Finely Sliced: Immersing Yourself Deep in the World of the Project with Nia Imani

Nia is a Grammy Award-winning editor well known for her work on ‘Homecoming: A Film by Beyonce’ and has created visual content for Beyonce and Jay-Z’s On The Run 2 Tour as well as for Olivia Rodrigo, Steve McQueen, Janicza Bravo, Chloe x Halle and H.E.R. Working across narrative, documentary and all experimental modes of filmmaking, Nia has collaborated with global brands such as Miu Miu, Patta, Nike, Gucci and more.

Most recently, Nia edited an episode for the second season of FX’s highly regarded show ‘The Bear’ (episode three!) and was accepted into The Sundance Documentary Edit and Story Lab where she and her team will workshop an in-progress documentary feature film.

Nia also loves to continue to exercise her creative brain by sculpting and painting.

Nia is represented for commercials globally by Work Editorial. 

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

Nia> I like to start editing a project by first watching all the footage and immersing myself deep in the world of the project. I love making markers and notes on things that charm me as I go through it all for the first time. I love to start with some kind of reference music or sonic idea and to listen to that side by side with the footage to catch a 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?

Nia> I like to think of editing as alchemy. When I am working, energies are being created, heightened, manipulated and moved. I like to think that the ability to harness and work with these energies in the form of video is something that has always been innately within me. And this ability has been developed over time by continuing to make work from my heart. As I taught myself to edit, I think that a lot of my moments in my craft are based on intuition and inner vibrations .

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

Nia> A deep understanding of story and story mechanics is integral in being a sharp editor. One must know all the rules so that they can break them and flow within new realms of possibilities.

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?

Nia> I am nothing without my rhythm and I think great editing requires it. I love cutting with music and prefer if I have sound/music first when working on a project so that I can lay that down first and try to feel something. If something works you can usually feel that immediately. I think working with music is much more than cutting to the beat, it requires a heart feeling and intuition that can allow you to sometimes even disrupt what is expected musically and visually. 

 

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

Nia> Every project has its own set of creative challenges. Recently I worked on a project where we had to reimagine the story after being in the edit for a few weeks because things just weren't working. The story that was planned just wasn't flowing and so we ended up reassessing what kind of footage was shot and how that could lend us to crafting a new story. Sometimes it's really fun to have these sort of limits because it forces me to be even more creative and innovative with how I tell stories. 

 

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?  

Nia> My favourite part of being involved with post production is going through the scoring process and having the ability to work with sound designers and composers to craft a final product. Music and sound enhances a project so much and it’s so nice to be able to move from temp sound, to real beautiful sonic enhancement, it really just elevates everything.

 

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

Not enough material is always the hardest because you are lacking what you need . However sometimes this allows really creative solutions to arise that can make a project better. But I always prefer more footage than a little. Options are wonderful. 

 

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

Nia> Some of the projects I’m most proud of are a piece I made with Janicza Bravo for the Miu Miu Women's Tales called ‘A House With a Bird’, and a series of spots directed by my friend Mahaneela and creative directed by Steve McQueen. I really enjoyed the collaboration on both projects because I was working with friends and creatives that I really respected and honoured. I feel very proud of the end products and how the films resonated with others.

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

Nia> Some of my editing heroes are Joi McMillon and Terilyn Shropshire because they are phenomenal people who not only are brilliant editing minds but also are genuine, kind people. Early in my career they both offered me help and advice and throughout my journey they have been really important mentors in my career. Arthur Jafa is another editing/filmmaking hero to me, I was very grateful to work on something with him and to observe his process. He has a very honest , no frills, editing style that is fueled by feeling and spirit and rhythm. I am inspired by all of these people and their dedication and love to the craft of storytelling. 

Films like: Moonlight, Fire of Love, Love and Basketball and Love Is the Message, the Message is Death are brilliant to me. (Maybe I only love movies that have love in them haha?!) They are films you can return to over and over again because of their poetic rhythms . I am falling in love with not only the characters and the stories but the PACING and small nuances. When I watch those films, I can feel the care that was given in the edit and the trust that allowed magic to happen.

 

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

Nia> In the commercial world there seems to be a lot more input on creative from the producers whereas in the film world it feels the director and the editor work more closely together without broad input for some time. They are different realms of collaboration but both interesting and fun.