Credits are a strange phenomenon in the film
business. Movies that are directed by Alan Smithee will have had the real
director’s name removed. Peter Andrews is a pseudonym often used by Steven
Soderbergh for crediting the cinematography on films he has directed. Roderick
Jaynes has edited many Coen brothers’ movies, yet this is a fictitious name for
the Coen’s themselves.
Filmmaking is, of course, a collaborative art
so who did what exactly on a project can understandably blur. But a
director of photography is definitely that. Whereas the multiplicity of titles
given to editors can create confusion over their role in the process.
Prioritizing ways to make the vision of the
director the best possible one while downgrading their own ego is
characteristic of most successful editors. A natural reluctance to shout above
the parapet and simply get on with the work is vital to the show’s authorship
at the same time as it undermines their wider recognition.
In addition to which, editing is a singularly
cinematic art form. Unlike writing, directing, acting, design and music/sound
composition, editing only exists in motion pictures.
This article unpicks the role and its credits with
the help of leading editors.
What does an editor do?
“The editor is the principal cinematic
storyteller of any motion picture meaning that they are the first one who will
bring all aspects of the production process together in a way that is
compelling, exciting and entertaining,” says Edgar Burcksen, ACE (The Young
Indiana Jones Chronicles).
Another take on the role is offered by Wendy
Hallam Martin, ACE (The Handmaid's Tale): “A story is born in the
writing room, dies on the floor (filming) then is reborn in the edit suite,”
she says. “The editor’s job is to create a cohesive piece that resembles the
script but elevates the drama with performance choices, selection of frame
sizes and a dose of rhythm and pace from the footage provided.”
The editor heads up the editorial department
and is responsible for the creative decisions that establish the look of a show
and maintains it continuity both thematically and visually. Normally the role
is credited as ‘editor’ (rather than lead editor) with associate editors
working under the editor’s supervision.
“The
lead editor takes on the mantle of solving the problems that every production
needs to consider,” explains Will Oswald (Good
Omens). “These include the challenges of interpreting the style of
the script and the actuality of the shoot. They also take the heat of the
producers and exec notes and grapple with budgetary problems so that the rest
of the shows down the line have achievable and clear goals.
The editor will play the key role in selecting
and hiring a crew for the postproduction including assistant editors,
apprentices, interns and postproduction PAs. Choosing the editorial software,
sometimes the editorial facility, and having a vote in postproduction schedule
are other important decisions an editor is closely involved in. An advisory
role in choosing composers, vfx facilities and vfx supervisors as well as the
sound team can also form part of the editor’s duties.
“In a very real sense what comes out of the
cutting room is the film we have had to sort out all the problems
that may have occurred and made best use of the material given,” adds Oswald.
Associate editor
An associate editor is an additional editor
usually working alongside the main editor—or brought on during the editing
process to help out. Sometimes an associate editor is called in to help out
productions that were in trouble and need someone with a fresh look and the
experience to dig the project out of the gutter.
“You would consider these editors ‘Film
doctors’ but that term would take away from the accomplishments of the initial
editor who worked on the project for many months,” says Burcksen. “They analyse
the problem and come up with workable solutions that can usually be done in a short
period of time. The credit usually given to these life savers is ‘associate
editor’.”
Co-editor
An editor who is either hired after the
initial editor has been appointed or when the work seems to be to be too
voluminous to be done by one editor.
“The credit would generally be granted
dependent on the amount of work they did—unless they are of a stature where they
negotiate it up front before they start,” notes John Smith (24: Legacy).
“Sometimes there can be different moods in a film and so different editors are
used for their distinctive styles and what that can bring to the project or to
certain sequences.”
The status of this credit is open to
interpretation. Creatively, on some shows, the co-editor is par with the
initial hired editor. On other shows with both an editor and a co-editor the
co-editor credit carries a little less importance in the hierarchy.
In case of doubt, Oswald’s rule of thumb is,
"Would I feel comfortable claiming this cut is mine at
an awards ceremony?"
‘Edited by’
Sometimes there will be two (or more) editors on a
project with both credited as Editor, or ‘Edited by’.
“When two or more editors are given the
same credit it means that creatively, organizationally and workload-wise they
carry the same burden,” says Burcksen.
Adds Hallam Martin: “When there are two names
that appear as ‘edited by’ it can still mean it has been co-edited. The duties
may have been split differently but in essence it usually means equal
participation.”
Editing credit for episodic TV
Episodic TV shows typically have multiple
editors. The lead editor usually cuts the pilot and sets the tone of the
series but they rarely, if ever, are given a ‘lead editor’ credit. Occasionally,
they might be classified as ‘Supervising picture editor’.
“Most of the lead editors I’ve known have been
happy just having the first credit - the top card,” Smith says. “The producers
know what they’ve done and that should be enough. Naming a ‘lead editor’ could
create divisions and resentment. It’s not necessary. Editing is a huge team
effort and, in the best cases, everyone supports each other.”
After
the pilot, the editor may cut a few more episodes and oversee other episodes
just to make sure the series has the correct shape and flow. Rarely do they oversee the other editors. That task usually falls into the hands
of the showrunner.
Assistant editor
Generally, an assistant editor’s task is to
let the editor do what they were hired for: to edit the show. That means that
dailies need to be organized and assembled in a way that gives the editor the
easiest access to the material.
“After the editor is done, the work needs to
be saved, organized and made accessible to the director and producer and
postproduction facilities that deal with vfx, sound and finishing tasks,”
outlines Burcksen. “For smaller productions, like documentaries and indie
features, this can usually be handled by one individual but when you’re dealing
with blockbuster franchises then this task becomes too big for one person to
handle. The first assistant’s job becomes more of an organizational task and
the assistant editorial work falls into the hands of other assistant editors,
apprentices, interns and postproduction PAs.”
On bigger productions the assistant editor can
be tasked by the editor under their supervision to edit simple sequences or
finish sequences that the editor has set up.
They
prepare music, sound effects, rough vfx and take care of numerous outputs for
directors, producers, sound editors, music composers and vfx departments.
Smith speaks for many editors when he says, “I
wouldn’t be able to do my job properly without one. Sure, I could edit it
...but they take care of all the deliverables required by the studio or network
in the background.”
First Assistant
A first assistant is generally the head of the
assisting editing team. They run the edit suites taking care of the main tasks,
delegating smaller duties.
“Sometimes the first assistant is required to
do some editing which is a good opportunity to learn the craft and move up the
ladder,” says Smith. “A good assistant and editing team is crucial.”
Oswald agrees: “The
first assistant is your right-hand person. They are responsible for the smooth
running of the whole capture, logging and organization of the material—working with the editor. They are central for communications between
production and postproduction teams.”
Second assistant
When the volume of material become too much
for one person or there are multiple cuts running then the second assistant
works under the direction of the first. They are responsible for some of the
more basic duties such as loading rushes, organizing the footage in a way that
the editor likes, loading sound effects and any filing or paperwork that need
to be done.
Apprentice editor
This is the lowest official union position and
is usually given to ‘junior’ assistant editors starting out their career. The
apprentice editor position is increasingly being replaced by the non-union
postproduction PA out of budgetary considerations, reports Burcksen.
Additional Editing
The Additional Editing credit is given to an
editor brought in to help out at the end of the editorial process. They may also
might be the ‘film doctor’ brought in to clean up.
Additional
editing can vary depending on the reasons you need an additional editor. For
example; if the original editor had to leave; if the show has run over the
allocated schedule and you just need some help; or if they are to give a fresh
perspective.
“They tend to be pulled in to do
small tweaks to an edit when the original editor is no longer available,”
Oswald says. “They tend to work directly with the producers rather than the
director as that person has also often moved on.”
Get it in your contract
Is it better to have your name as a credit
rather than not to have one at all? Should you ensure your credit is written
into the contract and not assume that the right credit will simply be given?
“Absolutely get your credit agreed before you
start,” advises Smith. “This is usually written into the contract by your
agent. If you don’t have one, get a legal document drawn up. It’s your
career, hard work and reputation and it needs to be protected.
“Never assume that they will give you credit,”
advises Burcksen. “Most of the time your credit will be determined by the value
of the work you delivered especially when you're in the lower echelons of the
picking order. Your agent (if you have one) will make sure that it will be
included in your contract—but never assume it’s a done deal.”
If there are major discrepancies in who did
what and who contributed most it is always best to leave your attitude at the
door.
Says Burcksen, “Not getting sufficient credit
for your contribution on the head credits or in the credit crawl is less
important than that the people who hired you are happy with your contribution
and will hire you again and recommend you to other productions. Longevity in
this business is an important asset and your contribution will be recognized by
the people who really matter.”
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