1. When did you decide that you wanted to be an editor? Did you try your hand at any other type of filmmaking positions?
As a director, I almost always edit my projects myself, so for me, developing a project, directing it and editing it are inseparable things from the very beginning of entering the industry.
2. How do you prepare to start editing (organizing scenes, takes, files and folders)?
In short, I sort the materials into folders, draftly cut the scenes on the general timeline, and then glue them together on the final timeline.
3. How do you decide when/where to make a cut?
The most important thing for me in editing is to follow a certain rhythm of the video, which dictates the overall mood and perception of the story. Each cut must fit into this rhythm. I also love matchcuts very much.
4. How can editing change the tone or emotion?
In a variety of ways. Editing can completely change the meaning of a film. Each specific sequence of frames is a mini story in the global story.
5. What kind of problems come up during editing?
This is often the simplest, but main problem – sorting through a huge amount of footages.
6. How does your work as the visual editor feed into the work of the sound editor?
Sound always gives an edit an additional level of perception, so it is important not to neglect its quality development and integration into the edit.
7. With all the adjustments, how much can a movie end up deviating from the original script?
This is a common occurrence when new meanings appear in editing that were not originally intended. And that’s cool. At these moments you understand that the project is a living creation that has a soul.
8. How much creative input the editor has, or how do you get your director accept your ideas?
See answer 1 🙂
9. Were you influenced by any directors or film editors in the development of your craft over the years?
Of course. There are a large number of them, and I constantly monitor their new works. There is no way without this, because it inspires and motivates.
10. Quite a few directors that once they find their editor, that’s who they continue to work with. Do you find that that’s the case with you?
Yes. When I can’t edit myself, I try to involve familiar editors in the work, knowing that a certain editor can bring his own unique vision to the film that will suit that particular film.
