... who was also the editor for Green Wing. We were having a nice emaily chat the other day, and I thought it might be interesting to get him on the blog, what with editing being one of those things that's hugely important in the televisual scheme of things, but one that few people (including writers) actually know much about. So if anyone has any questions pertaining to the arcane skills of editing, put them in the comments here and I'll put them to him shortly.
In the meantime, here are some previous sort-of-interviews.
Drama agent: Matt Connell
Children's author: Alex Williams
Television composer: Garry Judd
6 comments:
I have a few questions:
1. How easy is it to get into editing? How does one approach being considered for an editing position?
2. Does one have to use the video editing in-house, or can one do it from elsewhere? (i.e. on a laptop or from a home PC)
3. How does one approach editing TV rather than Film? What difficulties/advantages are there to each one?
4. In TV, is it common for editors to be on set or strictly banished to the editing room?
When editing comedy (especially stand-up), is the question of what jokes are cut left up to your judgment as editor? If so, is your sense of humour one of the reasons why you tend to get hired for these things...?
When you tell people what you do for a living, do they think you use big scissors?
In fact, *do* you use big scissors?
- What was the ratio of rushes to finished film for In The Loop? Were you wading through loads of options or was it quite tightly laid out?
- During editing did you show the movie to other people to assess how it was playing? Professionals or punters? What did you learn?
- Has the success of In the Loop been good for your career?
These are all great questions. Apart from Tim's, AS USUAL.
How far in advance of the Edit itself does an Editor get involved?
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