How To Kill Your Darlings

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I’ve often said that documentary directors are brave, taking on virtuous projects with few resources.

But braver still are editors. They not only have to “write” the film in the edit. They have to courageously kill the darlings (of the director).

To sharpen the cutter’s sword, here are three criteria. They draw of what master editor Susan Korda calls “the critical ability to surrender” those beloved scenes, characters, and soundbites.

First, kill off repetition. In a documentary featuring six protagonists (too many for the viewers to follow), which character essentially duplicates another character’s role? Identify and cut.

Likewise, scour your soundbites. If two people are saying the same thing, pick one bite and kill the other.

Second, kill off tangents. On a plot-level, anything that veers or distracts from the protagonist’s quest can go on the chopping block.

“No viewer cares if the filmmakers braved lava beasts to peer over the edge of the caldera and get the shot of the smoldering pit, if it doesn’t advance the story,” says editor Ken Schneider. “Put it in the ‘Behind-the-scenes’ video on the film site.”

Things get trickier on an concept-level. Ask yourself, would the documentary be satisfying (to the director and audiences) if this particular idea wasn’t in the film. Consider putting the idea on the film’s website or in the press kit.

If you’re not sure, try cutting this conceptual sequence from the next rough cut. Then watch the cut with someone who hasn’t seen the rough cut before. If you find yourself sorely missing the moment, put it back in.

The third criteria for cutting involves what PBS producer Jon Else calls the “greatest hits”. This category of footage can include “wow” moments that are not necessarily related to the documentary plot or central thesis.

Maybe it’s spectacular lighting or a funny moment. Should you cut sheer entertainment?

Recently I advised a director to cut a scene of peripheral characters getting into a fender-bender. It was dramatic verite, but it had nothing to do with the film. Worse, it made the characters seem more important than they were. Slash.

That said, if it’s a “lean-forward moment” under 20 seconds and doesn’t distort, I might let that one live.

As Michael Moore says in his #1 Rule about humor and entertainment, “It has to be a movie first, not a documentary.”

Remember to RSVP for our free interactive workshop “Editing for Fundraising”.

Learn more about the magnetism of bold cutting in my free seminar Editing the Character-Driven Documentary.