Tag Archives: Editing

Zekun Mao uses editing to create a thrill for audiences

Zekun Mao still remembers the first time she truly noticed film as a form of art, beyond a simple form of entertainment. She was watching Christopher Nolan’s 2000 blockbuster Memento, and she was fascinated by not just the story, but how it was being told. She began to immerse herself in movies, making her realize a passion that she never knew she had. She knew from then on that she was meant to go into filmmaking, and now, as an award-winning editor, she is living her dream.

“Whatever style the story requires, I will cut the film in that way. I would describe my style of editing as naturalism. I came from a documentary background. Being natural, or being real, is the most important thing. When I am editing, I like to stick to the style of the footage and stick to the tone of stories. I love showing the story as it should be. If it should be emotional, then I will make sure the way I cut the movie will make audiences feel that particular way,” she said.

Becoming an industry leader in her home country of China and abroad, Mao knows just what it takes to captivate an audience. This is exemplified with her work on films like Jie Jie, And The Dream That Mattered, Janek/Bastard, and American Dream, to name a few.

Last year, Mao also saw worldwide success with her film Our Way Home. The dramatic thriller tells the story of Chinese-American James, who picks up his older sister Barbara from college for Thanksgiving 1962. After a racist encounter in a diner, they think they’re being followed, but it’s not someone they expected. The story spoke to Mao, who has experienced similar forms of racism in her own life, which is why she felt compelled to work on the film.

“The story is about racism, especially at this moment when a lot of similar things are happening in the world. A lot of the feelings that immigrants have are painful, confused and embarrassing. Through this story, I want to tell the world that racism is a terrible thing and it shouldn’t happen to anyone. Moreover, the story is about Chinese immigrants. I want to highlight stories that are about my own community and about our history. As a Chinese filmmaker, I see that as one of my responsibilities. I think it is very important to show the difficulties and struggles that Chinese immigrants have even today,” said Mao.

Our Way Home had its world premiere at the Hollyshorts Film Festival 2018 where it was an Official Selection and is expected to continue its film festival run this year. Mao was pivotal to the film’s success. As it is a thriller, creating tension and uneasiness is key to captivating the audience, and editing is a vital tool to achieve this. Her work created the tone, bringing the audience into this dark world, making the thriller just that: thrilling.

“I am really happy that our film has been such a success. I feel really rewarded. All the hard work that we put in was really worth it. I am so happy that the story let the world pay attention to racism that still exists today. I am happy that through this film, I speak out loud what a lot of people want to say. I am also happy that I highlighted the story from my own community,” she said.

When editing, Mao made the decision of using fast cuts. During one crucial scene where the characters are being chased, Mao used her skills to create a feeling of danger, using jump cuts. The cuts are constantly jumping between cars and between the inside and outside of the car.

Mao thoroughly enjoyed her time working on Our Way Home. Everyone she worked with was dedicated to making the best film possible, and it shows in the final cut. Mao formed great professional relationships on set, which was almost the best part of working on the film. The best, she says, was sharing the story with a worldwide audience.

“The story is the reason why I worked on this project, and telling the story is the most enjoyable part of this process. I am very happy that I was able to tell this story, because I believe a lot of people experience racism in different ways. And a lot of Chinese-Americans had the confusing moment of figuring out who they really are. I hope after watching this film, audiences can think about all these problems,” she said.

Be sure to check out Our Way Home to see a telling and timely story, and just what Mao is capable of as an editor.

 

Written by Annabelle Lee

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Roma Kong takes audiences behind the scenes with Nickelodeon

Roma Kong has always been a big movie fan. Growing up in Lima, Peru, Kong’s favorite childhood pastime was taking in the latest flick, whether at the local cinema or on her couch at home. Even from that young age, she knew she wanted to eventually go on to make films like the ones she enjoyed so much.

“The moment I truly decided I wanted to make movies for the rest of my life was back in 2001 when I went to see Lord of the Rings: The Fellowship of the Ring on opening night. To see these iconic literary characters and worlds come alive on the screen was mesmerizing. I remember how mind-blowing and epic the film was, and I just thought, I want to do that. I want to be one of those people who make magical worlds be a reality before the audience’s eyes,” she said.

Now, Kong is an industry leading editor in both her native country and abroad. Having worked on several prolific projects for none other than Disney, Kong has established her reputation with her versatile talent.

One of Kong’s other long-standing professional relationships is with Nickelodeon. Working on several projects for the company since 2016, Kong’s work has been appreciated by audiences all around the world. Earlier this year, she embarked on a new project for the celebrated production company, taking viewers behind the scenes of their favorite Nickelodeon shows, featuring some of the shows’ biggest creators and cast members.

“I think these videos give the audience an idea of what it’s like to work in the industry. It shows them that we are all human and not this kind of over the top industry where everything is super glamorous. That people that are part of this industry also do all the silly things everyone else does at work, we all joke and we all work incredibly hard to make the content that everyone loves watching. It grounds the industry for the audience and makes it more accessible for everyone,” said Kong.

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Roma Kong at Nickelodeon

The online video series includes a behind-the-scenes look into the Fairly Odd Phantom, Butch Hartman’s new crossover animated short, and has exclusive interviews with the casts of The Fairly Odd Parents, T.U.F.F. Puppy, Danny Phantom, and Bunsen is a Beast. They were all published through Nickelodeon’s Social Media platforms, including YouTube, Facebook and Instagram. Together they are some of the most viewed social media videos published by the studio, amassing over 400,000 views.

“I’ve always loved working on BTS projects. They’re always fun because not only are you looking to give the audience a glimpse of how their favorite shows and movies are made but also, you’re looking to catch those extra special funny moments that only happen behind the scenes. Making these for Nick and editing videos with some of their biggest creators at work really stood out for me,” said Kong.

Kong was the sole editor for every one of the BTS Nickelodeon videos. As the videos were very time sensitive, the production company needed an editor that was effective working at a fast pace. Even working quickly, Kong excels at catching great moments that not only are humorous and entertaining, but that look good on camera. On top of this, she has a unique ability to edit to the rhythm of the music in the video, making them that much more captivating. The use of music was essential to each videos success, which could not have been achieved without Kong’s touch.

“I loved these because it was awesome watching the footage and seeing these people in action. Being able to catch great moments of their personalities and how much they love what they do and being able to tell a story with those moments was fantastic. It was great watching the action go on and then something completely unexpected and funny would happen and I would just burst out laughing and call my teammates and we would have a great team moment. They were incredibly fun to work on,” she said.

Storytelling was a fundamental element for Kong when editing the videos. Even though they were just going behind the scenes of a show, she knew she still needed to tell the audiences a story. She was given all the footage and went through everything to find the best moments and tell a coherent story. Because they were behind the scenes videos, at the beginning, it was difficult to figure out how to structure it for everything to make sense and not just be a series of funny bits or bloopers. Kong therefore decided to first separate sections of the video, parts where everyone was laughing, parts where they were recording voices, etc., and then, depending on the video, she would either keep the sections separate or intercut them, jumping from one section to the other. She then added small sections from the actual show to help the audience make the connection between the part that was being made and the exact moment in the piece.

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Roma Kong at Nickelodeon

“Nickelodeon is one of the big ones. Every kid grows up watching Nickelodeon and adults my age all had their lives impacted by them. Everyone knows them and what they stand for and their great reputation. It fills you with a sense of pride knowing that you’re working for a company that so many consider part of their lives. Whenever I talked to my friends about the shows they used to watch growing up, 90 per cent of those shows are Nickelodeon shows. It feels amazing to work for a company that has been so influential for so long,” she said.

Kong worked on BTS Nickelodeon from January to May of this year. Every video she did provided a new learning experience for the editor, which is why she loves what she does so much. Every time she steps into the editing studio, she remembers what it was like as a child, being so captivated with movie magic, and she strives to engages her audiences the way she was once so engaged. That drive is what makes her such a tremendous editor, and for those looking to follow in her footsteps, she encourages you to never give up.

“Never ever think that you can’t be a part of this industry, you absolutely can. It’s a very intense industry. It’s not glamour and glitz as they like to show, it’s long hours, very short deadlines, hard work and lots of different personalities to deal with. So, you have to be sure this is what you want to do for a living. Really sure. Once that’s settled, educate yourself. Filmmaking is a creative line of work but it’s also very technical. You need to learn how to do it. Watch all the content you can, no matter how good or bad you think it might be. You’ll be surprised how much one learns from bad movies. Learn the tools of writing and storytelling, your job is to tell stories, so learn how to properly tell them. Lastly, talk to people, reach out to people already in the industry, ask for their advice, ask if you can meet up for a cup of coffee. We all started somewhere and we all know how much talking to people already working helped us,” she advised.

Colorist and Editor Cynthia Chen artistically portrays grief and loss in ‘The Last Page’

“To me, filmmaking is like making a delicious meal. The process of shooting is like gathering the ingredients for the food, whereas post editing is like cooking. Editors reorder the different materials, and create different dishes through proper dressing and seasoning,” she said.

Chen is recognized around the world for what she does. Having edited highly successful films such as Slingshot Prince, Offsprung, and most recently, I Don’t Want to Sleep Alone, Chen is an industry leading editor in China with her work celebrated both there and abroad.

Chen is also a celebrated colorist, often combining her roles on many films. She has enhanced many films through color with her work, including Maskand The Last Page. The latter was a motivational project for the Chinese native, as she was telling a true story about another artist.

The Last Page is a short film that follows the story of a once famed comic book writer Emanuel Delgado. After a long career of award winning comics, and a mega fan base, it’s been nearly a decade since Emanuel abruptly ended his career because of the death of his brother. He is living in a house littered by the drunken debris of his depression until one of his fans show up who is the same age as his brother and encourages him to restart drawing comic books.

“I like this film because it carries positive energy and is both motivating and encouraging. It’s a story about a person coping after the big mental trauma of losing everything to picking himself up and changing his miserable life. It encourages people to never give up on their dreams, reminding them there are always other people supporting and caring about them. We need to cherish our own lives and do more meaningful things in the limited time that we have. I was totally touched when I finished watching this film. It is not only about remembering the people we’ve lost, but also encourages those people who lost their hope from losing the one they love to get out of the deep sorrow and tell them that there is always somebody else supporting and caring about them,” said Chen.

The film premiered at the Los Angeles Independent Film Awards 2017, where it took home the top prize. Chen was both happy and surprised when she heard that The Last Page was an award-winning film, knowing that it touched audiences the same way it touched her.

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“I remembered those countless nights that I was talking with the director about the color grading ideas and how we could make this film into a better piece of art. And right now, we can all be proud of ourselves that we made it to the end, although it was just a small step on a long road ahead of me, I will keep up and be more creative as a filmmaker,” she said.

Chen was in charge of all the color grading for this project. The director described what kind of color effects he wanted for each scene after showing her the editing. Chen marked down every detail he mentioned and spent weeks turning his vision into a reality.

There are a lot of scenes in the film that express a decadence and hopeless feeling, and Chen used color to enhance these emotions. She used a heavy yellow and green color tune for showing the messy house environment. After the character’s internal emotion changed, she used some bright and clean color tunes to represent the delightful changes in his life. The whole color tune changed from cold to warm. Her color grading works highlighted the transitions of the moods and echoed the arc of the story, different color rhythms made this whole film vivid and lifelike. Her work took the film to a new level.

“The film had a big creative space for me to do the color grading, through the discussion with the director, I understood what he wanted and started to do the individual color design. Throughout the whole process I had a chance to use the color analyse from other different film types and apply them to this film project. I like the color tunes from Fight Club very much, and I was always trying to get a chance to apply them into my film projects. This short film fulfilled the wish for me by using the Fight Club dirty color tunes to highlight the messy house when the main character was at his lowest point. Also, it created a big comparison later when the main character was back into his normal life,” she said.

Be sure to watch The Last Page to see Chen’s outstanding work and be moved by Emanuel Delgado’s story.

 

Written by Annabelle Lee

Editor Yun Huang introduces China to rest of the world in compelling docuseries

When Yun Huang was just a young child, growing up in China, her passion for film was born. Her grandmother was a movie projectionist and would share stories of her job with her granddaughter. She encouraged Huang to not only watch films, but to appreciate them. Since then, film has been an important part of Huang’s life, and she knew it was more than a hobby. Now, as a seasoned editor, Huang works in filmmaking every day, living her childhood dream.

Having worked on several successful projects, Huang is an internationally sought-after editor. Earlier this year, her commercial “Choice” amassed millions of views online, and her work on the film Stardust led the project to many awards at several prestigious international film festivals, including Huang herself being honored with Best Editing at Festigious International Film Festival.

It’s important as an editor not to have one specific style. Your job is to help the director to create their own style. You can provide different editing styles that you think can be used, but you must respect the director’s thoughts. That is what makes a great editor,” said Huang.

One of Huang’s ongoing projects is Unveil China Outside China, a documentary series that allows her to share her country with the rest of the world. The series is distributed on people.cn, a large-scale news platform built by The People’s Daily. The People’s Daily is the biggest newspaper group in China. The paper is an official newspaper of the Chinese Communist Party, published worldwide with a circulation of 3 million.

“Yun was our video editor when we were doing the post-production of this documentary series. I have known her for a couple of years and always like her work. Yun works effectively and always has a good attitude for communicating with the crew. I believe her talent in editing will bring even more fancy artwork to the world,” said Leiqi Lin of The Oriental Vision, Inc.

While making the series, Huang and her team have conducted many interviews with foreigners, from American politicians to ordinary people in the streets of San Francisco, from the founder of international think tanks to the engineers of Silicon Valley. The idea of this, from an overseas perspective, is to let them tell the story of China. What kind of role does China play in today’s world? How does the world see the development of China? What is the expectation of the future of China? Through their narration, the audience can find different answers.

“The documentary series include aspects of Chinese achievements, innovation in China, ‘Made in China’, Chinese diplomacy, China’s economic globalization, important meetings of the Chinese government, reform and opening-up, and so on. We interviewed many foreigners who told stories of China in overseas perspectives. I like to know more about China in different angles. I’m so proud that I can introduce China to the world by editing this series,” said Huang.

Having had previous documentary experience, Huang knew she was up for the task of creating and launching Unveil China Outside China. The monthly series involves a lot of work, and when Huang receives the footage, she only has a few days to turnout a compelling installment. At first, she found this to be a challenge, but now she finds it exhilarating.

“I only have three or four days to finish an episode, which was a challenge for me in the beginning, because I also have to work on the stock footages and special effects, find the background music, and more. However, after I had edited two episodes, I knew that I enjoyed such high intensity work. It let me have a sense of accomplishment. I believe resilience is a skill that all editors should possess,” she said.

The first episode premiered in October of 2017 and was published on both people.cn and People’s daily app. The premiere received over 810 thousand views in its initial month of being live, and Huang knew then and there that they were making something special. Now, they have ten episodes, each more successful than the last.

Unveil China Outside China is just one of the many projects that exemplify what a versatile and talented editor Huang is. She knows that the most fundamental aspect of her job is storytelling, and she encourages all editors that are looking to follow in her footsteps to make sure they know just how to do so.

“Try to learn more things rather than simply editing, such as fine art, music, literature and so on. These are extremely important skills and knowledge while you are editing videos with various subjects,” she advised.

You can watch one of Huang’s most recent episodes of the series, Unveil China Outside China: Riding on a bullet train is fabulous, here.

 

Written by Annabelle Lee

Editor Ran Ro tells her personal story in acclaimed film ‘In Between’

Korea’s Ran Ro remembers the first time she fell in love with the idea of filmmaking. It was when watching the iconic French film Amelie. As she took in the film, it was a different experience than simply watching a movie. In one scene in particular, the narrator lists out what Amelie, the protagonist, likes, as audiences see the visuals depicted by the narration. That moment sparked a fire inside Ro. She took in how the “mundane” aspects of a film could easily be ignored by the masses but can be captured so beautifully and significantly. It was then when Ro decided she wanted to be an editor. She loved the power that such small decisions could have over the telling of powerful stories, and she was ready to become a master of the artform.

Now, Ro is known for doing just what she admired when watching Amelie. Her attention to detail creates visual masterpieces, whether she be working on a minute long commercial or a feature film. Her work with brands such as Tastemade, BackBeatRags, and Elite Model Management captivated worldwide audiences, and when she embarked on her most personal project ever, the film In Between, she once again impressed.

“The underlying concept of the project was developed when I stumbled across a memorial park in Honolulu. I was supposedly at a place that represents the end of life, but all there was in front of me was empty scenery. Observing the sunlight landing on the unmoving landscape, I couldn’t help but feel oddly at peace. In comparison, I began to think about the emotional turbulence that one goes through in life. The script was written shortly after this experience, as a means of unravelling the curiosity that arose that day at the memorial park. My childhood experience of being raised by my grandmother became a central plot line of the main character of the film,” said Ro.

In Between tells the story of Tina, who in the middle of a suicide attempt on New Year’s Eve discovers a mysterious path inside her duvet cover, leading her to an ethereal space filled with an infinite number of lights. Not only did Ro edit the film, but she also wrote, directed, and produced it.

After premiering last year, the film saw immense success at several prestigious international film festivals. It won the Award of Excellence at Best Shorts Competition and was a semifinalist at the Los Angeles CineFest, the Los Angeles Independent Film Festival Awards, and the Hollywood Screenings Film Festival, to name a few.

“It is rewarding and also very encouraging to have seen the audience resonate with a story that involved my personal experience. It motivates me to create stories that are meaningful and that challenge me to be more curious and observant about things around me and about human emotions,” said Ro.

Music played a large part in the film, from the writing process all the way to editing. One of the music scores titled “Reoccurence” greatly inspired Ro, and she played it repeatedly throughout the production, allowing it to stimulate the rest of the cast and crew.

“During rehearsals with actors, I played the same music to match the pace of their dialogue and the rhythm of the music, knowing that I would be using that score when editing. Once the actors were tuned into the music, the whole scene fit into it – the very last dialogue ended with the last beat of the music,” she described.

Filming went very smoothly, which made the editing process almost effortless for Ro. She knew the exact pace and tone that she wanted for each scene after being involved in the writing and directing processes.

The film uses otherworldly places to visually portray metaphors on time and space. In one scene, this is exemplified when the protagonist crawls through an endless path underneath a duvet cover when time freezes during the New Year’s countdowns. She encounters a little girl who guides her to another otherworldly place, “The Gap”, a realm in between life and death where the souls reside.

The Gap was instrumental to the film, and it was conceptualized when Ro imagined an unperceivable place that exists in between every second. She thought of it as a place where all past moments exist. The main character in the film, who keeps her dear memories of her grandmother, reunites with a younger self of the grandmother in The Gap. This was Ro’s favorite scene in the entire film, and the one she felt the deepest connection with.

“I enjoyed seeing my vision come to life every step of the way from writing, casting to production. It was surreal but also very exciting to see what I envisioned actually happen right in front of me. I felt very grateful that the crew that I was working with truly understood my vision and used their talent to materialize it,” she concluded.

Be sure to watch the beauty of Ro’s work on In Between here.

 

Written by Annabelle Lee

‘The Ballerina, The Shoemaker and His Apprentice’ takes audiences back in time with help of Meibei Liu’s editing

As a film editor, Meibei Liu sees herself almost as the conductor of an orchestra. She puts together endless footage and turns it into a piece of art, transforming a script into a true visual masterpiece. In many ways, she is like the doctor of a film; she removes what is unnecessary and replaces what needs work. Editing is putting the final pieces of the director’s puzzle together, and Liu not only understands that, but she also thrives because of it, and that is what makes her a good filmmaker.

Having worked on a variety of projects that have made their way to many prestigious film festivals around the world, Liu has made quite a name for herself as an editor. Such films include Dear Mamá, Headshot, Faith Need Not Change Her Gown, Pumpkin and Fried Noodle, and more. Recently, her film The Ballerina The Shoemaker and His Apprenticereceived nominations at the Oscar-Qualifying Hollyshorts Film Festival and LA Shorts Fest, Maryland International Film Festival, and Ouchy Film Festival in Switzerland, New Port Beach Film Festival where it was nominated for Short Film Award, The Grand Jury Award and Best College Film at The Next Generation Filmmaker Film Festival.

“I’m happy to hear that the film went all over the world for festivals and awards. I was glad that my changes made it into the film and was shown to people who speak different languages. It confirmed that emotions expressed and enhanced by editing can be identified by everyone, which made me believe that I should continue doing what I did for the film. I was glad that Eva asked me to go on board and be part of the project. That gave me a chance to show my attitude towards editing to people,” said Liu.

The film takes place in 1963 Hackney, England, and follows George Arkwright, a young man down on his luck, who must navigate the refined world of ballet pointe shoe making and redeem his value as the apprentice under the shadow of Mr. David Traynor, a talented but stuffy point shoemaker. George’s imagination turns into a reality when he becomes smitten with the Ballerinas the shoes are built for, one named Sylvia particularly, but soon learns this magical and seemingly distant world is not beyond the reach of affliction. Liu came on board half way through editing the film when the Director, Eva Ye, realized she needed expansive editing talent to turn her vision into a reality.

“Working with Meibei was great. She has a strong sensibility for impactful storytelling through an editing perspective. She often provides new perspectives to the story and is invested in trying different ways of getting the emotion across. Sometimes she is more willing to dig deep into the materials just to find something I didn’t even know existed. Her passion and dedication to editing is something I’ve seen rarely. And in many ways, she makes my work better,” said Ye.

Liu is able to address the problems of cuts quickly. When she reviewed the first cut that was made before she was brought on, she realized exactly how to transform the footage into what the director wanted and what audiences would connect with. She took what was a half-finished film and reworked it, making it better. She realized that the scenes were dragging; all of them could end earlier by cutting out some of the lines and actions. She stopped in the middle of the first scene and started the second scene earlier, helping to show the main character’s eagerness. Sometimes, however, she chose to extend a scene and have it linger longer to show the apprentice’s feeling of loss and disappointment. This film has very subtle emotions, and an editor’s vision and eye on digging out the emotions, and enhancing them by editing is vital. Being a very emotional person who is strong at noticing the emotional changes of people, Liu was the ideal candidate to take over as editor.

“It’s a story of dreaming. I believe this is a film that speaks to everyone in spite of when and where it happened. It’s a worldwide emotion that people all over the world can understand. I believe it is important to tell this kind of story, giving the audience a short period of time to experience something they can relate to,” Liu concluded.

The Ballerina, The Shoemaker, and His Apprentice is currently available on Amazon Prime Videos.

 

Written by Sara Fowler

Editor Xiaodan Yang creates visual masterpiece with ‘It’s Not Just About a Film’

Xiaodan Yang knows being a film editor isn’t always the most glamorous job in the industry. When she goes to a film premiere, she will see the cast and crew and feel like she knows them so well after seeing their faces on her screen for the past few months. However, it is often the premiere where they first meet her. Editing isn’t a front-and-centre job, and often involves many isolated hours going through the same five seconds of footage trying to decide how best to use it. That being said, she absolutely loves what she does.

“I enjoy every moment during editing. I’m glad to be a participant and witness of the whole journey. Editing is my tool to communicate with audiences. It is how I put my emotions into the story. When people connect with the film, that’s my favorite moment, and I know I’ve done my job,” she said.

Born and raised in China, Yang has now taken the world by storm. Her work on films such as Witness and Sixteen received international recognition, and audiences can expect the same from her upcoming films Kayla and Summer Orange, which makes its world premiere at the renowned Cannes Film Festival Short Film Corner in May. All those she collaborates with not only appreciate what she is capable of, they admire it.

“Xiaodan is a very talented editor. We know each other because of film Snatching Sword (a.k.a Wang Shan). Snatching Sword is an action film, and over half of the scenes are action scenes. As we all know, editing action scenes is like a big trial for an editor. When Xiaodan delivered her first cut, I saw her talents instantaneously. She is sensitive to the pace of the film and knows how to use sound design to tell a story. I think that’s really important for a film editor. What’s more, she has a very collaborative attitude and the ability of responding promptly, which make her an excellent team player. My other crew members and I all enjoy working with her,” said Rachel Zhou, Director and Writer.

One of Yang’s most impressive works was her film It’s Not Just About a Film. After spending the beginning of 2017 editing the project, it premiered on May 13th, and then made its way to several film festivals. Yang herself was awarded with Best Editing at the Top Shorts Film Festival and the Award of Merit in Editing at the Accolade Global Film Festival. Needless to say, the film could never have seen the success that it did without her.

“It still feels so exciting, knowing my work was recognized on a global scale. Winning those two awards, it means so much to me. To be honest, this is not that kind of regular ‘Hollywood film’. The way we decided to tell the story breaks the routine. I’m so glad there are people that can understand our intention and like it,” she said.

It’s Not Just About a Film tells the story of Max, an actor. To get the lead of a film, Max seduces and has an affair with Cameron, the lead actress and wife of the film’s investor Fabrizio. However, as the shooting goes on, Max realizes that Fabrizio is a violent person with a gangster background. Max wants to end the affair but finds himself unable to break away from it. It is a pretty stylish story, ironic and funny, but also extremely suspenseful.

Working on It’s Not Just About a Film was a very creative process. The director and I had reached a consensus that we had to break the rules. It’s a wild story that needs wild ways to edit. That’s actually not an easy thing to do, but I was ready to try. It was like a brand-new experience for me. When I was working in the editing suite with Chen, the Director, he always encouraged me to try whatever felt good. I could forget about any editing rules in my mind, and it made for an amazing experience. I still feel so lucky that I got to be part of it. All the cast and crew were amazing,” said Yang.

Knowing he wanted Yang on board right away, the director sent her the script. At the time, it was not even completed. The first time she read the script, the story impressed the editor a lot. It was completely different from the films she had edited previously, and Yang is always looking for something new and unique challenges to get her creative juices flowing.

The film follows three different timelines all happening at the same time and includes several dream sequences. These three timelines revolve around the leading character in the story, reality, his dream and the film within the film. This makes for entertaining watching, but immensely challenging editing. With so much going on, Yang knew she had to put the scenes together in not just a creative way, but also one that was logical for audiences not to get lost and confused in the different storylines. She spent a good deal of time on the first cut. Almost every scene in the film had a different location, or even different time and space. Therefore, Yang decided to use different aspect ratios to present different timelines. However, after a few cuts, she still had the concern as to whether or not the audience could understand everything. She then tried to simplify the story by losing minor details, which made the film more relaxed and funny. Yang’s understanding of storytelling proved vital.

“Since the structure of this story was so complicated, editing played an even more important role. I kept reminding myself about one thing, “What am I trying to convey to the audience here?”. Once I was sure about the answer, every decision I made should serve this purpose. Otherwise, it’s easy to get off track under this situation. That’s why my work is particularly essential for this project. I had the responsibility to control the direction of the film, and at the same time to make it interesting,” Yang described.

In addition to editor, Yang took on the role of post-production coordinator for the film. As an editor, she cares about the sound and color correction a lot, and she always sticks to the end until everything is done, making her the perfect fit for the position. She also likes to give her input to the sound designer and colorist, knowing what would work best while editing.

Undoubtedly, Yang’s contributions to It’s Not Just About a Film made the film what it is today. Her commitment to the project was evident with every decision she made. However, the awards and accolades are not important to this editor, who remains humble. For Yang, she just focuses on the story she is telling.

“As the director said, “It’s a story about dream and subjective perception of the world.” And there is always a saying that “dream is the reflection of reality”. I don’t know if there’s scientific evidence to prove it, but it makes sense to me. Based on this concept, we developed this wild, dramatic, even absurd story. For me, it’s fantastic. It stimulated my full potential as an editor,” she concluded.

Be sure to check out Yang’s outstanding work in It’s Not Just About a Film.

 

By Sean Desouza