How Brad Waskewich Learnt to Conduct the Editing Circus
For Uppercut Edit’s Brad Waskewich, it was the blend of science and technology with art and creativity that first drew him to filmmaking. It’s evident in his editing style that this was the case, as his meticulous eye and attention to detail draws parallels with someone who could have spent their career with an eye over a microscope.
The latest addition to Uppercut Edit’s roster, Brad is somewhat of a veteran in the editing field. With a slew of awards under his belt and a catalogue of work for brands including Jameson, Nike, and most recently, Booking.com, Brad joined to embrace a new challenge and help grow the studio’s presence on the West Coast.
A proud father, Brad attributes his parenting style and ability to balance the ‘circus act’ to his experiences as an established commercial editor, as he learnt to manage numerous voices, consider suggestions and make everyone feel heard inside the edit suite.
To find out more about Brad’s background, style and what lured him to Uppercut Edit, he sat down for a chat with LBB’s Abi Lightfoot…
LBB> Brad, thanks for taking the time to speak with us! Starting at the beginning, what were you like growing up, and how did you first pick up an interest in filmmaking?
Brad> Happy to talk to you! Growing up I was a maths / science kid and wanted to pursue a career in medicine until I had a bad accident and spent a big chunk of my senior year of high school in the hospital. I decided that I never wanted to step foot in a hospital again if I could help it and went to college with a blank slate. The first couple of years I took a broad range of classes from palaeontology to writing to music and the filmmaking course—specifically the balance of science/technology and art/creativity that goes into it—really appealed to me.
LBB> How were you introduced to editing and the idea of it as a career path?
Brad> I was introduced to editing by Robb Moss, a documentary filmmaker and head of the filmmaking department at my school who taught me that films are more often than not made in the editing room. No matter how well conceived and executed a shoot is, you have to embrace the unexpected places the footage might take you. And the first time I considered editing as a career path was when I received a $200 check for a music video I cut and realised that being an editor wasn’t just fun but I could get paid to do it too.
LBB> Looking back at your career up until this point, are there any stand out moments or projects that led you to where you are today?
Brad> Early in my career I got the opportunity to edit a Malcolm Venville Nike spot called ‘FCUSA’ that went on to win an AICP editing award. I feel like this was when my career really took off, not just because of the recognition of my work, but from the confidence it instilled in me. Another seminal moment in my career was working on the Jameson spot ‘Lost Barrel’ that was directed by Noam Murro. It was the first time I took a somewhat big creative leap, deciding to flip the script around and start the spot at the end of the story. It was a well-received choice by all of the creatives involved and taught me the value of taking risks and looking for new perspectives.
LBB> In addition to your role as an editor, one of the most important responsibilities in your life is being a dad. Has parenthood altered your approach to work in any way?
Brad> I would actually say the opposite is true. Being an editor shaped my approach to parenthood and prepared me for being a dad. Particularly with commercials, from the director to the agency to the client, there are many voices and opinions that need to be considered on any given project. Sometimes it’s a circus act balancing all of those (often disparate) suggestions and making everyone feel heard, while still doing what in my gut I think is right for a project. Much like parenting.
LBB> As the most recent addition to Uppercut’s roster, why was the studio the right choice for you, and what do you hope to achieve there?
Brad> It just so happened I was ready for a new challenge in my career when Uppercut owner Micah Scarpelli and LA executive producer Mila Davis approached me about a partnership. Uppercut is a well established brand in NY after a decade plus of excellent work, but they are still somewhat new on the West Coast. The opportunity to join the team and help shape the vision of the LA office was something I could not pass up.
LBB> As an editor, how do you collaborate with a director to help bring their vision to life, and how do you nurture this relationship?
Brad> Unfortunately in recent years the time I get to physically sit with a director has been compressed to a point of almost being non-existent, but I do my best to take what little time we do have together to absorb as much of their vision as possible. Then, once the agency comes in, I consider myself a surrogate for the director and make sure they are fully in the loop in terms of how and why the cut progresses the way it does through to the end of post production.
LBB> How would you describe your editing style and approach? What’s the first thing you look out for when taking on a new spot?
Brad> Music plays a large part in my editing style, whether or not the spot is heavily reliant upon music. Even before I receive the footage, I’ll put together a Spotify playlist based on the boards. When I view dailies I listen to those tracks and it helps develop a rhythm or vibe for the spot. And I never work linearly, even if the spot is as straightforward as possible, there is always a moment (whether towards the beginning, middle, or end) that presents itself as the anchor moment of the spot that I’ll build the rest of the piece outward from.
LBB> Finally, are there any developments or trends in the world of editing that you’re excited about?
Brad> While I think the AI hype is a bit overblown, there are some tools that have emerged, such as built-in audio transcription functions, that I think have the potential to be tremendously useful for editors in terms of saving time from tedious tasks. With post production timelines always being compressed, any tools that can free up some of those precious minutes to devote to the creative process is helpful.
