Danielle Boesenberg - Editor
Job title - Editor
Experience - 10+ years
“I write down anything that made me feel something, so I can recall it later. I find this very important, because you only ever see those rushes for the first time once, and the more you watch something, the less impact it can have. ”
Describe your job role and the kinds of projects/clients you work with.
I’m a screen editor working in TV drama and independent film. I cut a lot of short films because I like supporting emerging filmmakers as they find their voice, and because this is where a lot of risks are taken. The more stakeholders involved in a project, the harder it becomes to take risks, so short drama is a fun and challenging medium. I’m drawn to compelling stories of any kind, but much of my work deals with overcoming adversity, coming-of-age, queer stories and social advocacy. I've recently broken in to the TV world, and I’m cutting comedy-drama mostly.
I’m also the President of the Australian Screen Editors guild. We work with other screen guilds to advocate for the rights of creative professionals, hold technical and social events, distribute an e-newsletter, run a mentorship program and host an annual awards night.
What does an average day look like in your post-production working world?
When I’m working in television, I get to work around 8:30am. Usually I'll check in with my assistant and review the previous day's work before starting on any new scenes. When time allows, I’ll watch all the material as it comes in, marking anything of interest as I go. Then I’ll assemble each scene, searching for sound fx, atmos or music as needed, before moving on to the next scene. In assembly stage, this is a typical day and it goes for 10 hours or so.
Once the shoot’s over and I have the director to work with, we’ll start by watching the assembled episode and talking about what is or isn’t working. Most often, we’ll then start at the beginning and work through scene-by-scene over 2 or 3 days until we have something to show the producers. We get producer notes, make their changes and then send to network. We implement network notes and redistribute for sign off. Once approved, we attend a sound spotting session with the sound team, including our composer. And then we move on to the next episode. There isn’t a lot of time in the back end of a TV schedule, so the days with the director can be long.
In short film, budgets rarely allow for an assistant, so I become really familiar with the rushes early on. I sync and log the material and then watch through it all before I assemble. Again, I write down anything that made me feel something, so I can recall it later. I find this very important, because you only ever see those rushes for the first time once, and the more you watch something, the less impact it can have. You don’t want to forget what moved you. It’s a similar process to TV, in that I usually assemble the film myself and then begin work with the director, but I have more time with the director when we aren’t working to network deadlines. The other thing about independent productions is that some of the best thinking can be done outside the edit suite. There’s usually a bit more flexibility in the schedule, so you can step away and think things through, often finding the clarity you need when having a lunch break or going for a walk.
Things have changed a little during the Covid period of course, so some of the work with the director might be remote. We still try to spend time in the room together when we safely can.
What has been your career highlight?
As a teenager I used to take a day off school every June and head to the Sydney Film Festival Dendy awards, which were a selection of short films played in the iconic State Theatre. I dreamed of having a film in competition one day. Last year, that dream came true. It was as special as I imagined.
Being acknowledged with an ASE Ellie award for my work on short film ’The Aquarium’ was another highlight. It had been a difficult film to cut because of some challenging subject matter, so the reward was all the more meaningful.
How did your career in post-production begin?
In high school I was obsessed with drama and photography. I didn’t necessarily want to be in front of the camera, but I loved watching performance, and the storytelling power of images. I thought I might pursue work as a photo-journalist because I hadn’t been exposed to much filmmaking at that point, but I chose a university that offered film studies as well as photography so I could explore both. By third year I was all in, editing films for my fellow students and had truly found my passion. It combines those two loves beautifully!
After uni, I wanted to find opportunities to cut every day, so I took a job in the TV department of a big advertising agency. I started cutting agency reels and pitch videos and worked my way up to cutting TVCs. It was awesome training in meeting deadlines and navigating feedback from multiple voices, and the discipline of finding creativity every day. From there, I wanted to stretch into longer form work, so after a few years freelancing and starting a family, I went to the Australian Film Television and Radio School for post-grad specialty study. Since then, I’ve cut many, many shorts as well as music videos, independent feature films, and broadcast television.
Tell us about a pivotal moment in your career;
Going to AFTRS was a game changer in terms of giving me access to emerging, motivated creatives. Getting started in our industry is tough, and you need good people around you.
The other thing that made the difference was having a producer advocate for me, and provide the chance for me to prove myself in television. Unsurprisingly, it was a female producer who opened that door, and I will be forever grateful for that.
Women in post you admire?
I admire all women in our industry. It can be tough, and it’s not for the faint-hearted! I especially admire those women who are also raising a family. It’s incredibly difficult to give both a creative career and a family the time and energy they both deserve.
More specifically, I admire talent, and generosity. There are trailblazing women in editing who write and teach, and women whose work is always excellent but who never seek the limelight and as a result, can fly under the radar a little. There are a number of women whose careers inspire me, and who I have a professional crush on, but I’m not going to embarrass them by naming them here!
What advice do you have for other women wanting to start a career in post?
Develop your creative voice. Have courage. Choose projects that reflect what’s important to you. Listen to feedback, and learn how to find the note behind the note. Have a no asshole policy - we’ve put up with too much for too long! Above all else, cut. I still learn something on every job I do.