Unearthing Magic in the Editing Room with James Norris

James Norris is a film editor who has worked on feature films, television shows, commercials, and music videos. His work has been BAFTA-nominated and won a Royal Television Society Award, Gold Cannes Lions, British Arrows, D&ADs, and UK Music Video Awards.

He's edited ads for Google, Nike, M&S, L'Oreal, Volvo, Mercedes, Armani, Dior, Ikea, Heineken, and many more.

Duo Lipa, Robyn, Lil Wayne, Snoop Dogg, Royksopp, Enrique Iglesias, Robin Thicke, Rammstein, Usher and Sigrid are just some of the artists he's cut videos for.

LBB> The first cut is the deepest: how do you like to start an editing project?

James> Watching, soaking everything in, looking for what the film is really about. Exploring the raw material of the shoot to the point where you can unearth the magic and find the real chemistry in the performance.

LBB> Non-editors often think of editing just in technical terms but it’s integral to the emotion and mood of a film. How did you develop that side of your craft?

James> To a point, you can’t; you need to be wired that way to understand these aspects of film, but you can improve and push this talent.

Watching films, being around filmmaking, all of this helps. When I was a runner at a production company, I spent a large chunk of time filming and editing casting sessions.

Seeing the right emotion and understanding the right tone in these performances taught me so much about what to look out for, what to use, and what is right.

LBB> How important is an understanding of story and the mechanics of story?

James> If you’re telling a story? Yes, if you’re not telling a story, then no.

LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it’s a film without actual music) – how do you think about the rhythm side of editing, how do you feel out the beats of a scene or a spot? And do you like to cut to music?

James> A scene has a pulse and rhythm. If it’s two actors in dialogue, there is a perfect flow, a rhythm that, when right, allows magic to happen. At this level, editing can be like composing; we don’t move around music notes and different instruments, but emotion, dialogue, impact, and energy.

This works completely without music, and in this instance, music would be a deterrent, but then there are times when music dictates, and it becomes the fundamental guide to the film’s heartbeat.

LBB> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?

James> Very, at its best, it should be symbiotic, with complete open communication.

LBB> In the US we know that editors are much more heavily involved across the post production process than in Europe – what’s your favourite part of that side of the job?

James> Visual effects and sound design are key parts of my work, and being involved in the process to the end is incredibly rewarding.

Be it working with VFX artists to create and build a world, and seeing the foundations you’ve laid come to life, or fine tuning musical moments with a composer it hits in just the right place. All these finishing touches that elevate what was crafted in the edit to new heights is a wonderful experience.

LBB> What’s harder to cut around – too much material or not enough? (And why?)

James> Not enough presents, more puzzles to solve.

LBB> Which commercial projects are you proudest of and why?

James> The ones that stay true to a great creative idea, the ones that have told a captivating story, those that have made you feel something, whether it’s laugh or cry, or the projects where you were able to push editing and create something that’s different and unique.

It’s an impossible task to choose the ones I'm proudest of, but below is a selection of the many that hold a place in my heart.

Rio Mare

Stroke Association

Alexander McQueen

Ikea

Asda

Nike

LBB> There are so many different platforms for film content now, and even in advertising something can last anything from a few seconds to a couple of hours. As an editor, are you seeing a change in the kind of projects you’re getting from brands and agencies?

James> Yes, there’s a move towards shorter formats, to more separate spots than one longer hero film, which doesn’t allow for as much creativity, or the capacity to make greater storytelling ads.

LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?

James> Dwayne Dunham - ‘Twin Peaks’, I’ve always been blown away by the depth and emotion, and my biggest regret is missing out on the opportunity of cutting with him on the last Twin Peaks due to my schedule.

LBB> How does editing in the commercial world differ from the film world and TV world?

James> There’s more politics at play, and in commercials you have to understand what a wider range of different people require from the film whilst still staying true to your craft and the idea.

LBB> Have you noticed any trends or changes in commercial editing over recent years?

James> Yes, it floats through cycles and fashions like other creative arts. Visual storytelling, comedy, dialogue, and documentary all rise to prominence at slightly different times.

Creative ideas ebb and flow into different areas, and editing follows, we’re in a strong wave of comedy at the moment.