The Evolving Rules of Editing
Jonnie Scarlett was born in Ireland, raised in South London — but grew up all over the world: Norway, Jordan, Thailand and Fiji, to name a few.
Returning to the UK and holding down a government job into his late twenties, it was trying to find an antidote to the monotony of the civil service that eventually led Jonnie to sitting in a suite full-time.
Joining the Quarry in 1998, Jonnie rose from runner to assistant to editor, and has continuously built upon an impressive roster of directors, clients and award-winning commercials.
Jonnie eventually returned to his roots in South London, albeit several decades later and with a bit more of a tan. He’s a music lover with a huge vinyl collection, and is also a very talented artist – check out @jonniescarlett to see some of his vibrant and incendiary work.
LBB> The first cut is the deepest: how do you like to start an editing project?
Jonnie> A lot of pressure is put on the first cut but, ultimately, we all know that the last cut is the most important – it's all about ensuring the best preparation and good practice to get you there.
It’s a process, and every job starts the same; with a blank timeline that you’re itching to fill, but before that can start there is some important work to do. You’re laying foundations that will help you later and the most important part is getting to know your footage. Organising it so particular footage is easy and quick to find when you’re editing and in the flow is time well spent.
You don’t always know what you’re looking for at first so I like to make an instinctive assembly based on takes or moments that come to the fore on first viewing. Once I’ve got a context my selecting is much more targeted and defined.
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?
Jonnie> I think it is impossible to separate the two.
Good technical knowledge is a prerequisite and as the saying goes, ‘Knowing the rules allows you to break them properly’.
The rules of editing are evolving but remain ever important, a great seamless edit allows the viewer to stay in the story, truly enhances those emotional beats and heightens that immersive feeling.
Developing the craft of editing is an ongoing process and gets better with experience.
LBB> How important is an understanding of story and the mechanics of story?
Jonnie> Story telling is what we do and the full use of the mechanics allows us to tell a story in the most compelling, effective way. Much of this is instinctive especially when you’ve been doing it a while and trust yourself to make the right decisions. Every project is different but the same aim applies – you are trying to engage the viewer, make them feel something and convey a message.
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?
Jonnie> All editing is rhythm and the right track can greatly enhance that. With most projects cutting to a track is invaluable to get you into a good place and once you get a really tight edit humming along it is amazing how many tracks seem to work and sync up as well as the original track you cut to, albeit in different ways. A great edit is pretty robust.
LBB> Tell us about a recent editing project that involved some interesting creative challenges.
Jonnie> Every project has its creative challenges and the variety of what we do is one of the best things about the job. Recently I’ve particularly enjoyed trying to enhance a ‘real time’ feel in some Cadburys spots I’ve been involved with over the last couple of years. Eking out the quiet pauses between the actors lines, using minimal cuts and stripping the stories back to the absolute essentials. Nothing flashy or extraordinary, just small, subtle human observations that hopefully make the spots stand out and be emotionally effective.
LBB> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?
Jonnie> All relationships in the process are important but I don’t think it is too controversial to say that your relationship with a director is the single most important one. It’s their vision you’re helping to bring to life.
Directors come to you for your experience, opinions and taste, but they want a collaborator not a know-it-all. Creative discussions can stress test the very best cuts providing you and the director are open minded and are both in service of the idea. This same maxim applies going forward with the agency and client.
LBB> What’s harder to cut around – too much material or not enough? (And why?)
Jonnie> Both are bad. Too little means you may be forced into uncomfortable cuts and too much means it is impossible for full immersion and to have that crucial knowledge of all your footage. Stating the bleeding obvious but when it’s done right there is a sweet spot of just the right amount.
LBB> Which commercial projects are you proudest of and why?
Jonnie> I’m proud of any project where you have helped navigate the spot through all the stages and you still have a cut that everyone is really happy with. If I was to name one it would probably be Vodafone ‘Time Theft’ directed by Frederic Planchon at Academy films, everything just clicked on that one.
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?
Jonnie> The freedoms afforded by new platforms are really exciting but I am still attracted to the discipline and rigour that a time constraint brings. A cracking 60 or 30 is hard to beat, not a frame more or a frame less. You make all the time lengths, six seconds or three minutes, the best they can be but when you look back after the event it is often the 60s and 30s that really hold up.
LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?
Jonnie> Any editor who stops me noticing the editing has my admiration. I’m not a fan of over cutting, I like there to be a reason for the cut. Ultimately if the film or commercial is enjoyable to watch, holds your attention and makes you feel something then the chances are it has been well edited.
LBB> How does editing in the commercial world differ from the film world and TV world?
Jonnie> Essentially you are applying the same processes and there are a lot of similarities. For sure you’re spinning more plates with long form and your ability to switch from the micro to the macro quickly is much harder, with a commercial you can almost do both at once. But ultimately you want to create something that people want to watch.
LBB> Have you noticed any trends or changes in commercial editing over recent years
Jonnie> Things are always evolving, people and trends come and go but we still do the same job. Helping our collaborators tell a story in the best way we can.
