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Q&A with ‘Starred Up’ & ‘Good Vibrations’ Editor Nick Emerson
04 Jun 2014 : Aisling Newton
'Starred Up'

2014 IFTA nominated editor Nick Emerson is best known for his work on David MacKenzie’s British prison drama ‘Starred Up’, as well as a host of other award winning films such as ‘Good Vibrations’, directed by Lisa Barros D’Sa and Glenn Leyburn, and the 2001 Terry George film ‘Stand Off’ featuring Colm Meaney and Brendan Fraser.

Emerson’s editing portfolio stretches to other genres including shorts (The Light of my Eyes, Red Rum), documentaries (For Queen & Country, The Beauty of Maps) and commercials (Autostadt ADT Presentation Film 2013, NI Tourist Board Summer 2013).

The well-established editor gives us an insight into his daily life and lets us in on how to cut it in the business.

Describe your typical working day
It depends on what stage of production we are at. During the filming period, I usually start early in the morning responding to emails over coffee. I’ll double check what they are shooting that day, have a chat with the assistant editor then begin editing. At this stage its cutting scenes that they have shot the previous day or so – rough cutting scenes and assembling the film according to script. This is important to provide feedback to the Director and crew to make sure they have everything they need and there are no problems. You may take a variety of calls during the day from any department with queries and requests about previously shot material. Usually I’d have a chat with the director after wrap that day (If not before!) to see how things went. After the shooting, the job changes from that to working very closely with the director to adjust, refine, compress, and generally try and bring the best film out of the material that was shot.

Did you learn your craft through training/education courses or through practical experience in the job?
A bit of both. I attended Springvale Training Centre in Belfast doing Media for a year and also did a six week course at UCD School of Film. Most of my training was on the job though – I started out in documentary and there was no better way to learn the skills necessary to tell a story than that. You’re always learning though – everyday.

What work are you most proud of and why?
I’m extremely proud of ‘Starred Up’ but overall I think ‘Good Vibrations’. I thought it was really important to tell Terri’s (Hooley) story and I’m just very proud to be part of the team that did.

What work do you admire and who inspires you?
There are too many films to mention but a few I admire for their edit are: ‘Catch 22’, ‘Zodiac’, ‘The Godfather’, ‘Un Prophete’, ‘Alien’, ‘The Master’, ‘Cinema Paradiso’, ‘Rosetta’, ‘The English Patient’, ‘The Parallax View’, ‘Under the Skin’ and ‘Pickpocket’. I’m inspired by all sorts of people but in terms of editors – Thelma Schoonmaker, Walter Murch, Juliette Welfing, Joe Walker and Andrew Hulme.

What’s the best piece of advice you’ve been given in your career?
If you want to be a filmmaker watch as many films as you can - from any place or time.

What are you currently working on?
Currently working on a horror film called ‘The Woods’ starring Joseph Mawle and directed by Corin Hardy.

What changes would you like to see in the Irish Film/Television industry going forward?
There can never be enough opportunities to learn for young filmmakers. Practical based learning – making films. Any increase in practical based courses can only be a good thing in my opinion.

What practical tips would you give to somebody trying to break into your career?
Contact the various film boards and organisations and get them to put you in touch with people making films and try to get a placement in a cutting room. It’s not for everyone and it’s a good idea to see what goes on first. You can work your way up from a trainee in the cutting room to assistant editor and so on. Meeting people though is one of the best ways – work with an up and coming filmmaker – offer to cut a short for nothing and develop relationships as well as learn on the way. These will likely be the people you will still be working with ten years later.



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