SPOTLIGHT: Clémentine March – Editor

Who is Clémentine March?

I’m a film and video editor, a musician and a translator. When I started working in 2000, I immediately fell in love with the editing craft because it combined my desire of telling stories with the importance of visual culture and image language and – most importantly for me – the internal musical rhythm each edit requires.

I either enjoy very dynamic clipping or the more contemplative approach to image and sound pacing. I like to consider every project as unique, even when it’s part of a corporate production.

How did your career path develop?

I started my career in Paris, cutting 35mm reels and working as an assistant for movie directors (Olivier Assayas, Dai Sijie), and that first experience gave me a very physical approach to the length and pace of a feature movie. As I started to master my tools (Avid, Final Cut Pro, later Adobe Premiere) I also began working for TV, news broadcast, and I learned how to operate in a fast international environment.

Since 2010 I have been very present in the French and UK indie scene as a bass player and songwriter. Upon moving to the UK, I decided to combine my two careers: shoot my own films and music videos, and work more for installations, museums and theatre plays (when video is integrated).

What do you consider your greatest achievement/s so far?

When I moved to London in 2016, the Tate Modern was about to open its new building and I embarked straight away (with House of Greenland productions) upon the making of a website, blending in cutting edge graphic effects, video editing and the crazy soundtrack by the band Sigur Rós. It was the best introduction to my new London life.

Any projects you are most proud of and why?

In 2015 I collaborated with Mind The Gap, a learning-disabled theatre company based in Bradford (Yorkshire), together with the French multi-awarded photograph artist Denis Darzacq. It was moving to collaborate with these young skilled actors in the Louvre museum, and the output was a beautiful meditation within the empty rooms of one of the world’s most famous museums. The 14 minutes film, titled “The Visit” was shown and praised in many international festivals (São Paulo, Marseille, Toronto).

Share your biggest lessons in life and work.

As an editor, you are most appreciated for your “reassuring” qualities, so be enthusiastic and calm.

My collaborators always enjoy a good sense of perpective on any project. It’s invaluable to be able to understand what is working – or not – and express it with a smile, leaving space for decision-making.

View Clémentine’s Full Portfolio

The Job Interview

This intimate and upbeat observational series follows real people in real interviews for jobs at well-known brands. | Watch

I definitely feel like a stronger editor after working on series two of The Job Interview. In many respects, the edit was challenging but the other editors and producers strove to make it the best series possible. And I learned a lot from all of them.” – Katherine Lee

Yianni: Supercar Customiser

Car customiser to the stars, Yianni Charalambous is the man the rich and famous trust with their precious rides. However, life at the top isn’t always straightforward. | Watch

Alan Harris edited 5 episodes: “It was a good experience on the whole. In the edit it was great to be able to use whatever music I wanted, as long as it had an urban feel, which contributed very much to the fast paced and youthful style of the show. It was also brilliant to be part of a new paradigm in TV and to see some of my work get thousands of views within hours of being uploaded. Yianni is a social media star with over a million followers and this was his big break into the TV world. At the same time it was a way for his show to gain momentum through Twitter, Instagram and YouTube. He was so grateful for the series and for me it was a pleasure to be instrumental in making that happen.”

We’ll Meet Again

Executive produced and reported by Ann Curry, this new documentary series features dramatic reunions of people whose lives crossed at pivotal moments. | More

Paul Bernays worked on episode 4: “It was a great programme to work on, especially with superb new director Georgia Braham. Although the rushes and archive footage were harrowing in places, we were determined that what came through was a timely and heartfelt reminder of how people can be caring of each other, no matter who they are or where they’re from and how small acts of kindness can literally change lives.

Zilke Lemmer worked on episodes 2 and 6: “I loved the concept of We’ll Meet again. It turned out to be not only very informative but also very emotional. My producer and I would always get the tissues out during viewings. The gay rights show was especially eye opening. I was shocked at how difficult it was to come out as recently as 20 or 30 years ago. It was fascinating to tell our contributors’ stories and getting an eye witness account of the history of the LGBTQI rights movement. Truly a humbling experience.”

Grand Prix Driver

Narrated by Michael Douglas, the series goes inside the secretive world of Formula 1 by offering never-before-granted access to the inner workings of McLaren to see what it takes to compete at the highest level. | Watch

Hardeep Takhar worked on the show as Assistant Editor: “Working across five editing suites and processing hours upon hours of beautifully shot footage was challenging but I also got to cut extras. It was a pleasure to work on a show for Amazon that had the feel of a feature documentary in style and sound.

SPOTLIGHT: Gabriel Edvy – Editor

Who is Gabriel Edvy

I’m a multi-disciplined filmmaker living in London. Hailing from the US, I got my start in two very different disciplines: music video (through Chicago-based H-Gun Labs) and documentary (Kartemquin Pictures). Fast-forward 18 years and I’m an editor of many different TV formats and a director of music videos and artistic visuals.

How did your career path develop?

I went to film school in the mid 1990s. I was desperate to make music videos and work on films so I went to work for H-Gun Labs, a prominent cutting edge production company in Chicago. Along the way, I did some documentary work and I really enjoyed it, so I collaborated with the documentary powerhouse Kartemquin Pictures, and did some features with different directors. From there, it grew very naturally and organically into commercials.

In 2004 I moved to the UK and began working with filmmakers Luke Holland and Nick Broomfield. After that, I found a path into TV and have taken on varied and continuous work in that medium. I still make music videos and more artistic projects through my own company, Blackswitch Labs.

What do you consider your greatest achievement/s so far?

I think that just being able to maintain a career doing what I love is generally the greatest achievement.

Any projects you are most proud of and why?

In terms of my television and film work, I think the documentaries are what I’m most proud of. Stevie, Battle for Haditha, Webcam Boys, The Batman Shootings, my work with Current TV, the Al Maysels’ doc The Poetic Eye – all these films really meant a lot to me. There are many things about real documentary that are quite fulfilling.

Share your biggest lessons in life and work.

Work hard. Mind your own business. Tend your own garden. Don’t take anything for granted, and always be kind.

View Gabriel’s Full Portfolio

Elizabeth: Our Queen

The Queen’s friends, Royal Household members, advisors and former Prime Ministers discuss her accession to the throne and her time as the British leader. | Watch

Steve Teers shared some rare insight about working on the programme:

I really enjoyed working on Elizabeth: Our Queen. It was in complete contrast to recent fast turnaround ‘salvage’ jobs! I have the honour of kicking the whole thing off, having edited episodes 1 and 2 – from her early days before the abdication of Uncle Bertie to the glamour of the late fifties, overseeing the evolving commonwealth, mingling with the likes of Marilyn Monroe, and managing her mischievous sister…

Despite being down in the windowless bowels of the edit suite, it was a privilege to be allowed the time to trawl through hours of fascinating historical archive, hear countless anecdotes of royal intrigue from the mouths of the lords and ladies who were there, and be able to unhurriedly craft montages with a certain regality appropriate to the subject.

It’s an old story, told many times, but whereas the fanciful dramatisation of Netflix’s The Crown might look like the £10 million each episode cost to produce, we felt our unique access to historical figures and their insightful recollections gives our documentary something of an edge. It’s also incredibly easy to edit the sync when spoken by a nonagenarian in a clipped version of Queen’s English rarely heard these days.

When the time came to show an assembly to series producer Viscount Charles Colville, director Mick Gold and I were a little nervous. It’s not every day a sitting member of the House of Lords gets to vet your work. Charles had a charming, if not slightly intimidating way of barking his instructions, so when his first reaction was to say it was ‘beautifully edited’, it did make us feel it had all been worthwhile!

We were very close to getting royal approval – which would have meant access to the personal Royal Archive collection of TQ (that’s ‘The Queen’ as she appears in press officer-speak). It would also have meant TQ would have personally vetted every episode of the programme, which would be a rare thing. Apparently she passed on this occasion but that actually gave us a freer hand to have some fun with the more scandalous royal tales!