As a seasoned editor with a rich background in various genres, I can’t help but reflect on my journey and the intricacies of our craft. My experiences in horror and comedy editing have taught me valuable lessons that continue to shape my perspective on storytelling.
In the production of television, editing holds a significant position, and Shelly Westerman recognizes the importance of her part in shaping the final output of numerous TV episodes, such as the critically acclaimed Hulu comedy “Only Murders In The Building.” Editing transcends merely joining clips. According to Shelly Westerman, editing serves as a vital instrument in ensuring comedic moments land effectively and distinguishes this from producing more emotionally charged episodes of shows like “Pose” or “American Horror Story.”
A friend of mine tipped me off about open editor positions and, after an interview, I landed the job. Although I have an agent, many opportunities in this industry come through personal connections – friendships, colleagues, and networks. So, my friend’s recommendation essentially opened the door for me.
Shelly Westerman: Intriguingly enough, that episode was helmed by Bob Pulcini and Shari Springer Berman, who I had previously worked with as their assistant editor in New York. Back then, Bob was the editor while they were a directing duo. Fast forward to present day, and they’ve both taken on directing roles, with Bob editing less frequently.
As a fan, I can tell you from Shelly Westerman’s perspective, collaborating with Payton is an engaging process filled with give-and-take. We evaluate scenes together, deciding if I will take the lead or step back, and vice versa. Our partnership is flexible, adjusting based on the footage and deadlines. However, we always make time to review each other’s work, offering constructive feedback and exchanging roles when necessary. Sometimes, Payton manages the content for the cuts while other times I take charge. Ultimately, our success lies in clear communication and trust.
Working in television is intriguing because there’s a considerable amount of input regarding decisions in your role. The pace is significantly faster compared to feature films, where we typically dismantle and rebuild scenes over extended periods. In television, the schedule moves much more swiftly. I’ve always advised my assistants, including Payton who became a co-editor, to watch and listen to the daily takes from start to finish, read through all script notes attentively, and stay focused on the original intention.
As a fan, I can relate to Shelly Westerman’s perspective when she says that every job she has had influences her next project. I believe she means that each experience adds new skills and knowledge that she can apply in her future work. In her own words, “I wasn’t so afraid of doing the musicals for ‘Only Murders’ because I had previously worked with the best music people in the Ryan Murphy camp.” By sharing this experience, Shelly gained confidence to tackle musical projects, making her not as intimidated by the genre as before.
For Shelly Westerman, it’s not just about the technical aspects of editing; it’s also about managing the political side of the job. Editors are skilled professionals, but they must learn to communicate effectively with various stakeholders such as studio executives, producers, and showrunners. Each may have distinct visions for the project, leading editors to act as both a therapist and camp counselor. This aspect of the role consumes a significant portion of their day.
Paraphrasing: Shelly Westerman: At times, it depends on the particular streamer and project. For some streamers, there’s a rigid structure with scheduled act breaks, while others allow for one continuous hour-long program without commercial interruptions. The technicalities differ in these cases, along with aesthetic and scheduling variations. In television production, we often work under tight deadlines to meet air dates, whereas some streaming projects offer more time for crafting a pilot episode – a luxury not always available but greatly appreciated. Essentially, it’s about managing time effectively and delivering your best creative work within various time constraints.
In simpler terms, Shelly Westerman acknowledges that working on horror and comedy projects requires different approaches. Regarding horror, she admits her lack of expertise in creating jump scares and the significance of sound and music in building suspense. She finds it surprising how seemingly ordinary scenes can become horrifying with the right combination of visuals, audio, and timing. On the other hand, comedy is more challenging than people assume, as timing needs to be precise, and balancing humor with today’s fast-paced content can be a struggle. Westerman spends considerable time perfecting jokes, focusing on minute details like the number of frames to ensure they land effectively.
Shelly Westerman often points out that many people underestimate the extent of an editor’s role in filmmaking. Editing is a subtle art that goes unnoticed by most viewers. Here are some of the tasks editors handle: we select takes, decide on camera angles, control pacing, create initial sound designs, add placeholder music to test mood and emotion, collaborate with composers to refine the score, and work on visual effects. Editors even preview visual effects for vendors before providing feedback. In essence, every aspect of a production has been influenced by an editor’s input. When people visit my editing room or watch my demonstrations, they are often taken aback, exclaiming “Really? You did that?” Yes, I added the footstep sound, adjusted the door close, and made specific shots darker to enhance mood until the color timer polishes up the raw footage. People usually don’t realize how deeply editors shape each element of a production.
I, Shelly Westerman, am currently finding it challenging to secure jobs in this industry due to its ongoing transformation, resulting in fewer opportunities available. I’m passionate about collaborating with kind and respectful individuals, as the working relationship significantly enhances my experience. Although I enjoy comedy, I don’t want to be confined to just that genre. My diverse background has given me the opportunity to work on various projects, which is a double-edged sword since it may lead people to assume I’m only capable of editing one specific genre. However, editors possess versatile skills, allowing us to effectively edit comedy, drama, thriller, or action productions. I yearn for an engaging project with a strong script and a dynamic team – producers, directors, showrunners – who value my contributions. Ultimately, it’s about forming meaningful connections with individuals who appreciate me as a professional and a person.>
You can check out “Only Murders in the Building” exclusively on Hulu. Don’t miss the start of season 4, which begins on Tuesday, August 27, 2024.
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2024-07-16 19:15