Conflicts with editors are inevitable in film production, but they don't have to ruin your creative vision or your professional relationship. In this article, you'll learn some practical tips on how to handle disagreements, communicate effectively, and collaborate smoothly with editors.
Editors are not just technicians who cut and splice footage. They are storytellers who shape the narrative, rhythm, and mood of your film. They also have to balance your preferences with the expectations of the producers, distributors, and audiences. Therefore, you should respect their expertise, input, and perspective, and avoid micromanaging or dismissing their suggestions.
Films are made in the edit. There is no way around this. The key is to have an editing team you actually like and share a vision with. Good directors shoot for the edit - indeed, good directors should be good editors. I am amazed when directors say "I can't edit". This may have worked in 1990 but not now.. When choosing a new editor look at their work. Do you like it? Do you notice it? Are they organised? Do they label everything? Basic steps save huge amounts of time later on. When hiring an editor - Do you share a rapport? Can you trust their judgement and vision? This is an intimate relationship. Ask them what they need from your continuity notes, share your vision and look and feel. Remember you are on the same team. Team Edit!
I make a set of notes of the scenes I'm really concerned about that I want presented a certain way and explain why. After the first cut I'll entertain their thoughts and have them go ahead with what they have in mind and then make a decision. Thus will come from the writer's perspective. If the performance is weak, then look for the best performance and ask thr editor to try to save the scene which no doubt will effect other scenes. But hire someone you respect and the rest is much, much easier.
Editors play key role in the over all film making process, by bringing together every detail, in a technical and meaningful way, making sure that everyone is satisfied with the job.
I would keep communications with editors all the way. Although it may sound a bit farfetching, I feel it important to share the same value with my editors, in terms of how we perceive the message of the film, its rhythm and mood. On-site editing might be helpful and efficient if possible.
Before you start working with an editor, you should have a clear idea of what you want to achieve with your film, and how you want to convey your message and style. You should also agree on the scope and parameters of the editing process, such as the budget, timeline, deliverables, and feedback mechanisms. Having a written contract or agreement can help you avoid confusion and conflicts later on.
It's imperative to set clear goal, get your contract ready, no sentiment, editors should be professional at all time, this will help them focus more and avoid misunderstanding.
Communication is key to a successful collaboration with an editor. You should communicate your vision, expectations, and feedback in a clear, concise, and respectful way. You should also listen to the editor's opinions, questions, and concerns, and acknowledge their contributions and challenges. Avoid using vague, ambiguous, or subjective terms, such as "make it more dynamic" or "it doesn't feel right". Instead, use specific, objective, and actionable language, such as "increase the pace" or "add a close-up shot".
Assumption is not fact, if you want something done, you have to say it, communication is important, that the way to go, not just with editors but every individual. If ever you are not comfortable with anything, you have to state it, hit the nail on the head, no beating about the bush, while at it be civil and objective.
Sometimes, you and your editor may have different opinions or preferences about how to edit a scene, a sequence, or a whole film. This is normal and healthy, as long as you can discuss and resolve them in a civil and professional manner. You should avoid personal attacks, emotional outbursts, or ultimatums, and instead focus on the merits and drawbacks of each option. You should also be open to compromise, negotiation, and experimentation, and try to find a solution that works for both of you.
Working with an editor can be a rewarding and enjoyable experience, if you show appreciation and support for their work. You should thank them for their efforts, compliment them on their achievements, and give them credit for their role in your film. You should also support them by providing them with the necessary resources, information, and feedback, and by respecting their time, space, and autonomy. By doing so, you can build trust, rapport, and loyalty with your editor, and enhance the quality of your film.
Finally, you should view each collaboration with an editor as an opportunity to learn and grow as a filmmaker. You should reflect on what worked well and what didn't, and what you can improve or change in the future. You should also seek feedback from the editor on your performance, and give feedback to them on theirs. By doing so, you can develop your skills, knowledge, and confidence, and foster a long-term and mutually beneficial relationship with your editor.