Editors
Interviews - Editors
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“I Like To Edit Ideas, Not Sequences”: Editor Geraldine Mangenot on Other People’s Children
In Other People’s Children, the latest from director Rebecca Zlowtowski, a woman in her 40s named Rachel (Virginie Efira) grapples with the idea of being a mother—as well as the idea of going down a child-free path. Editor Geraldine Mangenot, who’s worked with Zlowtowski since her 2019 film An Easy Girl, discusses how being a mother herself influenced the film’s edit. See all responses to our annual Sundance editor interviews here. 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 job? Mangenot: […]
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“We Would Light a Candle and Some Impepho at the Start of the Work Day”: Editor Hankyeol Lee on Milisuthando
Milisuthando, the five-part personal essay film from first-time director Milisuthando Bongela, utilizes a trove of unseen archival images of South Africa during apartheid, particularly the all-Black Transkei community that Bongela grew up in. As such, editor Hankyeol Lee had a lot of material to sift through while remaining attentive to the intimate and oft-sensitive details of Bongela’s—and an entire nation’s—traumatic reckoning. Lee tells Filmmaker about how they went about editing the film, including a ritual she and the director would practice in the cutting room. See all responses to our annual Sundance editor interviews here. Filmmaker: How and why did you […]
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“I Usually Prefer To Embrace the Rushes as a Whole”: Editor Hoping Chen on Drift
Drift, the latest feature from Singaporean director Anthony Chen, follows Jacqueline (Cynthia Erivo), who finds herself struggling to scrape by on a Greek island after fleeing Liberia during the war. The daughter of a wealthy government loyalist, this new rough and tumble lifestyle is far from the luxurious life she used to live. When she meets Callie (Alia Shawkat), an American tourist traveling solo, she is charmed and takes a risk by forming a connection with her. Chen’s longtime editor Hoping Chen discusses the process of working on this film, revealing many of his established cutting habits. See all responses […]
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“The Tonal Balance Was a Bit of a Tightrope”: Editor Jacob Craycroft on Cat Person
Cat Person, the viral short story that originally appeared in The New Yorker is now a feature film from director Susanna Fogel. Editor Jacob Craycroft tells Filmmaker about bringing the re-imagined feminist cautionary tale to life in the cutting room. See all responses to our annual Sundance editor interviews here. 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 job? Craycroft: As with most of my jobs that aren’t with repeat filmmakers, this came through my agent. I had read the short […]
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“It’s Great When an Idea Is Transformed So Much That the Author Is Rendered Unknown”: Editor Jon Philpot on Theater Camp
A dysfunctional summer camp for thespians in upstate New York is the setting of Theater Camp, the co-directing effort of Molly Gordon (who also stars as quirky counselor Rebecca-Diane) and Nick Lieberman. Editor Jon Philpot discusses the process of cutting the mockumentary-style film. See all responses to our annual Sundance editor interviews here. 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 job? Philpot: The directors, Molly Gordon and Nick Lieberman, found me on IMDB while looking for editors that worked on […]
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“From the First Assembly, I Knew the Film Was There”: Editor Lindsay Armstrong on Young. Wild. Free.
Teenagers Brandon (Algee Smith) and Cassidy (Sierra Capri) form a perilous romance that rivals Bonnie and Clyde’s in Young. Wild. Free., director Thembi Banks’s feature debut. Filmmaker asked editor Lindsay Armstrong about her experience cutting the film, including the unexpected importance of VFX. See all responses to our annual Sundance editor interviews here. 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 job? Armstrong: Director Thembi Banks and I met and became good friends while working towards our MFAs in Film Production […]
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“When a Place Is Transformed and Scrubbed, so Are the Original Memories”: Editor Mel Mel Sukekawa-Mooring on The Stroll
In The Stroll, the gentrification of New York City’s Meatpacking District is told through the history of the trans sex workers who long worked and resided in the neighborhood. Through extensive archival materials and intimate interviews, co-directors Kristen Lovell and Zackary Drucker explore how police violence factored into the downfall of “The Stroll” where this community would congregate. Editor Mel Mel Sukekawa-Mooring discusses cutting the film, also touching on the “roundabout journey” that brought them to the industry. See all responses to our annual Sundance editor interviews here. Filmmaker: How and why did you wind up being the editor of your […]
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“I Never Realized How Gifted He Is With Comic Timing”: Editor Michael Harte on STILL: A Michael J. Fox Movie
The life and career of Michael J. Fox is told through recreations of his most iconic acting roles in STILL: A Michael J. Fox Movie. Editor Michael Harte tells Filmmaker about working on the latest film from Davis Guggenheim. See all responses to our annual Sundance editor interviews here. 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 job? Harte: I grew up in the 80s so like a lot of people my age I loved Michael’s movies as a kid. They […]
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“The World Just Sounded Different 50 Years Ago”: Editors Peter Hagan and Lawrence Klein on Fairyland
Based on Alysia Abbott’s memoir of the same name, Fairyland chronicles Alysia’s (Emilia Jones’s) coming of age in the ’70s and ’80s. After her mother dies, her father moves to San Francisco with the then-5-year-old Alysia and begins openly dating men. The film follows Alysia’s ever-evolving relationship with her father as she relocates to New York for college, travels to France for a study abroad program and eventually returns home to San Francisco. Co-editors Peter Hagan and Lawrence Klein discuss how they worked together to cut Andrew Durham’s debut feature. See all responses to our annual Sundance editor interviews here. Filmmaker: […]
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“Even the Biggest Fight Scene Was Ultimately About Character”: Editor Robbie Morrison on Polite Society
When Ria’s (Priya Kansara) big sister Lena (Ritu Arya) announces that she’s dropping out of art school and getting married, she immediately knows that something’s not right. As such, the London schoolgirl and aspiring martial artist recruits a couple of friends to save Lena from her own wedding before she moves to Singapore with her new beau. Robbie Morrison tells Filmmaker about cutting Polite Society, writer-director Nida Manzoor’s debut feature. See all responses to our annual Sundance editor interviews here. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that […]
