Delaney de la Harpe - Editor
Editor
Experience 10+ years
“Try to grow alongside directors who will keep getting you back as they get better jobs. Many of the shorts I worked on for free returned dividends when the same directors later hired me on their commercial jobs or feature films. ”
Describe your job role and the kinds of projects/clients you work with.
I’m a freelance editor based in Melbourne, Australia who primarily works on documentary feature films. When not working in long-form, I edit commercials.
I love working in documentary because you get a lot of creative freedom as an editor. You’re writing the story in the edit. But it’s way more fun than regular writing because it’s so much more than just words on a page. You’re layering footage, music, voice offer, sound effects, images, text, and controlling the pace, tone and style - all to make people feel a certain way or think a certain thing. It’s extremely satisfying.
What does an average day look like in your post-production working world?
I’m lucky to mostly work from my home office, so my days usually start with a long and energising walk with my husband. Depending on the project and what stage I’m at, some days are totally solitary whereas others are deeply collaborative with the director, producers, agency and clients.
For example, in the beginning stages of a feature doc, I usually spend long days by myself, reviewing, selecting and extensively marking up footage day timelines. I’ll then have a comprehensive google doc filled with notes: scene ideas, character stuff, etc. as well as hand written scene cards on a big cork board. These gradually get refined as I pour over more of the footage and the story starts to present itself. I’ll then take these blueprints to the director and we’ll have a day of discussions before I launch into scene assemblies.
How did your career in post-production begin?
When I was in my second year of film school, a classmate of mine recognised my passion for editing and got me a freelance job at a small online video place. I was so bad. I didn’t even know how to mix music properly. But I loved it. I spent hours watching YouTube tutorials and cut anything I could - shorts, web series, wedding videos. I wasn’t picky initially, I just wanted to learn.
After a couple of years in the trenches I got hired at a better production company and started cutting more decent branded stuff. Clients like Holden, TAC, Levi’s. Alongside this I got an AE job on an independent feature film from Australian director Amiel Courtin-Wilson. With a foot in both worlds, I was able to develop as both a commercial editor and a long-form editor.
What has been your career highlight?
Getting my first feature film credit as Editor on Bromley: Light After Dark was huge for me. It opened a lot of doors and since then I’ve been consistently working as a documentary feature film editor. Two other feature films I’ve cut have since been released, and I’ve got three others in post-production.
Who are your role models in post?
I learnt an incredible amount about editing and filmmaking when I was working with Amiel Courtin-Wilson. He is a brilliant editor as well as writer/director. I was also lucky enough to do a small stint in LA with Amiel and Curtiss Clayton which was invaluable.
Broadly speaking, I greatly admire the editing of Joe Walker, Kazuhiro Soda, Luca Cappelli, Maya Hawke, Madeline Gavin and Carla Luffe.
What advice do you have for others wanting to start a career in post?
Prove your worth and dedication. Make sure people know how passionate you are. Work for free, but spend your time wisely. In the very beginning sure, take anything. But after a couple of years be selective. Work with directors who have the same sensibilities as you and who you can imagine yourself being friends with.
Try to grow alongside directors who will keep getting you back as they get better jobs. Many of the shorts I worked on for free returned dividends when the same directors later hired me on their commercial jobs or feature films.
Also, consider freelancing. It allows you to focus on what you want when you want. You won’t get shoe boxed into cutting stuff you don’t like and you can say no to jobs that won’t benefit you.
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