Seven Tips for Hiring An Editor In Today’s Economy

HIRING AN EDITOR can easily be the most expensive personnel line in your budget, according to Actual Films producer/director Richard Berge, who directed The Rape of Europa. It’s an investment you don’t want to blow. Here are seven tips to help you avoid common mistakes and ensure that your post-production funds are spent wisely.

You are getting ready to hire an editor and start asking colleagues for referrals.  Soon you have a short list of top editors. You make a few phone calls.  You quickly realize you either can’t afford these big names, or they aren’t available.  Or perhaps, given our challenging economy, a few of them are actually wooing you … and yet… something’s not clicking.  Something you can’t quite put your finger on…

Tip #1:  Find An Editor Who Shares Your Sensibility.

The dictionary defines “sensibility” as “a mental or emotional responsiveness toward something”. In this case, that “something” is your film, your vision, your dreams and concerns for getting it into the world.  How do you know if your potential editor shares your sensibility? Partly by the questions they ask.  Have they asked you how you imagine this film will make a difference in the world?  Have they inquired about how you want the audience to feel when the credits roll?  Do they solicit your heart-felt vision for the film?

An informal survey of documentary directors showed that the most important quality sought in hiring an editor is shared sensibility. Filmmaker Sam Green, who advised the Documentary Edit and Story Lab at the Sundance Institute in 2008, said that participants came from a wide range of sensibilities.  “Directors and editors gravitated toward other people who shared a common aesthetic and sensibility,” reports Green. “If someone understands where you are coming from in a filmic sense, it’s much more possible that they can help you. The most important factor, I think, in finding an editor is connecting in terms of sensibility.”

This can mean a shared political affiliation, socioeconomic background or aesthetic vision.  But ultimately, a kindred mindset goes beyond any of these.  It’s about one’s attitude toward life and, by extension, the tone of the film.  If you want to make an uplifting film, you will want to steer clear of someone who relishes pinning the bad guy to the wall.  If your vision is one of redemption, you will do well to hire someone familiar with this theme, either in their own life or their friends’ or ancestors’ lives.  And as story expert Fernanda Rossi, a.k.a. “The Documentary Doctor”, points out in her signature workshop on structure, an essential quality for any editor is compassion.

Another good way to zero in on your potential editor’s sensibility is to ask her to describe her ideal client or her ideal project. For example, your potential editor might say that she likes to work on films relating to social justice, spirituality and the environment. If asked, she might tell you that for her, the perfect director is someone with a refined awareness and appreciation (i.e. sensibility) for the power of one’s mindset to influence outcome.  An intelligent optimist with good communication skills. Humor is a plus.

Kind of sounds like a personals ad, right?  And like a first date, if it’s not a good fit, you’ll feel it in your bones. Trust your intuition. Please note that this doesn’t mean personality trumps talent.  You need both. You’re entrusting this editor with your baby, and you’ll be working together for several months.  Why make yourself miserable?

Imagine that you’ve found an editor who understands your vision, listens well and has more awards than you as a director can ever hope to win.  With a sense of relief you prepare to sign on the dotted line … but discover that your editor is reluctant.  “We really can’t put deadlines into the contract,” says your potential editor, “We don’t know how long it will take to edit the film.”  Five months later you are only at rough cut stage.  Your post-production budget is spiraling out of control.  The invoices keep coming.  And your editor trusts you to pay them.

Tip #2: Demand Business Savvy.

It’s easy to feel gleeful about getting on with the creative aspect of filmmaking, and directors may be tempted to let down their guard when it comes to sound business practices with their editor.  Don’t.  Expect that your editor will respect your business enterprise, your budget and your fundraising efforts with good boundaries.

As an independent, you do not have the luxury of a legal staff or retainer found at many post-production houses. And it is not the editor’s responsibility to draw up a “work for hire” contract, according to Eli Olsen, who edited “My Flesh and Blood”, winner of the 2003 Sundance Audience Award.  However, many editors have such a contract ready if you need help in this area. In addition, free work-for-hire contract templates are available online, or you can arrange a free legal consultation or take a free class from a non-profit such as the San Francisco Film Society or California Lawyers for the Arts.  Better yet, spend a little money to obtain a customized contract from a reputable attorney who specializes in entertainment law and documentary filmmaking, such as Richard Lee (rjl@leelawless.com), Alan Korn (aakorn@igc.org) or George Rush (george@gmrush.com).  According to Rush, who writes an excellent column in SF360 (http://www.sf360.org/indie-toolkit/avoiding-disaster), small disagreements can easily snowball into major falling outs in the absence of a legal agreement.  (He adds that the maelstrom is even worse when collaborators have been romantically involved, which with co-directors happens more often than you’d think!)

While some of the following stipulations are controversial in the independent world, expect that your editor should be willing to agree to:

-       a work-for-hire contract that includes a clause assigning copyright to you

-       an addendum that outlines a post-production timetable specifying target delivery dates for assembly, rough cut, fine cut and locked picture

-       a mechanism for amending delivery dates if needed

-       a  fee that reflects professional rates in your area ($1750-3000/week)

-       an invoicing system

While this may seem like common sense, it’s amazing how many directors and editors operate without a written contract.  Don’t get stuck wondering how long the next cut is going to take, and then feeling resentful when it’s not delivered when you thought it would be.  Your creative comrade should be just as business savvy as you.  After all, you’re paying their salary.

One of the biggest reasons directors fire their editors is role confusion.  Either the director thinks they’re an editor, or the editor is a closet director.  In the indie world, job descriptions frequently overlap, but it’s useful to envision the director as the film’s captain and ultimate creative decision-maker. The editor is the first mate, a structural navigator, and storytelling specialist.  Now, since you can’t afford to get this part wrong in today’s economy, how do you trust your editor to steer the right course while you maintain control of the ship?

Tip #3 Vet Your Editor’s Ego.

One way to do this is to check references.  Ask fellow directors how your potential editor was to work with and how they handled conflict.  Speaking of conflict… it’s inevitable.  When ideas jostle about in a creative brew, ideally your editor will have the courage and conviction to make her case–more than once if needed–and the grace to leave the final decision to you. Be aware that ego-deflection can be difficult given that your editor’s name will be attached to your project.

Editor Vivien Hillgrove, who will be retiring from a 40 year award-winning career next year to do consulting in currently editing Deann Borshay Liem’s “In the Matter of Cha Jung Hee” and Deborah Garcia’s documentary on “Soil”, says that she tries to “read” what the director really wants and stay focused on that.  Each director has a theme or arc that one has to intuit.  “But I’m a pretty bossy doe and will fight for what I think is deep in the director’s heart,” adds Hillgrove, “and some directors may not like that.  The bottom line is that I have their baby in my hands and I want to be sure that they are not humiliated or embarrassed when they go out there and that the film is what they truly want to say.”

Another way to observe your editor’s sense of boundaries and decorum is to audition them first as a Story Editor. Before spending thousands of dollars to have them watch your 150 hours of footage and edit an assembly cut, hire them for one day to give you advice on story structure. Assess their reaction when you question or disagree with them.   Do they listen to and engage with your ideas? Or are they stuck on their own story?

You too, my dear director, need to watch out for role confusion.  One of the saddest stories I’ve heard about a malfunctioning relationship involved a director who went through four editors, blaming each for not listening to his ideas.  I had to wonder if he was the one who was not listening, because perhaps he was so intent on knowing how to structure the film. If you’re prepared to let an expert help craft your story, then hire a good editor and give them space to do their job. If not, edit your own film–and beware that you may not have the requisite perspective.  In that case, hire a top-notch Story Editor.

Finally, if you are co-directing a film, watch out for dysfunctional triangle dynamics, such as your editor playing favorites, or the two directors playing good cop/bad cop.  Most of these dynamics can be diffused if your editor knows how to leave his ego at the door.  A supportive editor will encourage the two of you, thank you both and make it clear she appreciates your roles as the vision-holders and driving team behind the film.

The first thing most directors ask upon finding a potential editor is, “What’s your fee?”  Then they check their budget to see how many weeks of editing they can afford.  To really make a great hiring decision in today’s economy, you need to ask a few more questions.

Tip #4: Get More Than Your Money’s Worth.

I don’t mean that you should exploit your editor by demanding 10-12 hour days.  In a recent thread in Doculink, editors railed on directors with unreasonable expectations: dozens of DVD’s of various cuts, twenty email responses in a day, and extensive handholding throughout reshoots.  Getting more than your money’s worth really means looking at what your potential hire can offer beyond just editing acumen.  In business parlance, feel confident that your editor is bringing “abundant value” to the table.

So ask your editor about other things they can offer you. Maybe it’s their equipment that they’ll lease at a discount.  Maybe it’s their cutting edge technology or their skill with a special effects software that will save you from having to hire an After Effects designer.  Maybe it’s their address book and contacts.  Do they know someone who can help you with fundraising or distribution?  Can they provide you with an assistant editor?  Do they have contacts at HBO or IFC?  Getting more than your money’s worth is a must in a challenging economy.

Another possibility is to keep your eye open for editors who have consciously generated ideas for giving value to their director/client.  One way I’ve done this, for example, is to provide directors not only with an experienced editor, but also a day’s consultation with an independent, seasoned story consultant.  That way the director doesn’t have to hunt for a story doctor, plus they get several hundred dollars worth of quality professional work at no charge.  Another idea gaining some currency is to give the director guidelines for culling the footage himself, especially if the project contains more than a hundred hours of footage.  If the director or an experienced subeditor can cut down the amount of footage the editor handles, obviously that lowers the bill.

Creative conflicts are fine as long as they don’t deteriorate into personality conflicts.  The most deadly personality clashes will cost you big time, because you will either be stuck with miserable rapport or foot the bill to hire someone else.  Most directors suffer with the former because after investing in an editor to watch hundreds of hours of footage, they can’t afford to hire someone else to start from scratch.  All this can be avoided if you make the right hiring decision.

Tip #5: Demand Superior Interpersonal Communication Skills.

How will you know if someone is a good communicator?  In your initial interview, determine if they listen well. If they seem confused, do they ask clarifying questions? Do they seem capable of expressing a divergent viewpoint?  Are they able to intuit your vision? Ask them to repeat it back.

Editor Vivien Hillgrove (The Devil Never Sleeps, The Future of Food) admits to “giving good phone for the initial conversation”.  She says that before cutting a frame for “The Devil Never Sleeps,” director Lourdes Portillo played “Song for Athene” sung by Celilia Bartoli.  Hillgrove was immediately able to intuit Portillo’s vision for the film from the music.  “Communication is a subtle thing,” says Hillgrove. “Body language, a hesitation before speaking, are all part of a complex relationship.” She says that later in the editing process, “when there is an argument regarding a scene or piece of VO with a director, you just hash it out until one of you gets tired, then you try it, and if it works, great.  If not, you try something else.”

The need for terrific communication skills increases exponentially in situations where two directors are co-creating a film and hashing out structural issues with a third voice in the triangle, the editor. Director Nancy Kates, who co-directed “Brother Outside” with Bennett Singer, says that “no matter how sincere and committed everyone is, having more than one director is always going to be a lot more complicated than a single director, especially for the editor.” Kates recommends setting up ground rules for dealing with communication issues before they arise.  “When I was in film school,” she says, “I cut out a quote from one of my documentary books and pasted it above my editing bench.  It said something to the effect that documentaries are only as good as the relationships that allow them to be made.  This is usually thought of in terms of one’s relationships with interviewees, but is just as true among members of the team or crew.”

So, what kind of ground rules or preliminary communications are important for your potential editor to know? Written documents may include deliverable and deadlines for assembly, rough cut, fine cut, etc. (see Tip #2), but also your goals for the film.  Communicating your goals in writing establishes you at the helm of the film and gives the entire post-production team a compass to keep everyone working together harmoniously. At New Doc Editing, we offer a free writing exercise called DOVES, which stands for Director’s Outcome, Vision and Editorial Statement.  You can access DOVES at http://newdocediting.com/client-resources/doves/.  The Outcome Statement outlines the director’s tangible goals for the film, such as projected release date and desired festival screenings. The Vision Statement describes the film’s intended emotional effect. Specifically, how does the director want viewers to feel when the credits role?  The Editorial Statement specifies the storytelling strategies the director is choosing (with help from the editor) to achieve the outcome and vision goals.

Of course, not every producer/director will take a few minutes to outline their objectives in writing, but if you do take this safeguard for ensuring that the people you hire stay with you, you’ve made an important investment during an economic downturn. Your team is waiting to hear from you!

Have you ever sat with an editor in your office, asked them to suggest a line of narration and then been met with a blank look? Before jumping to the conclusion that your editor is inept, consider that she might be a brilliant introvert.

Tip #6  Sync Your Collaboration Styles.

How do you like to work with editors?  Do you want to be in the edit room (on your premises) and sit with your editor several hours a day?  Or do you prefer to hand off the digital files and leave your editor to work in their own space for several days at a time?  Knowing your collaboration style and hiring someone who synchronizes with it will save you the nightmare of having an unhappy editor resign mid-project.

Deborah Hoffmann, an Academy-nominated editor and director who now works exclusively as a story consultant, likes to hole up with the footage for a spell without the director breathing down her back.  She compares working successfully with a director to making a marriage work.  “Some people read self-help books and others stumble along on their own,” says Hoffmann.  “I’m more of a stumbler.  But bottom line is it’s all about communication, in both cases.”

To delve a bit deeper into the psychology of communication and work habits, let’s define a couple terms.  In self-help jargon, an introvert is someone who gets their batteries recharged by being alone.  They love to think things through in the solitude of their own minds and then present their findings-which are often perfectly thought out.  Extroverts, on the other hand, get jazzed by being around other people.  Their creative juices flow best by bouncing ideas back and forth until a masterpiece emerges from the jostle.  If your editor is an introvert and you are an extrovert, she will feel crowded and mentally shut down if you are, in her mind, standing over her shoulder.  On the other hand, leave her alone and she will flourish.  Now…if she is a hard-core extrovert and you leave her alone in the editing room for two weeks, she will find the silence suffocating and mind-numbing.

That doesn’t mean a marriage of opposites can’t work, but it’s important that you know your preferred collaborative style and hire accordingly.  When considering where your editor will work, keep in mind that “location doesn’t equal craft”, as Doculink subscriber Gregory Singer put it.  Just because your editor works out of her home doesn’t mean she’s an amateur.  These days many veteran editors, who used to work in post-houses or on the director’s premises, prefer the solitude and ease of their own surroundings.

How will you know how to judge your and your editor’s collaboration styles? For the truly curious, there are several personality tests available online, including the famous Myers-Briggs test. But the simplest question you can ask yourself is this-do I want to consult with my editor every day or two–or every week or two?  Then ask your potential editor, “How often do you like to check in with a director? What arrangement is conducive to your best work?”  Hire someone who is clearly comfortable with your working style.  Know, too, that it doesn’t have to be a perfect match. In my experience, the editing profession tends to attract introverts.  But even directors who are deeply social beings can work with introverts.  Go chat up some HBO execs, do pre-interviews for your next project, have a cup-o-Joe with an angel investor-and give your editor space to create.

One of the biggest reason post-production budgets spiral out of control is because the editor is still hunting for the film’s structure.  What should be a 5-part post production cycle–paper edit, assembly, rough cut, fine cut, locked picture-gets bogged down at rough cut stage when the editor churns out a second, third, fourth and sometimes fifth rough cut.  While it’s not uncommon for docs to have two rough cuts, more than that is a red flag that this editor may bust your budget.

Tip #7: Hire a Structural Specialist.

In her excellent workshop on film structure, expert Fernanda Rossi, a.k.a. “The Documentary Doctor,” urges directors not to hand over the structural work of the film to the editor, but rather to own the editorial approach by doing the hard work of figuring out the story yourself.  Sage advice, since any Joe with FCP loaded on his laptop is calling himself an editor these days.

And…to make the best hire, bring on board a qualified editor who specializes in storytelling and can talk structural shop as your equal. Beware of hiring a hard-headed structural purist who approaches every film with a pre-conceived formula within which your content must fit.  As Sheila Bernard Curran says in her highly-rated book Documentary Storytelling, films about real life approximate the three-act structure.  Having said that, your editor should know the classic three-act structural model inside and out, particularly if you are making a character-driven film.

So grab the bull by the horns and ask your potential hire some tough questions… such as  “I’m curious–how does each act in the three-act structure differ from the other acts?”  (For the answer, see http://newdocediting.com/resources/.)  In their opinion, what makes a good opening?  How would they deal with a sagging middle?  If the film had too many characters, what criteria would they use to cut some?  What makes a good climax?  Ask them to explain the difference between an essay-based doc and a character-driven doc.

Then check their work.  Are their films well-composed in your opinion (did you get bored)? Have they written or taught about structure?  The more your editor knows about structure, the less likely you will waste money funding their discovery process.

Schedule a free half-hour phone consultation and get help crafting a documentary that will keep viewers glued to the screen. Email Karen@newdocediting.com.