Category Archives: Film Editors

Canadian Editing Magician David Guthrie

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Canadian editor David Guthrie

 

Whether it’s a film, television series or commercial, the amount of time and labor that goes into a production is astronomical. There’s writing, funding, planning, casting, costuming, filming, scoring, post-production, marketing and finally distribution, and it takes a massive and cohesive team to pull it all off. Every production is like a massive machine, and at the heart of it all is the editor.

A skilled editor will work closely with the director to achieve the perfect cuts, and nobody is more skilled than Toronto native David Guthrie. As an editor, Guthrie is responsible for setting the rhythm of the end product, in a sense giving a cadence – a heartbeat – to the final arrangement that will be presented to the audience.

Before working on high-profile and award-winning productions such as “Jiro Dreams of Sushi,” “Cold Water Captains” and “Room and Bored,” Guthrie took his first steps into film editing when he was a musician. It was while creating music videos for his band that he discovered the power that video and audio can have when edited together perfectly.

“I love the challenge of crafting a story from seemingly unrelated footage, finding a story thread. I love when you find the perfect shot that helps tell that story, or the right piece of music that just works,” Guthrie said, describing the rewarding feeling of his work. “I love that feeling, it’s a rush… Because then you know how to pace the scene correctly and how the audience will feel.”

After realizing his passion for film editing, he began working at the Toronto-based Rhombus Media production company. There, he quickly worked his way up and learned his trade from the company’s highly-experienced team of editors. After getting his feet wet in the editing world at Rhombus, he landed a role as an editor on the feature film “Billy Bishop Goes to War,” which screened at TIFF and CBC.

Before long he had proven to be such a natural that he was trusted with the enormous responsibility of working on David Gelb’s incredbley ambitious projects, one of which was the feature documentary “Jiro Dreams of Sushi.”

Centered on the man often called the best sushi chef in the world, “Jiro Dreams of Sushi” initially sets out to document Jiro Ono’s daily routine running his world-renowned restaurant in Tokyo. However, the film ultimately tells two much deeper stories about the human condition. One of these is the story of a man who spends his entire life pursuing perfection, constantly coming closer but never reaching the unattainable goal. The other story centers on Jiro’s son and future heir to the restaurant, who works under his father and has spent his entire life in the shadow of a giant, knowing that no matter what he does neither he nor anybody else can fill his father’s shoes.

The film was widely praised by critics and festival-goers. “Jiro Dreams of Sushi” won the 2012 Denver Film Critics Society Award for Best Documentary Film, the Detroit Film Critic Society Award for Best

Documentary, and was nominated for 11 other awards internationally. A global success, “Jiro Dreams of Sushi” was an incredibly valuable and rewarding experience for Guthrie. The countless hours he spent working on the film paid off, and shortly after the film’s success Guthrie found he had established a reputation for himself as one of the most reliable and talented editors in the industry.

After leaving the “assistant” prefix behind, Guthrie’s first project as a full-fledged editor was the first season of the Canadian reality series “Cold Water Captains.” The action-packed series follows three fishing boats in the dangerous waters off the coast of Newfoundland. Guthrie had to pore through hundreds of hours of footage to decide which of it would be turned into the final TV-ready series. After carefully selecting which scenes would make it into the show, he then had to painstakingly cut and arrange it into a compelling and cohesive story to be told over the course of the season’s 10 episodes.

“This show is a monster when it comes to post production… The amount of footage can be overwhelming. That is the biggest challenge of the show by far – trying to cut compelling scenes out of hours of monotonous footage,” Guthrie said, describing the intense process of not only determining which scenes to use, but also of maintaining organization of the scenes and their place in the series. “That was a challenge too, trying to keep track of where I was in each story and how each scene developed the overall story arc.”

Guthrie’s hard work once again paid off when the first season of “Cold Water Captains” was nominated for the prestigious 2015 Canadian Screen Award for Best Factual Series. Guthrie called the nomination a “rewarding” experience after all the hours he and his team spent creating the series. Following the success of the first season, he again worked as an editor for the second season, and in the third season of “Cold Water Captains” Guthrie’s skill and dedication earned him a promotion to a lead editor position.

“I was one of the lead editors on the show and responsible for bringing episodes to delivery to the network,” Guthrie said of the new position. “It is a lot of fun getting to polish the scenes and really make them come alive.”

In addition to his work as an editor Guthrie has also written and directed two projects for television. The first, “Room and Bored,” was a TV movie which Guthrie not only wrote, directed and edited, but also acted in. “Room and Bored” was a hit with both critics and audiences, and was named an Official Selection at the 2013 New York Television Festival. The second and more recent of the two is “Beck and Call,” a pilot which Guthrie calls his favorite project to date. “Beck and Call” follows the hilarious ups and downs of two talent agents as they struggle to make it big in New York.

“Along with editing [“Beck and Call”], I am writing and directing it as well,” Guthrie said. “It has been so much fun working with really talented people, and just making stuff that we want to make… And I love working in the comedy world.”

Few people have a track record that can compare to David Guthrie’s when it comes to producing consistently stellar work while balancing so many irons in the fire. His experience and talent as a writer and director give him a comprehensive understanding of every element of the production process, and serve to strengthen Guthrie’s exceptional talent as an editor. Audiences on the hunt for the next great feature film, narrative documentary or cinematic triumph should be sure to keep Guthrie’s name in mind.

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The Magician Behind the Scenes: Sunghwan Moon

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Korean Film Editor Sunghwan Moon

 

No medium exhibits the importance of collaborating with a wide array of creative minds quite like film production. And possibly no other title at the center of this marvelous art form holds it all together like the position of an editor.

An actor’s rehearsed lines have no meaning without the editor’s contribution. The director’s constant input lacks any sort of importance or cohesion without the editor working his or his magic. And most importantly, the writer’s story has no discernible narrative if not for the hard work fashioned by the editor, which ties everyone’s work together in the final product.

Sunghwan Moon knows this better than anyone. His hard work, dedication, resilience, and knack for working well with others have helped establish him as a remarkable editor in the world of film and television.

It is no wonder that the Korean-born Moon was one of only 14 film editors selected annually to participate in the renowned American Film Institute (AFI) conservatory program.  His talents were quite apparent in the film and TV industries in Korea but once he moved to Los Angeles to attend AFI his career officially took off.

Attending AFI allowed Moon to build a significant and valuable network of relationships, including a couple of directors that would go on to provide him with some of the most challenging, yet satisfying jobs of his career to date.

One such film was director Kristine Namkung’s well-received romantic comedy Head Trauma. This film, which revolves around an Asian-American girl who gets a head injury and loses her ability to control her impulses, was right up Moon’s alley. The film’s simple yet elegant editing style helped gain attention noticed among festival goers including rave reviews at the Los Angeles Shorts Festival.

Shortly after receiving high praise for his work on the film, Moon’s successful momentum in the industry continued when he landed an editing position on writer-director Logan Sandler’s film Tracks. Starring Keith Stanfield (Straight Outta Compton, Selma) and Dominique Razon (Criminal Minds, Scorpion) the film follows the life of an amateur skater who is left to care for the young daughter of his girlfriend on the day of an important skateboard tournament.

“The director’s vision for this film was very clear…He and the DP shot the film in a way so that the camera looks at the main character all the time like a documentary,” says Moon.

In fact, in order to emulate the appropriate effect for Tracks, Moon reached out to veteran editor Nicholas Chaudeurge (Still Alice, Fish Tank) whose work inspired Moon’s editing on Tracks. His advice was immensely helpful and shortly thereafter they became close friends.

“I tried to respect how it was shot and edit accordingly. And this film got into many festivals around the world including this year’s AFI FEST,” adds Moon.

In addition to being chosen as an Official Selection of the Cambridge Film Festival, Rome International Film Festival, and the 24FPS International Short Film Festival where it received a Best Actor Award for Keith Stanfield’s performance.

“I’m happy that he won because a big part of editor’s job is to shape actors’ performance,” explains Moon.

.Moon’s precise edits coupled with the enthralling story and crafty camera work earned the film a Grand Jury Prize nomination at the 2015 AFI Fest.

Moon definitely understands the importance of paying close attention to the director’s vision of any project, as well as the DP’s shooting technique in order to properly accomplish the desired effect.

He says, “In general, I believe how the footage is shot tells you how to edit. The footage tells you how to cut.”

Some of Sunghwan Moon’s other films to date include The Confession, The Superman, Mrs. Alderman, The Lost Generation, Together Alone and many more. Through each of his projects as lead editor it is easy to see this truly talented editor’s intuitive relationship with footage and his ability to create a seamless story that fits the goal of the film, no matter how different one project is from the next.

 

 

Featured Film Editor: Said Franco!

Film Editor Said Franco
                                                                                         Film Editor Said Franco

In the world of filmmaking, many groups work together to create a production. The vision of the director, the roles of the actors, and the reach of the production team are all important. That being said, it doesn’t matter how incredible these teams are if the film falls apart in the post-production process.

The skill of a film editor can make or break an entire production. When a production company finds a film editor that can rapidly create quality content, they hold onto them. Perhaps this is why Said Franco, 29, has remained so busy for the last decade.

Franco was born in Mexico City, and found himself fascinated with the filmmaking process from a young age. At 15, he decided that he wanted to pursue a career in film editing. At that point, he set out to complete all the necessary education required to turn his dream into a reality.

Franco began working as a film editor immediately after graduating from the University of Mexico with an MBA in TV and Communications. The first job he secured was in 2008, as an assistant editor for the Spanish TV series Capadocia. To add a dash of prestige to his early resume, this series was nominated for three Emmy awards, in addition to winning numerous awards at other events.

After he began working in film editing, Franco realized that he had chosen his career wisely: “While working on Capadocia, I learned that I had the skills that an editor needs to succeed in the business.” Apparently, many other companies have acknowledged his skills as well, as he has since been recruited to lend his talent to an onslaught of productions.

Recently, Franco has been working for Rancho Studios as a chief editor on many international commercials, including those for Apple, Coca-Cola, Ducati, Hershey’s, Sony, and Wal-Mart. After completing commercials for Coca-Cola and Sony, both companies returned to Rancho and asked if Franco would edit their future commercials.

Microsoft also hired Franco for more work after seeing the results of his holiday promotional commercials for the Xbox gaming system. Franco agreed to edit commercials for many video games, including Assassin’s Creed, Call of Duty, FIFA 2013, Grand Theft Auto, Halo, and the Need for Speed.

Not all of Franco’s editing work has taken place within the confines of an office though. As a result of his success in his career as a film editor, he has had the opportunity to set forth upon many adventures.

On one of these adventures, Franco travelled to Spain as a representative for Heineken. Heineken, who sponsored the Champions League of Europe football game, hired Franco to edit each game, which was then broadcast to television networks throughout Europe. During his time in Spain, he edited a total of 25 games and six additional events.

While working for Grupo Televisa, the largest media company in Latin America, Franco edited a commercial campaign for the 2010 World Cup. During the month that the campaign for the World Cup aired, he edited five commercials a week, which were broadcast to many major television networks throughout Latin America.

Franco has a wide variety of experience in many different genres of film editing. In addition to his prominent work in commercials and sports, he has expertise in editing television shows, YouTube channels, and music videos.

Several of the music videos Franco has edited have achieved widespread acclaim including the “Voces” video he edited for Division Minuscula, and the “Miedo a Caer” video he edited for Ruido Rosa.

When it comes to film editing, Said Franco is comfortable working within any genre. In the last 10 years, he has repeatedly demonstrated his expertise in his field. This continues to be confirmed as companies return for more work after viewing his product. As important as the film editor is, it’s no wonder they continue to return.

Film Editor Marta Bonet de Gispert Connoisseurs the Perfect Cut

Marta Bonet de Gispert
                                                  Film Editor Marta Bonet de Gispert

Hailing from a family of lawyers, Barcelona native Marta Bonet de Gispert left law school to pursue her creative passions in the film world, a move that has delighted international audiences and filmmakers alike.

Marta Bonet de Gispert went on to attend the prestigious School of Cinema and Audiovisual de Catalunya (ESCAC). About switching professions, Bonet de Gispert recalls, “I started my law degree following my family’s tradition in law. But after a few years, I felt unfulfilled. I had to face my mistake and find a better path. Even though I knew it was a difficult industry, I chose film school. Something inside me told me it was the right thing to do.”

Now an award-winning film editor, it is clear that Bonet de Gispert made the right choice. Her exceptional talent and painstaking attention to detail is apparent in every frame of every film that she’s done so far. Her extensive international resume includes the films Soldados (Soldiers), Padre Modelo (Role Model Father), Devil May Call, as well as many others. She was also the editor on the television shows Latino Dub and Califorma.

It may seem like quite a drastic change to switch from law school to film school, but in truth, both professions require a person who possesses a strong eye for details and an immense understanding of the technical intricacies of their craft. Even more critical in each though, is a person’s ability to use that perceptiveness and knowledge to adapt to a client’s needs—something Bonet de Gispert has accomplished, proven by the sheer number of awards her films have won over the years.

Temporada 92-93 (Season 92-93), one of Bonet de Gispert’s first credits as editor, was a resounding success at international film festivals. Set in Spain where for many fútbol is a religion, Temporada 92-93 tells the comedic story of two inseparable friends united in their love for soccer. One is celebrating his child’s birthday as both split their attention between the festivities and a historic soccer match playing over the radio.

“We had to be careful in selecting the takes we would use,” explains Bonet de Gispert. “Also, as in all comedy, finding the right rhythm was essential. Jokes don’t work well if they’re not on the right pace.”

Winning a staggering 44 festival awards, Temporada 92-93 was incredibly well received by judges and critics alike. Among the honors was the Best Editing Award from the Film Festival Terrassa, an incredible achievement for Bonet de Gispert, whose career had only just begun.

It is the editor’s job to thoroughly understand the director’s vision, to see the story as the director imagines it. Then, with that understanding, the editor uses the footage to turn an intangible idea, concept or even a feeling, into the story that unfolds before us.

Able to seamlessly shift from one genre to another, Bonet de Gispert’s work shows that a great editor doesn’t rely on a film’s subject so much as they rely on the vision of the filmmaker.

In Devil May Call, Bonet de Gispert’s ability to convey that vision was once again put to the test, and once again she surpassed everyone’s expectations with flying colors. What had once been just a nightmarish idea, Bonet de Gispert transformed into a physical manifestation of sheer, unadulterated horror.

Not for the faint of heart, Devil May Call is centered on Sam, an operator for a phone counseling hotline. Sam, played by award-winning actress Corri English (Planes: Fire & Rescue, Holliston) is training her replacement on the night shift; but when one of her regular callers, who happens to be a serial killer, hears that she’s quitting, he cuts off power to the building and traps Sam and the other employees inside. Devil May Call was filmed in Los Angeles and debuted at the 2013 Marches du Film event in Cannes, a dream for many filmmakers.

Bonet de Gispert also recently finished the films El Otro Lado and Gored. El Otro Lado, or The Other Side, is one of three films premiering as part of the Summer Of Shorts event, featuring films from three Spanish filmmakers bringing their work to American audiences. El Otro Lado is about a lawyer who finds himself losing his sense of morality as he goes from laundering money for the cartels to an even darker path. An even greater testament to the fact that she chose the right path by embarking on a career in film, Bonet de Gispert also directed El Otro Lado in addition to working as the editor. Produced by renowned production company La Panda, the film is scheduled to premiere in the U.S. this summer.

Gored, is a documentary about, fittingly, the bullfighter that holds the record for being the most gored in Spanish history. In a fascinating approach to a subject that hasn’t seen much coverage since Hemingway, the film follows Antonio Barrera as he grapples with the decision of a lifetime: whether to leave the ring and join his family while he’s ahead, or to commit himself to a glorious death against his lifelong adversary. The film will debut later this month at the Tribeca Film Festival where it has been chosen as an Official Selection, and is set to screen at several more festivals over the course of 2015.