This week we 'Sit Down With' an editor who we've been looking forward to featuring for a while now.
We've been fans of Elena De Palma's formidable abilities and super keen eye from the moment we were first made aware of her. Her name is often dropped into conversation around the watering holes of Soho and once you view her reel you'll see why it strikes an immediate chord. This is an editor who you'll want to collaborate with. So check out her work first and then hear from Elena herself.
As an aside we don't often have the opportunity to showcase female editors, which is crazy as there are so many extraordinarily talent women out there. Here's hoping that this piece shall inspire other houses to send in films from their uber talented female editors as we'd love to share their work.
1. What inspired you to be an editor?
My inspiration came from an awesome tutor at college who set a goal to shoot and edit a documentary. I found a cheerleading group based in Edmonton, London and they let me shadow a few of their practices and interview them. My tutor would stay and keep the edit suite open after hours so that I could keep editing. The late-night obsession began.
2. What does your job entail?
3. What skills do you need to be a good editor?
4. What’s your favourite part of your job?
When I find the rhythm of the edit.
5. If there were one thing you could change about your job what would it be?
More hours in the day would be nice.
6. Has your style been influenced by other editor’s work?
For sure, not just editing but sound design as well.
7. What do you think you’d be doing you weren’t an editor?
8. What projects are you most proud of?
Okay, here’s a ramble, but I can’t pick just one.
Sky Cinema Christmas, Mother and Daughter:
My first Christmas Campaign, written by the talented Alicia Job and Jessica Watson. It has a special place in my heart as my mum is a HUGE fan of The Sound of Music. Directed by Ben Liam Jones who is a master storyteller, he draws out brilliant performances from his actors and finds the humanity in all of his characters. If you have some time, check out his reel, each piece is a little heartwarming / wrenching delight.
The Staves - Blood I Bled video:
I flew out to India and it was just an intensely creative process from beginning to end. I feel like Director Nick Rutter, Producer Emory Rugg and Cinematographer Ben Fordsman were all pushed to their limits, but something really special came out of this. I can’t really describe it any better than Nick so here’s a link to his interview.
Oppenheimer / Paper Planes and Crows House: Director Jamie Childs is a bit of an inspiration to me. He put his money where his mouth was and just kept creating off of his own back, which gave me the opportunity to edit in the early days of my career. His hard work has paid off with Jamie and his cinematographer Sam Heasman moving into television and absolutely killing it.
Nike and Nowness Alan Moore: Working with Director Emile Rafael is always fun as I get to have a little creative license with my editing style and SFX. He’s very passionate about the look, feel, and sound of his work, and as Alan Moore says, “things can leak through from the world of fiction into the world of reality.”
Three Mobile: This was such a pleasure to edit as Director Joanna Nordahl and myself had met as assistants in different fields previously and it’s been amazing to see her voice flourish. Through the characters she finds and stories she chooses to tell, she is a true artist and her work is beautiful.
Make a Minute and Unconditional by Bastian Glaessener: Make a minute was cut from multimedia submitted to us from the people of Ireland and Bastian eked out a story and emotion from these unrelated clips to leave us feeling warm and fuzzy inside. Bastian wrote Unconditional and drew incredible performances from his actors. The rushes were a pure delight, but it was really hard to edit it at that time because I was going through my own heartache.
9. What are your latest projects?
I have been incredibly fortunate this year to work on three projects that have challenged and allowed me to work with fantastic creative teams.
Coca Cola “The wonder of Us” Directed by Alma Har’el and creative team Brad Trost and Becca Wadlinger. My first Super Bowl advert. Working with Alma was pretty mind blowing, she’s an incredible director and edits herself. I watched Alma’s films and commercial body of work before jumping on the project and I was struck how each film lets you peek into someone else’s life and live though their emotions. She shows us humanity in the most unusual places and you can’t help but drift along with them on their cathartic journeys and exit with the feeling you were just in a daydream.
Citizen Rose directed by the iconic Danielle Levitt. I snuck onto set in down town LA and had a chance to see her working. There were a lot of people wandering into the set and she was amazing at keeping an eye on every aspect and homing in on interesting characters. Equality seems to be at the forefront of her photography and film, I really admire anyone who challenges our perception of reality in their work. The creative team at BBH were also absolutely amazing, it was a super-fast turnaround and they were fantastic, go team!
This year I have been working on a short film for Ben Liam Jones. Keep your eyes peeled next year!
10. Lastly after a long day of editing what do you like to spend your spare time getting up to?
If I don’t finish too late I like to walk home so that I have an hour or two to let the day settle into the background.