Amanda Marie-Rose - Editor
Job title - Editor
Experience - 3+ years
“The people you look up to have most likely walked the path you’re about to walk. They’ll often remind you that not everything that glitters is gold. That if you’re met with a challenge, you can dust yourself off and try again (word to Aaliyah).”
Describe your job role and the kinds of projects/clients you work with.
I’m currently balancing a few disciplines. I’m a young offline editor who has very recently finished working full-time as a senior offline assistant editor for commercials. As an editor, I work on short form content, mostly short films, and the occasional music video. When I’m not doing either, I like to direct.
What does an average day look like in your post production working world?
I like spending some time with the script and/or treatment and building an affinity to the story. I usually read them on the train to spice up my bleak commutes. I like having instantaneous connections to the plot. That feeling you get when you can imagine yourself as a supporting cast member of a film or being on the 3rd leg of your world tour. Just letting my imagination run wild.
I grab a very large oat matcha latte (with 2 pumps of vanilla). I have chats in the kitchen and rant about my commute. Eventually I’ll have a look through my emails. I like to play a bit of Kendrick, Steve Lacy or 80s/90s RnB whilst working, it helps get me in the zone to plan my first cut.
I’ll organise the takes per scene on separate timelines and place them script/treatment order in my bin. I go through each scene and I figure out what additional SFX/Music could be added to beef up the mood of the story. I’ll sit with the script/treatment on my iPad and slowly assemble - page by page until I have a first cut.
And it’s always quite nerve-wracking showing the director my first cut. I’m trying to create something that will fit their vision whilst simultaneously using my discretion as an editor. It’s all a massive balancing act. So I’m always building several assemblies before the director needs to view. I’d build quite basic and technical edits at first. As I continue, I’m building and hinting at the subtext of the story, I’m establishing more subtle yet implicit cuts to advance it. Something the director would appreciate, but also a film that makes sense to a viewer. I’ll send these cuts to a few of the more senior editors and my edit producer, which in the past, I was always afraid of doing. But they’ll notice things I haven’t and reaffirm concerns I may have. They’ll give me much needed advice on where to take the film/video.
But what I enjoy the most about my average day as an editor is the collaboration between myself and the director. Working on new and exciting work. Sitting in the room with each other. Wracking our brains about continuity errors and giggling at outtakes. Or even the chats we have to distract ourselves when we’ve been watching the same video for hours and hours. Eating food from the Nando’s across the road. And the matcha’s of course. Can’t forget about my dear matcha.
As an offline assistant, however, my day was quite extensive. I’d grab my oat matcha latte, check emails, kitchen chat, and look through my emails. I’d check the calendar to remind myself of lock and turnover dates. Then I’d ask the edit producers, editors, and any fellow assistants (if we’re working as a team) any questions in regards to any handovers.
But to make it brief, I’m basically the technical intermediary between the offline editor and everyone else, including colour, sound, the online team and the DIT (digital imaging technician); whilst also making sure everything is in working order for the editor. And on occasion, jumping in and finishing cuts that the editor cannot finish due to time constraints. I’m there to ultimately find solutions to problems and make the editors life easier.
How did your career in post production begin?
It’s a weird one - I left university. I was studying a fine art degree at UAL (University of the Arts London) whilst also working as a contracted AV (Audiovisual) tech, at my uni. I wanted to be a video artist, but it wasn’t sustainable for me, because at the time my mother and I were primary carers to my brother who has downs syndrome. So I had to very much work around him whilst also trying to pursue a career and make money.
I’d direct and edit odd music videos for mates and vids for rappers who wanted their work on GRM Daily, LinkupTV, etc. I pursued various post-production jobs varying from shifted technical operation jobs, assistant editing, and being a technical coordinator at Fulwell73, which is where I really got to the opportunity to advance my technical knowledge. But it felt as though I was doing odd jobs to pay the bills and not something I felt a real passion for.
I met Amber Saunders’s along the way. Her story really resonated with me and she really helped guide me in the right direction. Because for a long time, I didn’t know what I wanted to do. I just knew, what I was doing wasn’t meant for me. I mean, I was good at it, but I wanted something that would help me fulfil a career in post that I was truly happy with.
She helped me realise quickly, that editing seems to be the median between tech and creativity. Something I’m good at and something that comes naturally to me. Eventually, I left post-production tech completely and focused my week specifically on assistant editing as a freelancer. I directed a few more music promos over the weekend with my friend Nzimah, a very talented editor in his own right. Eventually venturing into senior offline assistant work solely at The Assembly Rooms.
The incredible team of in-house edit producers were a huge pivotal point for me. A special big shoutout to Joshua Gochez for really gunning for me and providing me with great projects to edit alongside assisting. Especially during times where I doubted myself and my abilities. I removed everything from my reel. My goal was to start afresh and he helped me do just that.
The two to me seemed to work seamlessly together. I was being given the opportunity to learn from arguably some of the best offline editors in the business by assisting them, and equally enough, gain much needed mentorship and lots of experience as a young editor.
What has been your career highlight?
As an editor, I worked on a really great Random Acts short directed by Yasmin Godo for Channel 4’s 40th anniversary. It’s a film that’s set in the 80s during a time where access to jobs were not considered for those with both visible and non-visible disabilities. This film was my first broadcast credit as an editor and with such an important message which celebrates and empowers a variety of minority groups, it’s something I’m quite proud of. The film was also shot in the borough I went to school in (Barking and Dagenham), so it was nice to see the brand new film lot I’ve heard so much about over the years.
I also worked on a short with The PappyShow, directed by Celia Willis and Kane Husbands, based on their stage show called Boys that is due to be screened at the Barbican (it probably will have by the time this comes out). Art school me would be shook at the fact that something I worked on was being screened there.
As an assistant, my biggest highlight would 100% be assistant editing on a cruise ship.
I assisted Adam Spivey on a commercial for Gary Freedman, shot in the middle of the Mediterranean Sea. I rarely got the opportunity to go on set as an assistant, so having the opportunity to sail from Spain to Egypt whilst working felt surreal.
Who are your role models in post?
My mentor, the talented, the amazing, BAFTA award winning Amber Saunders @ Cabin, of course! I mean, I really wouldn’t be where I am without her. I love her cutting style, especially where commercials are concerned. It’s something I aspire to do in the near future. And it’s rewarding to me knowing and being able to be as close as I am to a woman who looks like me and has managed to achieve such great success.
Definitely Nik Hindson @ The Assembly Rooms too. He’s a very talented and incredible man. Nik always gives the BEST advice and always makes time to give me feedback on anything I send him. His ability to work a room with clients is something I really admire. He approaches his work with the utmost precision and care too. Something I’m still learning to do.
Nzimah Akpan, my good friend as well as Lainy Black and Joseph Taylor @ The Assembly Rooms. They definitely taught me that traditional post routes aren’t the be-all end all. You can definitely become an editor on your own merits. Big shoutout to them for that and all the support they’ve given me.
And to be honest, all the assistants, runners and office managers who work in post. Many who are behind the scenes working tirelessly to keep many ships afloat.
Imogen and Pam, if you’re reading this. I’m talking about you!
What advice do you have for others wanting to start a career in post?
First of all, this bit of advice could go for anyone. But, If you want to start in post, embrace rejection and don’t let it define you. Create opportunities for yourself if Plan A is not Plan A-ing. I can assure you, some of the greatest to ever do it were and probably still are being met with some kind of adversity. A challenge if you will. That’s why I say it’s so important to surround yourself with people who will fuel your ambitions and help you create realistic expectations. They can in many ways be the answer to plan B. The people you look up to have most likely walked the path you’re about to walk. They’ll often remind you that not everything that glitters is gold. That if you’re met with a challenge, you can dust yourself off and try again (word to Aaliyah).
And remember, if you can’t enter the industry as an employee. Enter as a mentee. Have a bit of humility and be open to learn from the people not just above you but around you.