When David Cronenberg finished filming the sci-fi flick eXistenZ, editors
immediately began trimming the two-and-a-half hours of footage into a 90-minute
film. And that was just the first stage. They still had to rework the footage,
making changes each time the director test-screens the film before select
audiences.
"It's fun to work on a movie," says Aaron Marshall, first assistant editor
on the Cronenberg film. "I got to meet the stars, and one weekend I went on
a junket to Los Angeles to do some lab work."
Marshall adds that he's fortunate to have a good mentoring relationship
with his editor. "Often he uses us as a sounding board, and asks for our advice.
Sometimes he lets us do the actual cutting."
Still, he admits that an assistant editor's job involves a great deal of
tedious work. While the editor gets the credit on the film and decides what
to cut, the assistant editors prepare the actual footage to be edited.
"It can be very mechanical. But I shouldn't be so negative about it. As
an assistant editor, you're paying your dues. It's the only way to ascend
through the ranks."
Marshall believes editors must be familiar with both the theoretical and
technical side of editing. He got a filmmaking degree at university. Since
graduating, he's honed his technical skills on non-linear editing systems.
One of the advantages of digital technology is that editorial assistants
have more access to the film. Since they're not dealing with
actual footage, editors don't mind if the assistants try out their own editing
ideas once work is finished for the day. Marshall took several stabs at editing
the Cronenberg film. "Digital is a great training ground for editors!"
Film editing can also be very stressful. "A first assistant editor is like
the manager of the cutting room," Marshall says. "He deals with all the details.
It's very easy to make a mistake and look bad. You have to be very detail-oriented."
Editor Laura Kab got her start assisting an experienced editor. "I worked
60 hours a week and made next to no money," says Kab, who would stay up nights
after a full day on the job to work on her own projects. "But I paid my dues."
Signing on as an assistant also gave Kab a chance to explore editing's
artistic side. She started her career with a course in one of the new non-linear
editing systems. While the course taught her the requisite technical skills,
Kab says that apprenticing with an older editor gave her the storytelling
basics.
Now she works as a freelance editor, enjoying the freedom and variety that
freelancing brings. One of her favorite projects was a video wall she designed
for Motorola -- a huge screen covered with several small screens.
"You can make all the images on the screen the same. Or you can make the
images jump from one screen to another. Or you can make one huge picture.
It's very complicated."
While freelancing has its benefits, Kab admits finding steady work can
be tough. "You really have to sell yourself." She normally goes to an editorial
boutique to complete her assignments. For long-term projects, she sometimes
rents her own equipment and works at home.
Kab's main career gripe is directors who don't communicate. She says smart
directors consult with the editor before starting filming. "That's good because
often we have advice to give! Otherwise, there can be problems with things
like continuity. But we try to make it what they want it to be."