The Art of Storytelling Through The Edit

Rasmus Nyholm Schmidt is celebrated for his ability to craft emotionally powerful, visually captivating projects that spark curiosity and tell deeply resonant human stories. His body of work features standout collaborations with Nike, Telenor, Interflora, Lego, Danish Lottery, Magnum, and T-Mobile.

In 2023, his work earned him a spot on the Epica Awards Shortlist, an Epica Bronze Award, and a Eurobest Bronze Award. Growing up with artistic parents who struggled to make a living from their craft, Rasmus was driven early on to turn art into a viable career.

Initially starting as a writer/director, his passion for storytelling led him to discover the art of editing, where he fell in love with the interplay of narrative, music, and sound design. Advertising became his playground, offering a dynamic blend of creativity and challenge, quickly earning him a following for his inventive brand collaborations.

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

Rasmus> I always begin by immersing myself in the material. Watching the footage without any preconceived notions allows me to understand and feel its natural flow and the story’s potential. Sometimes, I choose a playlist that might resonate with the story and play it in the background while I make selections. This often leads to interesting clashes between the material and the music, creating small coincidences that help guide the direction of the film.

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?

Rasmus> It all comes down to the hours you put into it. I simply love creating emotions. The process of assembling small elements and watching them transform into something greater is deeply rewarding for me every single time. My passion and playful editing approach drive me to constantly develop my craft. I’ve also been fortunate to work with brilliant directors who continually push me to grow.

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

Rasmus> Understanding story is foundational. It’s the equivalent of musicians rehearsing scales. The more you practice, the deeper your connection to the film becomes. The most fascinating and rewarding part of editing is the intuitive process – losing yourself in the story. To truly experience that, you need to practice and refine your understanding of storytelling.

LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing. 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?

Rasmus> Everything contains rhythm, and a significant part of the editing process is finding the exact rhythm for the film you’re making. The pacing of a cut, the way it aligns with an actor’s movement or a scene’s energy – all of this contributes to the viewer’s experience.

Cutting to music is always a joy because it brings built-in rhythm and emotion, but I also enjoy crafting an internal rhythm that carries a scene organically. Sound effects have also become a huge part of my process. The subconscious impact of sounds can sometimes take the audience to a deeper emotional level than music.

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

Rasmus> I recently finished a campaign where everything seemed to be in place, and everyone was happy, yet something was missing. The message was delivered, but it wasn’t emotionally anchored.

While experimenting with sound effects, something as simple and banal as a heartbeat gave me a fresh perspective on the material. Ultimately, we restructured the entire piece, creating a dynamic narration that wove the scenes in and out of each other, all gravitating toward a main scene that was originally a ‘walk-through’, but now became the core of the story.

The process reminded me of my documentary editing days and was incredibly rewarding.

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

Rasmus> I see myself as a collaborator who helps bring the director’s vision to life. I’m opinionated, and when asked, I always have something to contribute.

However, I’ve always appreciated the hierarchy on a film set. The director is like a conductor – they have the grand overview. My role is to provide them with a variety of possibilities and test the material to ensure they feel confident they have the best possible version. When creative differences arise, it’s about communication and trust.

LBB> In the US, editors are more heavily involved across the post-production process than in Europe. What’s your favourite part of that side of the job?

Rasmus> I enjoy being part of the entire post-production process. Following the story through every stage ensures that all elements align with the edit and enhance the final product. It’s gratifying to see how collaboration across teams shapes the piece.

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

Rasmus> Not enough material is always more challenging. Limited footage restricts creative options, and often forces compromises. While too much material can feel overwhelming initially, it’s ultimately a luxury to have more choices and flexibility to craft the story.

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

Rasmus> One of my proudest projects was a campaign for Interflora called 'The Fisherman'. It’s a straightforward film where most viewers might not even notice the edits, but that’s precisely why I’m so proud of it. The film wasn’t about flashy cuts or dynamic visuals; it was about profound emotional storytelling. It told a love story about two people drifting apart, and its simplicity made it deeply moving.

LBB> Are you seeing a change in the kind of projects you’re getting from brands and agencies due to new platforms?

Rasmus> Yes and no. Good storytelling remains the main priority. However, the rise of social media has made it essential to create a hook within the first five to 10 seconds. This requirement changes how stories are told, but also creates opportunities to experiment. Sometimes, the most engaging hooks aren’t loud explosions, but subtle moments of intrigue.

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

Rasmus> My mentor, Åsa Mossberg, profoundly influenced me. Her commitment to creating something truthful and her passion for storytelling were unparalleled. 

In the commercial world, Peter Brandt’s work with Martin de Thurah also stands out. His ability to elevate time through visually stunning and mystical storytelling leaves me in awe.

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

Rasmus> Editing in commercials is like crafting a visual haiku. Dialogue is often minimal, so the story relies on dynamic visual cues and subtle rhythms. 

It’s exciting because every frame matters, and there’s no room for excess. This intense focus on precision often makes the process feel like solving a creative puzzle, where every choice has a significant impact. But I really also love the long, tiresome grind of the film and TV world. It allows you to travel deeper into the stories. 

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

Rasmus> There has been a noticeable shift toward more authentic, documentary-style storytelling, even in high-end commercials. Brands are seeking deeper connections with their audiences, making emotional resonance more important than ever, and moving away from flashy transitions.