Elísabet Ronaldsdóttir - Editor
Job title - Feature Film Editor
Experience - 10+ years
“Everything you want is on the other side of fear. There are so many amazing editors out there but there’s only one you, in creative work you are always your biggest asset.”
Tell us about your job role and the kinds of projects you work on;
I work as an editor and have done so for almost 30 years. I’ve edited both TV news, documentaries, reality TV, scripted TV, children’s shows, short films, TV films, and full-length features. I remember being advised to pick a format, that you could not build a career on being too diverse, this has not been true in my case. Every job has given me important tools that are useful for where I’m at today. Lately, I’ve mainly worked as a film editor on studio features. I’m also a single mother of four and have two grandchildren.
What does an average day look like in your post-production working world?
A day in post is different depending on where we are in the production. The biggest misconception is that editing, especially true for film editing, is a technical job. It’s not. An average day revolves around thinking about the story and characters and taking pride in the handiwork that editing is.
What’s been the highlight of your career so far?
Some of my work became cairns in my work path; "Jar City,” “John Wick,” “Atomic Blond," “Deadpool 2,” “Kate," and now “Shang-Chi and the Legend of the Ten Rings.” But the project that thrills me the most is always the one I’m working on at that moment. If I’m to choose a career highlight it’s probably when I added the Universal logo to my first studio movie. It was quite a moment for me, a middle-aged woman living in Iceland.
How did your career in post-production begin?
I graduated from the London Film School in the early nineties. I was set on becoming a cinematographer but when I had my second child I found my way into the editing room. As a single mother, I found it easier to control my time there than it was on set. I fell flat in love with editing. I’m aware of my privilege, living on an island in the middle of the Atlantic Ocean, I walked straight into an editing job. In the US the path to an editing job is hard and I have my reservations about how it’s handled today. Times have changed, technology has changed, and I hear too many stories of people who aim for becoming editors, stuck in assisting roles without ever getting to edit anything. I think we should get proactive and find a more straightforward way for people who wish to get into editing. The industry needs it.
Which women in post do you admire?
As important it is to point out the absence of women in film, both in front of and behind the camera, it’s even more important to talk about the women who are mastering it; that’s how we make them visible and that’s how we make them valuable for the industry and the future. When it comes to editing some legends are Dody Dorn, Tatiana S. Riegel, and Joan Sobel. Not only are they amazing film editors but their love for cinema, and support for other editors, is inspiring.
What advice do you have for other women wanting to start a career in post?
My advice for women wanting a career in post is to stay true to themselves and stay honest. Participate in the dialogue and believe in your ability to service the project you’re working on. Everything you want is on the other side of fear. There are so many amazing editors out there but there’s only one you, in creative work you are always your biggest asset. And take good care of yourself mentally and physically.
Tell us about your favourite pieces of your work;
It is said that success has many fathers and failure none. I like to think all my projects have a loving mother, success or not, and I can’t pick a favourite. For me, it’s all about the journey, the collaboration, the dialogue involved in making the story work, and the arc of the character.