Finely Sliced: Linda Jildmalm’s Editorial Symphony

Linda Jildmalm is known as an editor and editorial consultant. Some of her work includes 'Hatching', 'Oracle', 'Alena', 'Flocking', 'The Dark Heart' and 'A Day and a half' .

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

Linda> My job starts long before I make the first cut. I start by reading the script and try to be as involved in pre-production as possible. What movie does the director want to make? I like to have meetings with some key positions (DP, sound, VFX and scripts as well as the director off course).

Often the director/DP want me to go through their shortlist and see if there is anything I could think of that we would need to help tell the story. It is also great to have the ability to give an editors input to the script. As the screenwriting process and editing process are very alike.

Once the shooting starts I like to begin as soon as possible, already the day after if I can. In that way I can always be on top of the material and have a close discussion with the set. Then when I finally am about to make the first cut I try forget everything and start with a fresh eye. I look through the material of a scene and just start to do a really rough sketch of the scene, and revisit the scene again after a couple of days.

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?

Linda> I agree that many people think that editing is just technical, and that editors are just taking things out of the story instead being a part in creating it. But it is a big misunderstanding, and I think it is hard to explain for someone who hasn’t been in an editing room.

I have a big photo wall, where I have printed a frame from every scene in the movie. My wall is my comfort zone. By looking at it I can get an overview of the material. Where can I add tension, where can I move things around for better storytelling? How can I tell this story in the most beneficial way for this specific project? Where do we increase the tempo for dynamic? I come up with solutions/ideas and things I want to try and experiment with.

Then I have to use the technology, as an artist use their paintbrush, to get the ideas to the screen. The process is less about just cutting and more about understanding the emotional journey the film needs to take the audience on.

Every cut, transition, and choice of shot influences how the viewer feels. A pause in the right moment can build tension, a fast-paced sequence can create excitement, and an unexpected cut can deliver surprise or shock. I think it’s about trusting your instincts and collaborating closely with the director to create those emotional beats.

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

Linda> An understanding of story and the mechanics of story is absolutely essential for an editor. At its core, editing is about shaping the narrative, and you can’t do that effectively without understanding how a story functions - what its emotional beats are, what themes it explores, and how the pacing and rhythm work to build tension or release it.

A deep knowledge of structure, whether it's a three-act structure or something more experimental - helps the editor support the vision while still keeping the story cohesive and engaging for the audience.

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?

Linda> It's not just about timing the cuts, but about understanding the natural ebb and flow of a scene, the way the characters' movements, the dialogue, and the subtext create their own 'beats.' It’s a lot like working with a piece of music, but with the visual and emotional components taking centre stage instead of sound.

In some ways, every edit is a kind of note in a larger symphony. Even with no music, the rhythm comes from the tempo of the performances, the pacing of the action, and how the cuts can create tension or relief.

For example, during a dramatic scene, you might want to hold onto a shot just a little longer to build tension, or you might make a quick cut to amplify a sense of urgency or surprise. In a quiet moment, you might let the scene breathe, allowing the actors’ expressions or the silence to carry the emotional weight.

I also think that rhythm can be felt through repetition. Whether it's a motif in the blocking, a recurring piece of dialogue, or a visual cue that keeps coming back, it can create a subtle sense of musicality without relying on actual music. Editing is about finding the right flow and giving each moment the space it needs to connect with the audience emotionally.

Ultimately, it's about intuition. I'll watch a scene over and over, feel the energy, and allow the rhythm to reveal itself - whether it’s quick and punchy or slow and deliberate. There's a certain pulse in editing, and once you sync with that, everything else falls into place.

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

Linda> One recent project I cut was a horror feature and it was really challenging because it was a found footage film. And it was suppose to have been the two 17-year old characters in the movie who had “cut” the movie themselves for their social media platform. I had to do a lot of research, both in the “found footage”-genre but also “YouTube-editing” and then put myself in the character’s position and always ask “why would they leave this in?” So a scene wasn’t there just for the audience.

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

Linda> It is like a “movie-marriage” relationship between an editor and a director. You have to have respect for each others work but it can’t work if you are not being honest with each other. I am lucky to have had great relationships with the directors I work with so they would understand why I would bring up something uncomfortable. It is never a personal agenda from an editor. Off course people can have different creative opinions. But then I try to use an editors most useful line “Let’s try it!” 

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

Linda> I would definitely say not enough material. Sure if you don’t have enough material it forces you to be creative and work with what you have. It can be hard to get a good dynamic in the edit if all scenes are too similar and you have no footage to work with. I don’t think there is such a thing as too much material. Even though it can be overwhelming at first before you get to know the footage.

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

Linda> It is hard to say. But as a parent would say “I’m proud of all my babies, even if they are not always perfect” haha. Joke aside I think I am proudest of the work I have done on movies where the editing process was challenging but no one would ever notice in the end result.

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

Linda> My colleagues in the industry! It is fun to collaborate on TV series for example because you get to learn from other editors by just watching them work or discussing structure or the story with them. I also learn from them because I see what material they have and what they do with it.

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

Linda> Commercials typically operate on a much tighter production schedule and budget. Editors often have less time to refine the cut compared to films and TV shows, where there might be more resources and a longer post-production phase. This difference can affect how much experimentation is possible during the editing process. Time is a movies best friend in the editing room. You can’t skip the process of trying things and let them sink in.

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

Linda> Unfortunately I think the recent trend has to do with that our attention span has grown shorter. Everything has to have an immediate hook so people don’t turn it off or scroll to the next video.