It’s great work - you’re not stuck at a desk, you get to travel and there are so many challenges and possibilities. I still find it really exciting.
What is your job?
I’m an assistant editor at Pukka Films.
What does your job involve?
I deal with the numerous small jobs that require editing and also provide cover when the editor is out. I’m responsible for all digitalising, backing-up and the library. I go out on shoots, help set up the cameras and sometimes act as assistant director on location - it's a good opportunity to get away from the screens for a while and can involve a lot of running around.
How did you get to this point in your career?
I’ve been shooting my own films since school and wrote and directed my first feature film while studying for my A levels. I was shooting the film in between exams – crazy but enjoyable. At Leeds I was president of their filmmaking society and started to make shorter pieces – half-hour comedy shorts made to a quick timescale. After University I set about getting as much film-making experience as possible, working at the London Film Academy and London Met, and then got a job at Pinewood Studios. The work was all about pre-production and I started as a production runner and then got a job on the floor. Following some great advice, I’m now involved in editing which I find really creative and has taught me a lot more about how the different parts go together and how a shot works. I get a lot of on-the-job training but also get the chance to put this into practice.
What training did you do and where?
I’ve had no official training for the work I do now – I’ve gained all my knowledge and experience from actually doing the work in a number of roles. I did a theatre studies course at Leeds University which helped me learn the basics of lighting and staging but the most useful learning experience has been to actually do the work.
Which piece of work are you most proud of?
At the end of my theatre studies degree I made a 20 minute stage show. It showed me what can be done by mixing pre-recorded material with live performance and used actors working in synch with projections, adding a different dimension to my work. More recently I’m pleased with my small comedy sketches which help me find better ways of trying different styles and pace – these are challenging in terms of directing and post-production work and get me thinking about ways to make each piece unique.
What do you need to succeed in your industry?
In depends on the area you want to specialise in – there are all kinds of different ways in. What amazes me is that there is such brilliant work emerging from the British film industry, so you don’t have to go abroad to be a success. You need to be a good listener on set to catch all the comments and use them to plan ahead. In post-production work you need to be able to think about the thematic structure of the piece alongside all the functional aspects. You need to have an emotional attachment to your work, loads of perseverance and optimism and, above all, a deep commitment and determination to see any piece of work that you have started through to completion. You’ll sacrifice a lot of your own time but if it’s something you love, then it’s worth it.
Who’s your work hero / heroine?
Edgar Wright and Simon Pegg – what they have done for comedy is unique. They work in a difficult genre but have shown great energy and have been successful in creating sustainable work that has also proved prosperous.
What inspired you to do this type of work?
I've always loved focussing on unusual goals and film as a medium. There are just so many things that you can make that are great to watch. Comics were my first inspiration – the stack of 2000AD comics that my brother left behind when he went to university – and seeing the amount of information you can get across in just one cell. I began drawing my own comics, then got hold of a camera and started making films. It’s great work - you’re not stuck at a desk, you get to travel and there are so many challenges and possibilities. I still find it really exciting.
What do your family and friends think of the work you do?
Most of my friends from the past few years are involved in the same industry so they can relate to the work I do and know how the industry works. My family have been very supportive but don’t really appreciate the gamble involved in this area of work. You’re still only as good as your last film - they don’t always see that.
What are your tips for anyone wanting to do your job?
Get as much experience as you can. Give up your spare time to go out and meet relevant people – make useful contacts and ask questions. Get around, knock on doors, send out letters and be seen! Then get a stunning CV together that shows your experience and keenness. Having said be prepared to give up your time, you also need to know when to switch off and not burn out by letting it take over your life. When you start work it will seem hard – you will make mistakes but the key is to learn from them. It’s stressful but everyone you work with will want to help you succeed – it’s like working in a family atmosphere and you will have an enormously supportive team behind you.
Creative inspirations
2000AD Comic
This was an early influence that had a dramatic impact and inspired me to start creating my own images.
Amazing films…
…such as The Matrix, Fight Club, Requiem for a Dream and Pan’s Labyrinth have shown me how exciting cinema can be, that it doesn’t have to be predictable.
David Drury – Director
A director I worked for, who gave me the valuable advice to spend two years in the cutting room to gain the skills I needed to be a successful director.
Pay attention
This was the continual advice from the first assistant director I ever worked with and it’s essential advice in this line of work. You need to keep your brain engaged all the time and not allow your thoughts to wander.
Cutting my first film
It was only after seeing the final product, after all the hard work that went into making the film, that I realised I had created something worth looking at.
My lecturers at university…
…who were all very helpful and first got me thinking about stage as well as film.
‘Get your short film funded, made and seen’
This book from Shooting People has been an excellent resource – I’ve read it many times over and still refer back to it.
Short films and DVDs
Seeing examples of these made me realise that short film is alive and thriving.
Audiences
The feedback for the public showing of my first film was a revelation – people were laughing in the right places and enjoying something that I had made.
Tim Burton – Director
I love his images and the way he has held on to his own particular vision. Edward Scissorhands and Batman are both visually stunning and inventive films.
If you would like advice on creative careers and courses, contact a Creative Way Careers Adviser - either Matt Ball on m.ball@uel.ac.uk / 07889 001764 or Sarah Comerford on s.comerford@uel.ac.uk / 07515 051509.