29 March 2024 The Irish Film & Television Network
     
Q&A with Gavin Buckley – editor of ‘Drifters’ and ‘Miranda’
13 Feb 2015 : Seán Brosnan
Buckley has cut episodes of the popular BAFTA-nominated sitcom 'Miranda' starring comedienne Miranda Hart
After cutting episodes of successful British sitcoms ‘Drifters’ and ‘Miranda’ over the past year, IFTN talks to Irish editor Gavin Buckley about his work on both shows.

‘Miranda’ is a BAFTA-nominated sitcom that aired on BBC One which stars Miranda Hart in the titular role while ‘Drifters’ follows three recent university graduates living in Leeds. Learning his trade on huge international films such as ‘Tomorrow Never Dies’ and ‘Nine’, Buckley talks to IFTN about both British shows and what has influenced him as an editor.

IFTN: Tell us about your work on Drifters and Miranda.

Gavin Buckley:‘I was very fortunate to work on ‘Drifters’ and ‘Miranda’ with very talented directors both of whom I had worked with before. This is a huge bonus as you have already created a shorthand language and you know what it is they like and dislike. They are both very quick, precise and decisive which makes the whole process so much easier and productive, leaving plenty of time for experimentation (and lunch). ‘Drifters’ was on its second series so the writers and cast already knew what worked and ‘Miranda’ is practically an institution. Obviously the main difference between the two, apart from tone, would be that ‘Drifters’ is shot single camera and ‘Miranda’ is Multi-camera in front of a studio audience so the performances are from a more theatrical perspective (less coverage) so the main job is taking air out of the performances and creating pace but also letting the audiences laughter earn its place.’

What training/education did you receive to become an editor?

‘I did a Diploma in Film and Television at Bristol University which was an A-Z of the practical side of the industry. On the very first weekend we all had to make a 60 second self-portrait with camcorders and screen it for our new class mates on the first day. Everybody but you could critique it. A fascinating insight and a great ice-breaker. It certainly made it obvious who you would be interested in collaborating with and who to steer clear of which was probably at least part of the thinking behind doing it. That was the only formal training I had with everything else learnt working my way through the various assistant ranks.’

What was your first job in the industry?

‘I was a driver on a BBC kids show picking up and dropping off actors around London and eventually driving the 16mm rushes to and from Bristol and Leeds which was great fun as I was given a rental car and a mobile phone (back when such things were new and glamorous) They knew that I wanted to be in the cutting rooms and so they moved me over to trainee assistant editor in De Lane Lea and I can trace every job I've ever had back to that opportunity.’

What do you enjoy most about being a editor? And what do you consider the greatest challenges?

‘On a very basic level I enjoy making my employer happy and making them want to use me again. On a creative level I enjoy the serendipity and happy accidents that occur daily and the almost telepathic relationships that occur when you work that closely and intensively with Directors ("You are ET to my Elliott"). I also enjoy the 'free' laughs that you can engineer in the cutting room (those not on the page) from a reaction or a sharp cut or in drama when you are problem solving and can create whole emotional journeys by some carefully selected shots that were never intended to be cut together. And of course working closely with the sound and music department where so often the picture is improved immeasurably.’

‘The challenges are rarely with a project or a scene but trying to keep the many different scaled personalities happy and involved whilst remaining calm and courteous.’

Describe your typical working day and the equipment you use.

‘I solely use Avid media Composer a pad and pen and an Ergotron sit and stand desk. Depending on the stage of production my typical day would differ. Initial assembling while the crew are shooting is a calmer affair spent watching the material (I like to watch everything shot) and then ruminating on it over a delicious lunch. The afternoon is then spent cutting that material and getting it ready to upload for the Director that evening. This continues until they wrap when they join me in the cutting room. Lunch continues to be a priority ("Its called a lunch hour" as one Director I work with says) as is a trip out at about 4 o'clock for a coffee and a trot around the block (when possible).’

What filmmaker/editor has influenced you?

‘I had the very good fortune to work with Jim Clark, a denizen of the cutting rooms. I was his assistant for ten years on and off and we travelled and lunched well across the globe. He won an Oscar for the ‘Killing Fields’ and cut a lot of Schlessinger films including ‘Midnight Cowboy’ and ‘Marathon Man’. He and all of the other editors I have worked with over the years have influenced me massively in different ways- in how to run a room, treat the material and the position with respect and when (and when not) to play your hand.’

What Irish film or TV show would you have loved to have worked on?

‘There are so many good things coming out from Ireland at the moment that I look forward to being asked to do some - but shows like ‘Love/Hate’ and films like ‘The Stag’ are great fun and ‘Adam and Paul’ and ‘Garage’ have to be two of the best Irish films of recent times (if not ever!).’

What films and TV shows did you enjoy growing up that may have encouraged you to work in the industry?

‘My father is able to tell you the actors, title and director of almost any film within seconds of it flicking up on telly and that was always a source of fascination to me. He was also obsessed with ‘The Godfather’ which got me into the great seventies American thrillers like ‘All The Presidents Men’ and ‘Chinatown’ so I have a lot to thank him for. I also obviously loved ‘The Muppet show’ and had the good luck to work on a film with Frank Oz which was as much fun as it sounds.’

What advice would you give to anyone wishing to get into editing?

‘Get good training but get cutting as soon as you can. Learn the rules and then throw them all away. And remember it's not about you - it's about adapting to the material and making your boss look good.’





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