Beyond the Frames with Dan Sherwen

Last year, tenthree welcomed seasoned editor Dan Sherwen to its fold as partner. A lot has happened since Dan began his career back in 1999. Starting off at Partizan in the dubbing department, he spent his time compiling directors showreels on a clunky umatic tape deck. For most, the job would be considered mundane. Dan, however, revelled in it. It was an opportunity to study the work of incredible directors who were at the peak of their careers. After a move to Redsquare acting in the role of assistant, he got to grips with online and offline editing. But it was when he joined Finalcut in 2004 that things really began to hit the upward curve. 

After only three months, Dan was promoted to editor where he cut his teeth editing music videos for top artists. He quickly became recognised as one of the most sought-after promo editors in London. “I always found the intertwining of music and storytelling completely and utterly captivating,” he says. There, he edited award winning work for the likes of the Chemical Brothers, U2, Massive Attack, Hot Chip, Coldplay, Wu-Tang Clan and Fatboy Slim. 

He recalls with fondness the early days of cutting music videos, where the artist would attend the edit and often work with you to approve the video. When asked about highlights he reminisces about a week spent working with George Michael, whose unique accessory was an intricately carved wooden box filled with weed that he’d smoke continually throughout the edit. “Sadly, he never offered me any!” Dan jests. It wasn’t long until he would be winning awards himself. In 2008, he won the first ever UKMVA ‘Best Music Video Editor’, which he’d go on to win again in 2014. 

To the world of music videos, Dan owes the acquisition of skills in pacing and rhythm, as well as having to dig deep in order to find creative solutions to unforeseen issues. “On many occasions there wouldn’t be enough footage, or a crucial scene had been dropped on the shoot due to time constraints. It becomes your problem, it is your job to find a solution in the edit.” Untangling these knotty challenges became something he relished. 

Transferring such skills to advertising helped his work win recognition at some of advertising’s biggest festivals from AICE and Creative Circle, to Ciclope and Cannes Lions. Regularly featured on Televisual’s annual list of advertising’s Top 10 Editors, Dan’s is a name held in high regard. In recent years, he’s expanded his narrative editing work to cover both feature film and television drama projects, including ‘Kissing Candace’, ‘Gangs of London’, and ‘The Gentleman’. 

In this interview, LBB gets an insight into Dan’s idiosyncratic world of editing, the rituals responsible for optimum creative flow, and why he trusts his instincts. 

LBB> Dan, every editor has their own unique touch. Can you describe your editing philosophy in three words?

Dan> Experimental. Engaging. Measured. 

LBB> Who or what continues to inspire you in the editing world? Tell us why.

Dan> Thelma Schoonmaker has always been a big influence, her pacing and storytelling is always spot on. ‘Raging Bull’ is a perfect example of Thelma’s ability to convey a complex narrative mixed with mind blowing fight scenes. And Walter Murch for his attention to detail and sound design. So often it’s assumed that our focus as editors is the picture cut, but the sound is key to the tone, pace and shape of an edit. It’s a key factor in storytelling and comedic timing and therefore has equal importance in crafting an edit. 

LBB> Throughout your career, you’ve edited for various demographics, from music video enthusiasts, to advertising consumers. How do you ensure your work resonates with the target audience?

Dan> I construct the first assembly based on instinct, Initially I’m trying to please myself. How do I want to tell this story?That’s the most important starting point. The first few days can often be the most important part of the process. It’s generally when you have precious time alone, I use this time to experiment as much as possible, to try out those left field ideas. I’m always looking to convey the story in the boldest, most original way possible. As soon as I have a first sketch, I then put myself in the position of the audience, and try to see it from a fresh perspective and look at it objectively. What is it trying to convey? What’s the emotion? Is it right for the brand? I then adjust accordingly. Trying to balance the artistry and making sure it resonates with the target audience is key to creating a successful commercial. But instinct is the most important and should be prioritised above anything else. 

LBB> Can you walk us through a typical day for you at tenthree? Are there any rituals or habits you’ve maintained to keep your creativity flowing?

Dan> I’m a little OCD, and I’m obsessed with cleanliness. Everything has to have its place. Focus is so important when editing, if the edit suite is messy or something is out of place I’ll have to adjust it before I can work. Whilst I assemble, I try not to re-read the script or look at the storyboards because I want the rushes to reveal the narrative. It forces you to properly evaluate the footage and explore multiple avenues, which ultimately can lead you to reveal the best version of the story.

The biggest challenge as an editor is remaining fresh to the work, especially once you’ve watched the edit a thousand times! To maintain my objectivity, my philosophy is to question everything. It’s very easy to get attached to a particular scene or edit because it works. In order to avoid getting stuck with a decision I made earlier, I like to mix it up. I have to remind myself: I have this version, it works. But what if I move this scene earlier? Or do I really need that shot? What effect does moving it or even losing it have to the overall feeling of the story? 

Another technique I like to use is stripping out the music. It helps you watch the edit, almost as if you’re a viewer watching it for the first time. It exposes the spot in its rawest state, and can often lead you to discover new avenues and open up new ideas and possibilities. 

LBB> Over the years you’ve developed a keen intuition about when a piece feels, “just right.” Can you describe that moment? How do you know when you’ve nailed it?

Dan> When all the components align it’s the most satisfying part of the job. Sometimes I reach this point quite quickly, other times it requires a lot more work to crack it. But when I do, I know because my heartbeat quickens, and I want to show everyone. I watch it over and over again, never tiring. And if the spot is really special, I will often struggle to sleep that evening, it’s like a drug. I know that may sound pretentious but it’s literally the best way to describe it. 

LBB> When all is said and done, how do you want to be remembered in the editing world?

Dan> I think I have a distinctive style, but I know this will evolve and develop as I mature. But it’s hard to imagine not editing, it’s such a massive part of my life. I feel like my best work is still to come as I’m constantly evolving as editor. The great thing in this industry is you never stop learning, every commercial, music video or film is a learning curve without exception. You come out the other end having done and seen things you didn’t do on the last one. It's what makes it such a fascinating job to be in. In short, it’s too early to answer that question as I have a long career ahead! 

LBB> Are there any particular highlights that led you to where you are now?

Dan> There have certainly been standout pieces of work that I'm proud of and have elevated my career. But I would say it's been a cumulative journey of experiences over the last couple of decades that has led me to where I am now. I learn something new from every job and from every director I work with. Experience teamed with a hunger to continue learning is the most valuable asset an editor can have. Along with a lot of patience of course! 

LBB> Do you have a “dream” artist or band you’d love to edit for in the future? 

Dan> There are lots of artists I’d love to work with, for example Badbadnotgood, James Blake, and Aphex Twin to name a few, but ultimately I just want to work on bold and original work. The track has to be good too as you’ll listen to it repeatedly for days on end.

LBB> What advice would you give to someone wanting to enter the industry? Or better, what advice would you give your younger self?

Dan> Trust your gut instincts and speak your mind. It’s also important to experiment, and don’t be afraid to make mistakes. Sometimes those imperfections are what makes a piece of work unique and great.