Finely Sliced: Finding Rhythm with Erin Nordstrom
Erin Nordstrom is an award-winning editor based in Los Angeles. She has cut numerous advertising campaigns for leading brands like Google, Amazon, Samsung, Toyota, and NHL. Her ability to capture the essence of a brand's message while maintaining artistic integrity has made her a sought-after collaborator.
Erin made her mark with her first feature-length documentary, 'I Am Trying To Break Your Heart,' a critically acclaimed exploration of the band Wilco. Her work was further highlighted in 'CaveDigger,' a documentary that earned an Academy Award nomination for its compelling storytelling and visual impact. Erin's most recent project, 'Smartless: On the Road,' airing on MAX, continues to showcase her abilities in compelling storytelling.
Her creative journey has been enriched by collaborations with top musical artists such as Chris Cornell, Jennifer Lopez, and Damien Rice. With work that has graced prominent platforms such as Netflix, AppleTV, HBO, and MAX, Erin’s editing style is characterised by its seamless blend of wit, sincerity, and a keen eye for detail, reflecting her dedication to crafting stories that leave a lasting impression. Erin remains committed to pushing creative boundaries and delivering excellence in every project she undertakes.
LBB> The first cut is the deepest: how do you like to start an editing project?
Erin> I like to start by screening the raw footage in the order that it was shot without any preconceived ideas. I’ll never be able to watch that material with fresh eyes after the first go, so I always centre myself and create a comfortable space where I can really absorb what’s happening on the screen. This allows me to pick up on the nuances of performance and recognise any 'happy accidents' or unintentional moments that could help add texture to the story.
After that, I mark up the material in whatever editing system I’m using and quickly block out a rough structure. I tend to work on a lot of documentary style projects where there isn’t a formal script so the interview bites and verité moments are what I hang my hat on so to speak. Next I search for music, sound effects, etc..all the things that will help create the mood/ vibe.
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?
Erin> I’ve always just followed my instincts. If I feel something when watching, I trust that others will too. It’s a hard thing to express in words but emotion and mood have always been a natural part of how I approach editing. For me it’s about finding the appropriate mood for the story and sometimes creating an unexpected mood can take a project to a really cool and elevated place.
LBB> How important is an understanding of story and the mechanics of story?
Erin> I’d say it’s THE MOST important thing to understand. Even if you eventually decide to turn everything upside down to create a non typical narrative structure, you first have to understand how it would live 'right side up' so you can deconstruct without losing the elements that make it make sense. The art of editing is very much about understanding how all the pieces fit together to create a coherent and engaging narrative and then having the flexibility to play with that structure as needed.
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?
Erin> Rhythm is so important. Ironically, I usually cut without music at first. I find that things can get overlooked when watching against music. The small twitch of an eye or a quiver of a lip can really add to the overall takeaway of a scene. If you cut to a piece of music that entices you to keep a certain pace you can inadvertently miss what’s actually happening in camera.
That being said, audio is integral to how people experience video content. I believe music can make or break a piece so once I get the initial assembly to my liking, the search for music is no joke. Music is a powerful tool in adding depth and information making a viewer feel any number of complex emotions.
LBB> Tell us about a recent editing project that involved some interesting creative challenges.
Erin> I recently cut a docuseries that didn’t fall into a typical genre. It involved cutting between a live stage interview, live musical performances and verité moments that happened throughout the same day.
Our intention was to tie those verité moments with themes that were being discussed/ happening real time in the stage interview and musical performances. I believe we were super successful in tying the three seemingly unrelated moments together in a very non linear way. I’m super proud of how that project turned out. Now it’s hurry up and wait till it airs (hopefully) next year.
LBB> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?
Erin> The relationship between editor and director is super important to me. While working on long form projects, it’s often the director who I spend most of my time with (outside of my partner and child).
It’s a weirdly intimate relationship because being truly creative requires being vulnerable. Creating a safe space so that ideas can be thrown around freely is crucial.
Once trust is established, any differences of opinions can be hashed out openly. That’s usually when the magic happens because nobody is worried about being judged and it becomes a truly collaborative experience leading to some really remarkable and authentic work.
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?
Erin> I love being involved in the sound mix. I do a lot of sound editing during offline and place various audio elements with intention. I really enjoy collaborating with the sound mixer to improve upon those elements and get it just right. Audio is so crucial to the final piece. A film where you can listen with your eyes closed and still 'see' what’s going on is a win to me.
LBB> What’s harder to cut around – too much material or not enough? (And why?)
Erin> Not enough is harder for me. Maybe it’s because I work on a lot of documentaries and docu-style projects but if there’s not enough material it can be very limiting. Too much material can be daunting but in my experience that’s never really been a problem. I’m pretty good at getting to the heart of the material when there’s a lot to choose from. And in the end, you are able to problem solve with ease.
LBB> Which projects are you proudest of and why?
Erin> A recent project that I really enjoyed working on was a television series called 'Smartless: On the Road'. It was challenging because it blends elements of documentary, comedy, and live performance. Comedy thrives on timing and energy so it requires a keen sense of pacing and rhythm.
At the heart of a documentary lies the essence of storytelling and authenticity. Combining unscripted verité moments with more structured content can be tricky so pacing was crucial. It needed to reflect the high energy and spontaneous nature of the podcast’s live shows while also allowing for quieter reflective moments that offer deeper insights.
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?
Erin> Sure. Agency and brand needs are ever changing, but I don’t think that’s a new thing. The type of projects that I have gotten from brands have been ever changing since the beginning of my career. I actually like that brands are looking to do some longer format stuff these days.
LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?
Erin> Oh man….that is such a tough question. Honestly, I have admiration for so many editors. Not only does editing require creative talent but it also requires such patience, problem solving and perseverance. I’ve been very lucky in that I’ve gotten to collaborate with many different editors and each time I do it’s an incredibly enriching experience.
Each editor brings their own unique approach, techniques, and insights to the table which in turn broadens my understanding of the craft. I walk away from each project with a slightly different perspective. I think that’s what I love most about this job.
LBB> How does editing in the commercial world differ from the film world and TV world?
Erin> The specific requirements and constraints vary significantly but the core principles of editing - storytelling, pacing, emotional impact - apply across all mediums.
In my experience, there is a lot of creative freedom when working in the film/ TV world. I am usually given a lot of 'alone' time to execute the story. In the commercial world there’s a lot more hands on collaboration from various creative roles like the director, the agency, the brand. So in terms of my day to day, they are a bit different but ultimately telling a story is telling a story. The hard part is figuring out what story are you telling.
LBB> Have you noticed any trends or changes in commercial editing over recent years?
Erin> I try not to pay too much attention to trends. I’m a big believer in telling a story in the most impactful way. Trends are fun to play with but they tend to cycle - in style one day and out the next so I try to think about what will enhance the story and stand the test of time whether it’s trending or not. I like to play with trends to enhance my skillset but I try not to let them determine how I will tackle a project.
