This Life. He has since gone on to work for dozens of TV series and miniseries, including Netflix’s The Crown, Channel 4’s National Treasure and Canal Plus’s The Last Panther. Dunkley served as the editor on Ophelia, the fourth feature from Australian director Claire McCarthy. Ophelia is a retelling of Hamlet as told from the perspective of the young noblewoman of Denmark. Below, Dunkley discusses how he and McCarthy sought to “not compromise the young female perspective” in their spin on Shakespeare. Filmmaker: How and why did […]

Twenty-some years ago, Sandi Tan and her friends shot a 16mm thriller called Shirkers. It was a guerilla-style production in her home country of Singapore. The film, however, was never finished because a member of the crew – the mysterious Georges – stole all the footage and disappeared. Tan’s new documentary, Shirkers, is an experimental dive into that footage and what it meant to her as a young filmmaker. Tan hired filmmaker Lucas Celler to edit and give shape to the film. Below, Celler discusses editing this “collage film, constructed with everything from video to film to photos to maps to […]

Sabine Krayenbühl began her career as an editor in 1994 with a number of small shorts and features. Her breakthrough came in 2003 with My Architect, a documentary on architect Louis Kahn directed by his song Nathaniel. She has since edited more than 10 feature-length docs, including the 2016 film Letters from Baghdad, which she directed. She reunites with Nathaniel Kahn for The Price of Everything, a documentary look at the contemporary art world, which, as she says below, “values money above everything.” Krayenbühl spoke with Filmmaker ahead of the film’s five screenings at Sundance about her editing process. Filmmaker: How and why […]

Danish filmmaker Olivia Neergaard-Holm was one of three directors on last year’s Criterion-anointed documentary David Lynch: The Art Life. Neergaard-Holm has edited a dozen shorts and features since 2010, including the single-take German thriller Victoria and the Danish horror drama Shelley. She most recently edited Holiday, the debut feature from director Isabella Eklöf, which appears in competition at the 2018 Sundance Film Festival. Neergaard-Holm spoke with Filmmaker about Holiday‘s tricky gender politics and why it was important for the film to maintain a “cold, cynical and misogynistic vibe.” Filmmaker: How and why did you wind up being the editor of your film? What were the […]

Sofia Subercaseaux readily admits to editing her first feature film with the aid of “tutorials on YouTube.” That film, Crystal Fairy & the Magical Cactus, went on to premiere at Sundance in 2013. She has since gone on to edit Nasty Baby, Christine and Dina – all of which debuted at Sundance in 2015, 2016 and 2017, respectively. This year she edited two films at the festival: Nicolas Pesce’s Piercing and Sebastián Silva’s Tyrel. Below, Subercaseaux discusses her continued collaboration with Silva and the “instinctual and easy to navigate” feel of editing on Adobe Premiere. Filmmaker: How and why did […]

Brothers David and Nathan Zellner are a reliable presence at the Sundance Film Festival. Their films Baghead (2008), Goliath (2008), Kid-Thing (2012) and Kumiko, the Treasure Hunter (2014) have all premiered at Sundance. To that list they now add Damsel, their new comedy/western starring Robert Pattinson and Mia Wasikowska. Damsel editor Melba Robichaux spoke with Filmmaker before the film’s premiere about some of the key questions one asks during the process of editing a feature film. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this […]

Charlotte Munch Bengtsen began her career as an editor in the mid-2000s on a number of documentaries and shorts. Her break came in 2012 when Joshua Oppenheimer hired her as an editor on his seismic work The Act of Killing. Munch Bengtsen’s newest project is The Last Race, the feature doc debut from visual artist Michael Dweck. Below, she shares her thoughts on the importance of test screenings, rushes and how her experience as a dancer influences her work as an editor. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes […]

Flynn McGarry began hosting his own supper club when he was 11 years old. Now 19, the teen chef has fascinated readers of the New York Times Magazine, Time and food blogs the world over. McGarry is the subject of Chef Flynn, the second feature doc from director Cameron Yates (The Canal Street Madam). Yates hired Hannah Buck to edit Chef Flynn alongside consulting editors Amy Foote and Shannon Kennedy. Below, Buck discusses how she sought to move the film away from talking heads and voiceover narration and toward “a more vérité approach.” Filmmaker: How and why did you wind up […]