Erin Bowser - Editor
Job title - Editor
Experience - 10+ years
“I think it would’ve been hard to picture myself as an editor without seeing successful women in these roles first.”
Meet Erin Bowser, an editor based in Paris who’s career story is a brilliant source of inspiration for those editors of who made the call to move and set up a new career somewhere new. Moving from New York to Paris, Erin left a successful career and strong network to build a new one and pursue her dreams. Her story is a true testament to reaching for those wanderlust aspirations. Enjoy Erin’s career story!
Describe your job role and the kinds of projects/clients you work with.
I'm a creative offline editor and I mostly work on commercials, fashion films and music videos. Some of my clients include Louis Vuitton, Vogue, Nike and Dior. I’m represented by Dearcut in France and by Hooligan in the US.
What does an average day look like in your post production working world?
Every day is different! That's one of my favorite things about the job. As a freelance editor who works in short form, I hop around to a bunch of different production companies, which means that each month I meet and work with a lot of different people with varied creative and working styles.
In the grand structure of an edit, I typically work solo on day one — checking out the rushes, making selects and eventually creating an assembly. I love to get as much information as possible before I even walk into the office so I can jump in and start working right away. The following days are more collaborative. I usually sit with the director(s) for a day or two and then present to the agency and finally to the client. Some days, there are as many as 10 people sitting behind me while I present and make changes. Those days can be intense but the adrenaline pushes me through.
My favorite moments during an edit usually happen when it’s just me and the director(s) — especially for music videos, where the schedule and budget are often limited so we're all in it for the creativity. These edits usually involve a lot of conversation, a lot of thinking — tons of coffee, the occasional walk, and HOURS in the edit suite. It’s not uncommon that I leave these kinds of projects with a new friend.
How did your career in post production begin?
I took the fairly traditional route. I went to film school at NYU's Tisch School of the Arts — initially with the desire to become a documentary filmmaker. I fell in love with editing during a class that taught us how to cut film on Steenbecks (a type of analog flatbed machine). There was something really satisfying about the collage-like process and using my hands. I fell less in love with editing when I jumped onto Avid shortly thereafter. But after the headache of learning the software, I was able to get back into the analog mindset, which I keep at the forefront of my mind to this day: editing is ultimately more about construction and process than knowing how to use a piece of software really well. After film school, I found a job as an office manager at a commercial post house called Chemistry, where I was promoted to assistant editor after six months.
What has been your career highlight?
I moved from New York to Paris eight years ago, leaving behind a flourishing career in post. I essentially had to start over since I had few contacts and virtually no network. There isn't a specific highlight for me, but I feel very proud that I made the transition to a new country, culture and language, and today have the career that I always wanted.
Who are your role models in post?
I've always been very inspired by the women in post who paved the way — like Sally Menke and Thelma Schoonmaker. It’s really cool to know that some of the most iconically masculine films in American cinema were edited by women. And I know this is said a lot, but it bears repeating — representation matters! I think it would've been hard to picture myself as an editor without seeing successful women in these roles first.
What advice do you have for others wanting to start a career in post?
Be open to meeting new people and trying new things. You never know who could recommend you for a project down the line — or if working in a format/style outside of your comfort zone could lead to a new way of thinking.
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