Emmalie El Fadli - Editor
Job title - Editor
Experience - 5+ years
“There is no shame in taking a step back and going for a role lower down the ladder if you think you still need build experience or even just confidence.”
Describe your job role and the kinds of projects/clients you work with.
I’m a post production storyteller, working mainly with indie and first time directors. I’ve cut mostly drama pieces but have started moving into comedy too. I’m also an Assistant Editor in TV, having worked on shows such as ‘The Rising’, ‘Grace’, ‘Angela Black’, ‘Des’ and more.
What does an average day look like in your post production working world?
This isn’t so much an average day but more how I work on any given project, from beginning to end. As an editor I think it’s important to work on projects you’re going to enjoy, so the first step for me when being approached to work on a project is to read the script and ask as many questions as possible. Even if I’m the one doing the approaching, I always have a list of things I ask for. The script being number 1, then I ask if I can see the DOP’s showreel. The script might be great, but if the DOP isn’t, then the edit can really suffer. Then I ask to see the actor’s showreels. Again, the script might be great, the shots might be beautiful but if the performances aren’t there, the edit can really suffer. It’s then that I say whether I’m interested or not. Once on the project, the first couple of days are always the same. I’ll spend a day transcoding the footage then the next day syncing and organising it. From about day 3 or so is when I start the edit. I work from home, so an average edit day for me consists of waking up when it feels right, rolling out of bed and jumping on my computer. As I wait for it to start up, I make myself breakfast and normally eat at my desk as I go through footage. I’ve learned from more seasoned editors to always watch your footage first. Don’t jump into an edit without knowing what you have. It might seem like common sense, but sometimes you get so excited about starting a project that you jump the gun. Once I know what there is to play with, I go through the script supervisors notes and make my first cut based on the director’s favoured takes. It’s only if things don’t work continuity wise that I start to change takes, but I’ll make sure to explain that to the director when I send them the first cut. And when it comes to the first cut, I make sure to have it in the best shape possible, with SFX, music, and any temp VFX needed. Then when I receive notes back from the director, I do the next few cuts on my own before inviting them over to finish the edit off together. And that’s it. When we get picture lock, I export what’s needed for sound and grade and then I wait. Once everyone else’s work is done, I get everything back, put it all together and do one final export.
How did your career in post production begin?
I knew from a very young age that I wanted to work in film (it was only in recent years that I realised TV is more where I wanted to be). Almost as soon as I knew how to write, I started writing stories which soon turned into scripts. My favourite thing was to write my own episodes of my favourite shows (Buffy, Charmed, The O.C. etc). I let my imagination run wild. Then when I was around 12 and was able to get my hands on the internet (which sounds weird, I know), I started editing little fan videos of those same shows. I’d download clips, pop some music on, cut to the beat and that was that. I found it so fun. It wasn’t until I moved back to the UK at the age of 17 that I was able to pursue this properly by going to college, where I studied Media. It was there that I learned all sides of filmmaking and fell in love with editing. So yeah, I always knew I wanted to be a storyteller and realised that editing was the best kind of storytelling.
What has been your career highlight?
My career highlight happened quite recently actually. I’m just finishing up being First Assistant Editor on the ITV show ‘Grace’, where I assembled quite a few scenes for one of our editors, and the producers have agreed to give me my first ever ‘Assembly Editor’ credit. As my career goal is to edit for TV, this is a huge step in my career. Aside from that, I cut 11 short films in 2022. If that’s not a career highlight in itself, I don’t know what is. The fact that I finally mastered how to finish a project before taking another one on is a miracle 😂.
Who are your role models in post?
I wouldn’t say I have ‘role models’ but I really look up to people who are kind and give others opportunities to better themselves in the industry, so for me that would be the lovely Editor Anuree De Silva, who took a chance on me when I was first starting out as First Assistant Editor on a feature film she cut. I knew what felt like absolutely nothing and she was patient and taught me what I needed to get on with the job. We’re still in touch now and she even sends me jobs and opportunities every so often. That’s the thing about this industry; it’s all about the people you know and I’m glad I met her! I’d also like to shout out an amazing First Assistant Editor turned Post Supervisor, Steven Forrester, who again took a chance on me, putting me forward for my first proper First Assistant Editor role after I was his Second Assistant Editor on a show back in 2021. He is so kind and patient and I never have a problem going to him if I need help with something. You should never be afraid to ask a question.
What advice do you have for others wanting to start a career in post?
Be patient and be passionate. Understand that things won’t happen over night and that you’ll have to work hard to get to where you want to be. Don’t get upset about having to start at the bottom, making people teas and coffees. It’s all part of the process. And whilst you’re slowly making your way up the ladder, make sure you keep editing. Edit after work, before work, at the weekends. Get those credits up and gain as much experience editing as you can. Editing isn’t easy, and isn’t something you’ll be perfect at without the experience. Don’t wait until you’re an assistant to start. Take on what you can, when you can. But don’t take on too much either. Keep a steady pace. Also, there is no shame in taking a step back and going for a role lower down the ladder if you think you still need build experience or even just confidence. In my case, I went from being a Runner in a post production house to a First Assistant Editor on a few features and TV shows, to an Edit Trainee then up to a Second Assistant Editor and now back to a First Assistant Editor. I knew what I needed to do to get to where I am now and there’s absolutely nothing wrong with that.
Favourite piece/s of your work;
I cut a really beautiful short film a few months back called ‘While Time is Away’, directed by Anthony Hett. It’s the story of two women, old university friends, who run into each other at a cafe after one of their friends commits suicide. It’s such a simple piece, consisting of a few over-the-shoulder shots and a 2 shot, but feels like so much more than that. Those are my favourite types of films to cut. The ones where you have to build the emotion through silence. I feel the same about 2 other films I cut; ‘Why wouldn’t I be?’ and ‘Bibimbap for One’, both directed by Ella Greenwood. They’re both very ‘quiet’ films. I mean this in the sense that there was never much dialogue but there was a lot of story to be told through emotion, which as I mentioned, is my favourite. Unfortunately I can only show clips from one film as others are still doing the film festival rounds.