Farrel Levy - Editor
Job title - Editor
Experience - 30+ years
Describe your job role and the kinds of projects/clients you work with.
I am a picture editor based in LA. I primarily work in television. I just wrapped my second season editing Julia for HBOMAX.
What does an average day look like in your post production working world?
My “typical” day varies depending on what stage I am in, but it usually begins with a check in with my assistant. My assistant gets started earlier than I do so I want to know where they stand with their work (dailies prep, sound work, a scene they may be editing) and I also want to know how they are doing personally. Taking ten minutes to talk about life outside of work builds a bond of trust and caring that pays off in a better overall work experience. I believe we all feel that much more “seen” when those we work with take an interest in who we are beyond a person who is executing a task.
When I am in dailies, I am constantly reminding myself that this is a marathon. I am much better at pacing myself, working steadily throughout the day. I try to take on the hardest scenes early in the day because I am freshest then. I am old school when it comes to notes. I write down my observations on paper. The act of writing helps me remember. Also, I watch all my dailies, not just the last takes. When I do that, I gradually feel the dynamics of the scene. I can understand what it wants. Needless to say, by watching all the dailies, I can also find nuggets of gold that could be easily missed with a hasty viewing. One tool that I find extremely handy is “subclip.” I have it mapped on my timeline. As I am developing the scene, I often find an approach that I want to explore, but am not sure I want to commit to it. I will cut that, and subclip it with its own identifying title. Then I hit undo, undo until I am back to where I started before making that alt. This process really frees me up to experiment.
How did your career in post production begin?
I had a somewhat unusual start. I attended art school. Then, because I was an idealistic young person, I changed course to organize office workers into a union. When I became pregnant with my first daughter, I knew I wanted to return to creative work, but I wanted to work at something that communicated to large numbers of people, and I wanted a collaborative work environment. Making paintings did not fit that criteria, movies did. I did not know what exactly I would do in the movie making process and I knew nothing about editing, but as it turned out my brother had a job as a PA at a post house and he asked around if anyone knew anyone I could talk to. I eventually had the chance to intern in post. During my second internship (I was also working as a part time sales person at Macy’s to pay the sitter) I learned how to sync dailies and other skills. Because I had those skills, I was able to get on the crew of a feature as an apprentice editor and join the union. The job was “The Burning,” Harvey Weinstein’s first film as producer. I had no idea when I started how much editing would suit me.
What has been your career highlight?
I have had many career highlights. My first was having the opportunity to edit scenes on “Dirty Dancing,” where I had my first Associate Editor credit. The thing that always amazes me about that experience is that none of us working on the film had any idea what a phenomenon that movie would become.
Farrel’s first Associate Editor credit was for her work on the iconic ‘Dirty Dancing’ (1987)
I was one of the first editors on “NYPD Blue” back in the nineties. Because the exec producer, Steven Bochco, had a stellar reputation for creating successful and high- quality television shows, it was expected that the show would be an instant success. But Bochco pushed the envelope and experimented with nudity, cursing and (for that time) an unconventional shooting style. As a result, church groups protested and ABC had a very hard time getting advertisers. There was definitely concern as to whether the show could stay afloat. Gradually more advertisers stepped forward. The show was a hit, winning many Emmy awards. It was a great job because the quality of the shows overall was so high, audiences loved it, I was treated with respect as an editor, and (very important in my book) they understood that I was a working mother. When family situations came up that required my time, they were flexible. I wound up staying at that company for over 13 years because I had the work/life balance that I needed.
Farrel was one of the first editors on TV series ‘NYPD Blue’
The subject matter of “Criminal Minds” was gruesome, but the show gave me the opportunity to play around with horror. In spite of the tone of the show, everyone who worked on it was wonderful, plus they had a fantastic caterer. This show was another example of not knowing what you have when you start out. I started on the first season and over the course of the season the popularity continued to grow. I left the show after 4 seasons, but at least 300 were made. As it turns out it’s more popular now than ever.
Farrel worked on the first 4 seasons of Criminal Minds
I had the opportunity to work on “Nashville,” a show about working musicians at different stages in their careers. Working with music every day made me so happy.
And now I have finished two seasons of “Julia.” It has been a pleasure and an honor to be able to bring the story of a strong, delightful, successful older woman whom I have admired for a long time, to audiences worldwide. I believe my being a woman editor on the show has helped to enliven and deepen the character. Plus the producers on the show provide a work environment where our opinions count and we editors are valued for all that we bring to the table.
“I believe my being a woman editor on the show (HBO’s ‘Julia’) has helped to enliven and deepen the character.”
Who are your role models in post?
I have great respect for all of my women colleagues in the business. While it is somewhat easier these days because there are more women producing and directing and there are more women in general working at this craft, I know the challenges that women face daily. Women who have families and women of color have additional hurdles. I know all of my sisters are having to work that much harder to prove themselves, yet they approach the work with enthusiasm, energy and commitment. We can be and are, role models and cheerleaders for one another.
“Editing is exacting work and there are many people who want these jobs. Be prepared to work hard. Be prepared to go over things many times.”
What advice do you have for others wanting to start a career in post?
Working in post is more than just being able to make a match cut or a flashy music video. Study movies, learn the building blocks of telling a story visually. Film schools can be a great way to start not only for the learning experience, but for the people you will meet who potentially can help you along the way.
This business is about telling stories, but to be successful one also has to be able to get along well with people. Jobs come from personal recommendations and once on the job your success will depend not only on how well you execute your job, but how well you communicate with those above and below you. We work collaboratively and we work with all kinds of personalities. An editor must be a chameleon who can change depending on the situation.
Editing is exacting work and there are many people who want these jobs. Be prepared to work hard. Be prepared to go over things many times.
Once on the job, however, try to maintain your dignity. Do not be a pushover. Do not be afraid to speak up, whether there is something about the task you do not understand, you want a better position, or an injustice that concerns you.
Work/life balance is essential. If you want to sustain a long career, find producers and directors who value you (and your time) and stick with them.
Always be ready to learn something. There have been so many times that a director or producer has asked me to try something that I (internally) may have had my doubts about. By approaching the problem with an open mind, inevitably I have discovered new solutions along with a renewed appreciation for the art of editing which continues to this day.