Earlier in the year, DEGNZ member Brendon Chan took part in our Drama Editor Attachment Scheme, attaching to editor Peter Roberts on Matthew Saville’s feature film Juniper. He got to shadow Peter over the course of the edit – from assembly with the director’s intent in mind through to the final cut.
Read on to hear about Brendon’s experience.
How did your attachment to Peter Roberts start of?
I think at the beginning of it he did tell me, ‘I’m not here to teach you how to edit, you should know that already. You’re here to observe the feature film process, which is a process that not too many people get to observe at all, as editors.’
You were still working while you were doing your attachment, is that correct?
Yeah, I managed to take the time out where I needed to sort of run back and forth on certain days when I wasn’t working. Peter was working at Images, and then shifted to his house during lockdown.
You weren’t expecting a pandemic in the middle of your attachment! How did it affect your attachment and the production?
I know that the schedule had to extend somewhat, just because of COVID. They got separated obviously at Level 4; Peter in his household and then Matthew in his household built a bubble in Level 3 just so they could keep working.
And they did keep me in the loop as well ‘cause I got sent cuts of the film to view, and I got all of Peter’s notes on them! He would add his thoughts for himself on every piece of feedback that he’d gotten, whether it was from the distributors or the producers or whoever, so I actually got to see a pretty interesting insight.
It was good, because despite the distance through the first lockdown, I was still able to be part of it. I think there were a couple of phone calls here and there as well – that was the best part about being in person – hearing him speak and listening to him talk about his approaches to things.
I think what I liked about him so much is he’s very honest. He’s not really sugar coating things, like that’s what I really wanted in the attachment anyway.
And that’s obviously the way he works as well with his collaborators?
Yeah. I mean, he’s honest, but that doesn’t mean he’s arrogant or anything. He’s very willing to admit, ‘Just go through the process.’
It’s almost like, from what I saw, yes, there is a process, but there’s an enormous amount of time you have to spend on the ups and downs and dealing with all the feedback because it has to get done eventually. And there’s only so much time you can spend doing it, that the budget can afford.
That must’ve been quite a new thing seeing how much feedback is involved in a feature?
I’d seen it on a very small level on shorts or TV commercials that I’d cut. But obviously this is a lot bigger and everything ‘cause how do you keep track of everything that’s in the film! If so-and-so said to take out this line about that, you’re still trying to be aware of how is this going to affect the rest of the film.
You got to sit in and observe the director and the editor before the producer meetings. How was that?
It was good. There were very measured debates that were going on about things. Sometimes it was like, ‘do we need this?’, whether it came from Peter or from Matthew. It was interesting going through their process and I think most of the decisions that were made were ultimately ones they both agreed with in the end. ‘Cause you know, so much in the editing is, weirdly enough, about losing stuff. About getting rid of things that are sort of superfluous.
Later, there was also feedback from the sales agent, right?
Yeah, I was looped in. I believe it was only emails through the sales agent because I think they were based in Germany? So there were lots of emails and everything that I was given access to by Peter, which was good. And again, he let me know his thoughts on everything, like how he reacted to it and some of it he would try to interpret.
Were you there during the test screenings?
I couldn’t go. But I was given – I think it was a 60-page document – from marketing. It was interesting because I’d never cut anything where the demographic was such a huge consideration.
So then you have to figure out what is relevant within that 60-page document?
Yeah, and it’s not just that. Probably while you’re editing, you’re very aware of the target audience and the film. Trying to think about that when you’re cutting was an interesting concept to me.
I believe for this film it was an older audience demographic. With a children’s movie you’re like, ‘Okay, yup, yup. I was a child once.’ But I’m not older than I am! Part of me was like, what would my mum like? [laughs] But you know, I’m not making decisions. I was just trying to picture it in my head.
Ultimately, you’re trying to please the director and you’re trying to appease whoever has the most financial interest in how it’s going to perform. And it’s about trying to strike a balance between that, trying to keep everyone happy, while feeling like you’re not doing something that you strongly disagree with. Ultimately, you want to work on something that the compromises you can live with.
What was your experience like observing them locking the film?
I went to Peter’s as it went down to Level 2.5. He’d sent me the last cut the night before to watch, and the next day I went round to his place and he took me through the final cutting to lock the film.
Peter told me that when you get to this stage, you should go back and look at your initial cut. I took this in two ways: to look at your initial instincts versus what you may have taken out to get the film down to a tighter runtime.
He told me that he’d gone back and looked at one of the first cuts on one of the more visually dramatic sequences that bridged the first and second act. He’d realised that the initial pacing of the sequence was far more effective in the earlier version. I don’t believe any of this was part of the feedback, he was simply trying to make the sequence more effective.
Did you find doing the attachment beneficial to you?
It was really beneficial. It sort of eased my worries about ever doing a feature a little bit. I mean in theory it’s the same thing, whether you’re doing a short film or a commercial or what have you. Everything has the same philosophy behind it. You cut for the same reason. You cut because you think it’s going to make the audience feel something, and it’s like you’re just applying it to something bigger and way more complicated.
What’s next for you?
I’ve got to pay the bills, so I’d like to do work with more of a financial incentive, which would give me the freedom to work on lower budget projects that might get me more exposure.
I’d really like to cut an indie feature as my first feature with some exciting filmmakers because it’s a good stepping stone. I’m sure I’d like to do more shorts, but I feel I need to step up to the challenge.
The DEGNZ Drama Editor Attachment Scheme is funded by the New Zealand Film Commission.
Juniper is set to release in 2021.