Finely Sliced: Knowing When to Slow Things Down with Denzil Heeger

Denzil Heeger is an editor and colourist with a passion for commercial and creative storytelling. Originating from Perth, WA, he has spent the last six years working on some of WA’s biggest campaigns before joining Manimal in 2022, diving headfirst into the Melbourne commercial scene. Denzil has built strong relationships with directors because of his collaborative working style, speed, and attention to detail.

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

Denzil> Before starting a new project, I review the script and director’s treatment to get a clear sense of the vision. I then begin gathering SFX, assets, and edit references that I believe will be useful.

On the morning I start the edit, I always try to have a call with the director while the rushes are ingesting. During this call, we discuss their initial thoughts on the shoot and any key moments or potential issues to look out for. Establishing this collaboration early on ensures we're aligned and helps me deliver the best possible edit as efficiently as possible. Once the call is complete, I dive into cutting the first pass based on our conversation—an empty timeline can be intimidating.

From there, the process is about selecting the best takes, fine-tuning the narrative flow, and gradually refining the edit into something I’m ready to present to the director.

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?

Denzil> I’m passionate about commercials and films, so I watch as much as I can. Over time, I've built a collection of videos, organised into various categories, which I use for inspiration. I believe it's crucial to stay current with trends, and there's a lot to be learned from how new media storytellers engage audiences and tell stories beyond traditional commercial spaces.

In addition, I make it a point to regularly connect with fellow editors to discuss the craft. Working at a post house gives me the opportunity to see other people's work every day, and use them as a great sounding board for my own projects.

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?

Denzil> Good editing and good music are all about dynamics and I think the two are linked. I think it's common for editors to have some sort of experience with a musical instrument or have a keen interest in music. I played guitar as a teenager and I think it's given me great understanding of pace and rhythm.

Editing is all about finding flow and allowing things to be clear with space for the audience to feel what is trying to be communicated which is the same goal as music. I really enjoy cutting to music but always am careful to check that the music isn't masking something that's not working and will regularly watch edits with the music muted to get a sense check of the pacing.

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

Denzil> The director and editor relationship is essential. There's nothing more rewarding than collaborating on a project with a director with whom you share a strong working rapport—there's a natural shorthand and trust that makes the process smoother.

When creative differences arise, it's our responsibility to navigate those challenges and make the tough decisions, always with the goal of protecting and championing the core vision of the project. It’s about testing ideas, refining them, and exploring every possibility to bring the commercial to life in the best possible way.

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

Denzil> Both scenarios present unique challenges. Having too much material may seem like a luxury, but it can be technically more demanding. It requires significantly more time in the preparation and initial culling stages.

However, you reap the rewards when facing challenges, as you have more elements at your disposal. This abundance does mean making tough decisions about what to cut, even if some shots are beautiful or functional but not ultimately beneficial to the story. A tough task as on a project with not enough material those decisions are already made for you. I love the challenge of having too much material though cause its the best type of creative problem.

LBB> Which projects are you proudest of and why?

Denzil> I recently cut a perfume commercial for Mihan Aromatics which was directed by Chris Martin. It was my first foray into both the fashion world and cutting a project shot on film. The footage was gorgeous and the edit flowed easily, it was nice to be able to cut something that felt fresh and expansive for my own style. The pacing of the edit was so important as we were trying to express desire and that had to have moments of tension and release. The project recently picked up a nomination at the Berlin Fashion Film Festival.

I also cut the brand film for EzyTrail which was directed by Max Greenstein who I have been lucky to work with a number of times. We had a lot of footage with which to craft a really strong spot that captured the idea of “adventure” in a new caravan. There was a lot “kill your darlings” moments as we refined the edit from an initial two-minute assembly down to the tight 30 we ended up with.

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

Denzil> I’ve always admired people who openly share the process behind their work, and I've been following Lucas Harger and Thomas Grove Carter since high school.

Over the years, they've been kind enough to respond to my random DMs whenever they post behind-the-scenes insights into their creative process. I also really respect what Mah Ferrez is building at Church Edit. It's such a cool company doing impactful work that shapes culture. It feels like they're at the forefront of the commercial space and setting some of the editing trends/techniques we're seeing today.

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

Denzil> Deliverables have become more extensive, and the need to communicate messages in an even more succinct timeframe has grown. It's a challenge I really enjoy, though.

Distilling the messaging to its key message or moments can often be the task that requires the most creative solutions. The pace of edits also seems to have quickened as attention spans have shortened. Knowing when to slow things down and when not to cut just for the sake of it is becoming increasingly vital for editors everywhere.