Finely Sliced: Finding the Feel of a Piece with Tom Pastorelle

Tom Pastorelle joined Sarofsky as senior editor in late October, 2021. Previously an editor at The Colonie, which he joined in 2011 from Foundation Content, Tom is widely known as a premier editor for highly poignant and comedic storytelling. Co-producer of the award-winning feature documentary ‘Amerikan Passport,’ through his creative editorial work for leading directors and agencies, brands like Jeep, McDonald’s, Michelob Ultra, Nike, Wolverine Boots, and Wrangler, and for entertainment giants Disney and Netflix, among many others, his editorial credits also span narrative and documentary features, shorts, and music videos. An alumnus of Columbia College Chicago, Tom has earned AICP Awards recognition, multiple Telly Awards, and honours at the Midwest Independent Film Festival as editor of the dramatic feature, ‘Repetition.’

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

Tom> I went to film school at Columbia College and really loved the solitude of editing. Production was too chaotic. My first professional experiences right out of school were on Hollywood feature film productions filmed in Chicago. I was an apprentice with the camera department. A lot of hurry up and wait. It made me long to be in a dark editing room crafting an edit.

I started as an assistant at Cutters and worked my way up to editor there. It’s been an interesting journey.

The primary focus of my career has been advertising. Both long form and :30 spots with some feature and documentary work too. The industry has changed so much over the years. Editing has gone from being a focused craft to being a general skill for a lot of projects.

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

Tom> The first thing I like to do is get an overview of the project and what its intended goals are. I look over the pre-pro book and script notes. That helps me home in on what to be looking for while screening the footage. I’m also looking for moments that aren’t scripted but might add to the story.

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?

Tom> A lot of people have no idea what an editor brings to a project. Story, emotion and mood are created in the editing room. It’s just as important as the performances. Music, effects, pace, and shot choice all contribute to the overall feeling you get while watching a film. The way I developed my skill is by doing it. I took on a variety of projects with differing editorial styles. Being paired with a director or creative director helped educate me on how to achieve their visions. 

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

Tom> It’s very important. I need to know what story a client wants to tell. Especially true in testimonial pieces where there are non-actors. And knowing how to create a story arc is mandatory.

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?

Tom> That’s an interesting question. Pace is vital to the feel of a piece. Editing is all about beats (not by Dre). Whether it’s a pause to allow for comedic moments or an edit that cuts to music. I do like to edit music. The result of skillful synching pictures to a music track can be magical.

LBB> Tell us about a recent editing project that involved some interesting creative challenges.

Tom> Creating content for social can be challenging. A lot of times clients are relying on stock footage sites or user generated content. It’s less planned and more what you can find.

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?

Tom> We are?! I didn’t know that. Besides editing, I love supervising the finishing process. When I get to see the ungraded picture and rough audio swapped with the colour-corrected and final audio mix. It automatically elevates the edit and makes me happy.

LBB> In a sentence or two, describe your editing style.

Tom> I edit in a variety of different styles. I think agencies try to pigeonhole editors as either a storytelling editor or comedy or documentary or montage. In reality, most of us are great at many different styles.

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

Tom> Rather than style, I would say the impact of someone’s personality on a project. I like trying to find unexpected moments. Sometimes quirky. Sometimes subtle. But I think that has to do with my personality in who I am as an editor rather than a style.

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

Tom> That depends on the project and the timeline. If there’s enough time to go through the footage, it’s great to have additional options. 

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

Tom> This goes back, but as I was transitioning from assistant to editor, I was given 25,000 ft of 16mm film (over 11 hrs). It was unscripted and with non-actors that needed to be edited into :30 spots. The fact that I got through that at that stage of my career always makes me proud. The spots ended up winning a few awards.

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?

Tom> Obviously, I’m seeing a lot more social requests. And a lot of times it’s creating cutdowns from :30 spots to :06. Also, a lot of work that will only end up on YouTube or streaming and not broadcast.

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

Tom> My editing heroes are the ones who mentored me as an assistant. Tim McGuire, Chris Claeys, and Kathryn Hempel of Cutters all helped me learn the craft. 

It’s funny, what they say about editing. If it’s good, you don’t even notice it. But I do admire editors on projects like Paul Rogers on Everything Everywhere All at Once. It would be an amazing experience for an editor to work on something so visionary. 

For commercial editing, so much depends on the brand and the director. It’s hard to tell what the editor brought to the table. Unless it’s a fast-paced edit, you don’t really notice. It’s easier to tell bad editing.

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

Tom> The main difference is length both in the finished edit and the time it takes to create it. In the film world you have time to let moments play out. In the :30 commercial world you have to tell a tight story. 

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

Tom> The biggest changes to commercial editing have been to time and budget. Less of each. Clients need to continually be producing new content but the budgets haven’t gotten bigger. Also, because of apps like TikTok and Instagram, clients want to tap into that market by creating ads that fit that platform. It’s a different thought process to create a six second vertical ad instead of thirty second broadcast.

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

Tom> I’m really looking forward to continuing to grow Sarofsky’s editorial staff. While mostly thought of as a motion design/CGI studio, Sarofsky has amazing talent in traditional editorial as well. We’re starting to get more production editorial work and I love it. 

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

Tom> So many more skills are expected nowadays. Clients want editors to also have basic knowledge in sound design/mixing, motion design, and colour grading for a finished product. Not just the rough cut stage. My advice to young editors is to get to know the Adobe products (or whatever the preferred software). Also, there’s too little mentorship nowadays. If you have access to a veteran editor, don’t be afraid to show an edit and get feedback. The critique they have will be different from a creative director and can help you grow in your craft. And lastly, if you’re in film school, try to ally yourself with a fellow student who wants to direct. Becoming a great editor takes practice. Finding a director you gel with will give you more material to edit.