Aldo Paternostro – Editor
Aldo is a London-based editor, who has a wide number of credits in both short and long form programs for broadcast TV.
Whilst attending film school in New York City, he particularly enjoyed being in the film department’s edit lab – a hot basement with a row of small cubicles equipped with Steenbecks and KEMs. Cutting 16mm short films on a flatbed with guillotine splicers was where Aldo’s interest in post-production kicked in. The ability to handle the film, smell it, be close to it and find the right frame to splice, like if it was some kind of investigative work, was something he fell in love with. That’s arguably when he learned the most about storytelling. And he still has the scars on his fingers to show for it.
Growing up, his love for films was the one constant thing he could rely on as his family moved around a bit. Back in high school in Colombia, Aldo would host a geeky film club where he would write his own synopsis and criticism for each film he’d introduce. The memories of his first movie-going milestones are still vivid in his mind – E.T., Raiders, Empire – all those early 80’s childhood favourites. However, it was really the cinema from the 70s that influenced him and still does to this day because of its American toughness kind-of-style and its European sense of realism.
Road to success – Ups and Downs
I moved to London 15 years ago, working as an editor ever since. This is home now. However, when I first arrived I didn’t know anyone in town. I went through that pride-swallowing experience of dropping CVs in every post-production house in Soho. I think of that every time I go into an edit suite to do a job.
Greatest achievements so far
My family by a long shot. My 2 year old daughter and my partner are my greatest achievements. All else pales in comparison.
Projects I’m most proud of
Aside from the feeling I get when I finish my own scripts, it’s hard to pick one project. I recently worked on a series of short films for Vice last year called “Night Visions” and on a short film for ID with a new director that won a competition. I was pleased with how they both turned out. So were the client and the director. In the end, that’s what you are there for as an editor – to service the director by helping him find the best film in the edit. As Orson Welles once said, “The notion of directing a film is the invention of critics – the whole eloquence of cinema is achieved in the editing room.”
Biggest lessons in life and work
There are always going to be busy times and quiet times. It’s best to stay as productive as possible in the quiet times. They never last as long as you’d expect.