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Finely Sliced: 10,000 Hours of Edits with Stephania Dulowski

13/10/2022
Post Production
Los Angeles, USA
731
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EXILE's editor speaks about experimenting with a non-linear approach and the importance of in-person experience with other talented editors


Stephania Dulowski is a NYC-based editor represented by EXILE Edit. Specialising in cause-based projects for leading brands and non-profit organisations, her editing style merges high-concept motifs with a unique overlapping and layered technique that immerses the viewer into the subject of the work.

Last year, we spoke with Stephania for our Uprising series - and now she delves deeper into the craft of editing and shares some important advice for young editors looking to enter the field.


LBB> Why did you get started in editing? And what has the journey been like up until this moment? 

Stephania> I really wanted to work in filmmaking but didn’t know how to get a consistent gig other than at a post house. I started as an assistant editor in Chicago and made my way to editor at Exile Edit in NYC. When I was an assistant editor, I became entranced by editing. There is no one way to edit a project - the creative possibilities are generally endless in film - and that has always excited me to this day. The journey to where I am has been long; lots of tutorial watching, asking other editors questions, trial and error, networking, balancing a room vibe with clients and all-around hustle outside of the edit suite.


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

Stephania> I make sure to read the script along with any storyboards and decks to understand the intent of the project. Then I speak with the director to get their vision and be clued in on what went well on the shoot and what to look for in particular. After screening and selecting, I like to cut mini assemblies within each scene before I begin the first full pass. That way, I have a few options to keep in mind or to show the director other ways of playing out a scene. If the project is non-linear, I find myself not working from the start to the end of the timeline but rather jumping around to whatever sections are inspiring me at the moment until I have a first full pass. This experimental approach helps me discover new ways of cutting a project. It’s rare to have a comfortable amount of time on a first pass these days. The pressure of a first rough cut that has everything figured out in a shorter amount of time is growing higher.



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?

Stephania> I like to know the intent of the project so I can get into the proper headspace when cutting. I’ll create playlists or watch films to get into the mood we’re aiming for. There always needs to be an emotional arc to the project, whether you’re editing actors with dialogue or even a more abstract piece. 

Story is the core of any successful film project. Since a film editor is another writer in the drafting process, it’s integral to understand how stories work and how to challenge how they work. I love to read books on storytelling and scriptwriting. The more you know, the easier it is to execute. Outside of the edit suite, I’m constantly watching films and tv, short-form projects, seeing concerts, going to museums, and reading books. As an artist, you need to constantly replenish your creative well. And I do that by experiencing life and seeking new views.


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?

Stephania> Every intriguing film has musicality to it. Every time you cut, you create a beat, so whether you cut in a consistent time signature or switch it up, you’re creating a composition. The best films don’t tell their audiences where they are going - they act as a rubber band, always pulling forward and back, creating tension and releasing it. When I’m editing narrative work, I never cut with music. To me, the edit needs to stand on its own and music acts as a bandaid. When editing commercials, music can help emphasise tension much more efficiently.



LBB> Can you explain the impact that someone’s style of editing has on a project?

Stephania> There can be reasons why you hire certain editors for certain jobs. A comedy editor will have more experience with comedy timing but I like to edit lots of different projects so I don’t get pigeonholed into one genre. Having a diverse body of work is important to me because I learn much more about the craft of editing when I cut all sorts of projects.


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

Stephania> It’s really difficult to edit with not enough material for a project that wasn’t fully fleshed out in prep. I will always choose more footage than less if there is no clear storyboard for the project. It’s easy to spot a project that didn’t have enough footage when it reuses certain angles over and over again. I see this a lot in music videos.


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

Stephania> I’m most proud of my Blue Shield of California ‘Do You Hear Me?’ film featuring Venus Williams. The team I worked on this with was great and has become a frequent collaborator of mine. It’s a really important theme and I get excited when we use film to share critical stories.



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

Stephania> Walter Murch was intrinsic to shaping my mindset in the early stages of my editing career. I read ‘In the Blink of an Eye’ really early on and used his book as my bible for editing. Initially, I didn’t know many editors when I was first starting out, so I had to seek knowledge and advice from any interviews or writings by well-established editors. It’s critical to hear what other editors and filmmakers have to say about their process - it helps you grow as a filmmaker. A favourite quote of mine from Walter Murch is:

“My job as an editor is to gently prod the attention of the audience to look at various parts of the frame. And that - I do that by manipulating how and where I cut and what succession of images I work with.”


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

Stephania> Lately, the turnaround for a first rough cut is much shorter than it was. There is less time for an editor to prep and explore the footage. Now you have to assemble much quicker so there’s really less time to experiment and try all the versions you would before you present your first rough cut.



LBB> What plans or projects are you looking forward to?

Stephania> I’m currently editing my first narrative feature. It’s such a different process than editing for commercials. You really need to have stamina to work on one project consistently. The cool thing about this feature’s process is that it’s shot in each of the four seasons so I get a manageable amount of footage at a time. I also still get to take on commercials in between the feature bookings so it doesn’t feel like I have to give up shorter-form content for a long period of time.


LBB> Do you have any tips for young editors starting out right now?

Stephania> With a lot of offices still being hybrid in-person and remote, I think getting face time with other editors and collaborators is crucial. There is so much more you can learn when you are sitting next to someone or can quickly run over and ask a question. There is nothing that can substitute being in person. Additionally, dive into the theories of editing but also experiment and cut whatever you can. Even if it’s cutting your version of a spot that you are assisting on. Putting more time into editing adds more experience. The 10,000-hour rule really does apply to editing.



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