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This Week We 'Sit Down With' with Editor Lizzy Graham of Whitehouse Post

30 April 2018

This week we were very excited to 'Sit Down With' one of Soho Soho's favourite people in our undustry.
Lizzy Graham is a rare talent. Not only is she a fantastic editor, but is also a really engaging and fun person to be around. It's no wonder that so many directors are attracted by her style, ability and personality.
Whitehouse Post NYC have clearly made a great decision in bringing this talented Brit across the pond.
So, over to you Lizzy...

Click to view Lizzy's reelClick to view Lizzy's reel

1. What inspired you to be an editor?
I wasn’t sure what I wanted to do when I left school. I started off with some work experience as a runner, which I loved, but soon noticed that I was entering a very male dominated industry. Everyone I worked with was male, apart from the producer and myself. So, I pushed to be trained as an assistant. I figured there was room for more women in technical roles.

2. What does your job entail?
My job is to create stories from what’s captured on set. Once the footage is loaded, I get to sift through and find all the special moments and uncover the hidden gems. Then I start piecing those together, and we’re left with something that usually makes for a good advert!

3. What skills do you need to be a good editor?
To be a good editor you not only need the ability to tell a good story, but you also need to have great people skills. There will always be differences of opinion in the edit suite—you have to learn how to manage them all and make sure that everyone leaves happy.

4. What’s your favourite part of your job?
That’s got to be working with different creative teams across different products on a regular basis. That and hearing the words ‘Edit Approved’.

5. If there were only one thing you could change about your job what would it be?
I think timescale. To do the job well you need to spend time with the footage, to know it, and to try different approaches so that you know you’re presenting the best cut you can.

6. Has your style been influenced by other editors work?
I think who you work alongside, not only on your way up, but even now, plays a huge role in developing your own style. I’ve been very lucky to have worked with some amazing talent over the years and they’ve all had a helping hand in how I edit.

7. What do you think you’d be doing if you weren’t an editor?
I think I’d be doing something fitness related. It’s the only other thing I enjoy enough to even contemplate doing every day.

8. What projects are you most proud of?
I think as far as campaigns go, I am really proud of the BBC FA Cup spots. They were shot and directed by Darius Norowzian. I think he did an amazing job of capturing how much of an emotional rollercoaster the FA Cup can be. Keeping them black and white with a strong track and a gritty vo made all three spots really powerful. It really encapsulates what the FA Cup is for football fans.

“The Phone Call” was an amazing achievement and one that I still pinch myself over. It’s still so hard to believe that little old me from North London edited an Oscar winning short.

9. What are your latest projects?
The latest campaign I was involved with is the launch of Spotify’s Black History hub. It was great to be part of this campaign and working with the extremely talented director, Daisy Zhou. The campaign kicks off with Jenelle Monáe explaining the meaning of Afrofuturism.

10. After a long day of editing what do you like to spend your spare time getting up to?
Right now, I’m enjoying exploring what New York City has to offer. It’s such an incredible city, and full of surprises, like the secret bar above Five Guys on Bleecker....Whoever thought that up deserves a medal!

11. How has it been living/editing in NYC now that you’ve moved from London? Similarities? Differences?
I think the main difference is how the edit house bids for a job. Here you get to bid for the whole post process right through to finishing. In London you usually only deal with the edit. This has meant I’ve been able to work really closely with the finishing houses on graphics and comp work whilst still working on the edit. When I moved I didn’t know what to expect and I definitely hit the ground running, but I wouldn’t have it any other way.

Executive Producer, London

Contact Name
Annabel Bennett
0207 432 4300

Executive Producer, New York

Contact Name
Caitlin Grady

Executive Producer, Chicago

Contact Name
Kristin Angeletti

Executive Producer, Los Angeles

Contact Name
Joanna Manning