Julie Nicole Cohen - Editor
Editor
Experience 15+ years
“Be open to starting in any position in post. You’ll learn so much by watching and listening, whether it’s how to manage footage, organize projects, or how directors and producers collaborate with editors. Every experience is valuable, even if it doesn’t feel glamorous at first.”
Describe your job role and the kinds of projects/clients you work with.
I'm a TV & film editor and I work with directors, showrunners and producers to make film and television.
What does an average day look like in your post-production working world?
If I’m working with dailies, I begin by reviewing the script supervisor’s notes, which I print out and keep in my editor’s book. I consider myself the “librarian of the footage,” so I like to stay on top of exactly what was shot, what’s still pending, and where each moment fits into the larger narrative.
When watching dailies, I take note of any moments that resonate emotionally—whether a take makes me laugh, hits an emotional nerve, or just feels instinctively right. I cut quickly, trusting those gut reactions to guide me. My goal is to have a rough assembly of everything that’s been shot so that I can “keep up to camera.” This way, I can alert production early if something feels off or if any crucial footage is missing.
Once I move from dailies mode into the Director’s or Producer’s Cut, collaboration becomes key. This phase is a mix of working with the director in the room or virtually. Together, we fine-tune the tone, pacing, and performances, making sure everything aligns with their vision. Technical tools play a huge role in streamlining this process. I primarily use Avid Media Composer and rely on ScriptSync to quickly locate and compare multiple takes of a line. For visual effects-heavy shows, either my assistant or I create temp comps or rough in placeholders to give a sense of timing and integration.
Each day is a balance between creative instincts and technical skills. At its core, it’s about being sensitive to the footage and shaping the show or movie into the best version it can be.
How did your career in post production begin?
My career in post-production started with a deep love for television. Growing up as a latchkey kid, I watched a lot of TV and became obsessed with early prestige shows like My So-Called Life and Six Feet Under. Knowing I wanted to work in television, I pursued a Film degree at Emerson College. Back then, the film program was a better fit for me than television, which still had a heavy focus on live production.
At Emerson, I had the chance to write, direct, and edit a film on 16mm, and that’s when I truly fell in love with the process of filmmaking. Even though the editing class was full, I audited it, which turned out to be one of the best decisions I’ve ever made.
One pivotal moment in my editing journey happened while I was working on my thesis film. The original editor wasn’t connecting with the story, so I ended up finishing the edit myself. I’ll never forget going into the AVID bay one morning, getting engrossed in the work, and then stepping outside only to realize it was completely dark. The entire day had flown by, and I hadn’t even noticed because I was so immersed in the process. That’s when I knew I had found my calling.
After graduating and moving to Los Angeles, I landed a job as an assistant editor at a documentary and reality production company. Over the next few years, I worked my way up to editor, cutting reality shows and documentaries for nearly a decade. But eventually, I realized I wanted to pivot to scripted television—the kind of work that had originally inspired me.
So, I took a chance and cold-reached out to Cate Haight, the editor of my favorite show at the time, Transparent. We had some mutual connections, and she ended up mentoring me and hiring me as her assistant on Transparent. It was a bit strange going back to assisting after editing for so long, but it was one of the best decisions I ever made. The experience taught me so much and ultimately helped me grow into a better scripted editor. From there, I was able to move up to editor, and that’s how I got to where I am today.
What has been your career highlight?
A major career highlight for me was editing the pilot episode of Tell Me Lies. When I went in for the interview, I immediately connected with the script and knew I wanted to be the one to bring the story to life. I was especially excited about the opportunity to help shape the tone of the show from the very beginning. Landing the job and getting to edit the pilot was a dream come true, as it allowed me to set the foundation for what the show would become.
I recently finished editing the second season, and it’s been incredible to see how the show has evolved and how deeply audiences have connected with it. There’s something uniquely satisfying about being involved in key episodes across both seasons, contributing to both the pivotal moments and the overall arc of the story. Each episode is its own puzzle, but it’s also part of a larger emotional journey. Watching fans react to the characters and the unfolding drama has been incredibly rewarding, and I’m proud to have helped shape the show’s unique voice and emotional depth from the very beginning.
Another project I’m particularly proud of is On Becoming A God In Central Florida, a dark comedy that aired on Showtime. Though it only ran for one season, I did a lot to establish its overall tone, which was in perfect sync with my love for dark, offbeat humor.
Who are your role models in post?
I’ve been incredibly fortunate to work with some of my biggest role models in post-production. Cate Haight, who edited the pilots for Transparent and Girls, both of which are among my favorite shows, has been a huge mentor and inspiration to me. Hilda Rasula, who also worked on Transparent and more recently edited American Fiction, is another editor whose work I deeply respect. Darrin Navarro, an editor I assisted and later cut with—who has edited many great indie films, including much of William Friedkin's work—was also a big influence on me. Their approach to storytelling and character-driven editing continues to shape how I work today.
More recently, I had the opportunity to work with Julio Perez IV, the editor of Euphoria, on HBO’s The Idol. Learning about his artistic process and seeing how he pushes the boundaries of visual storytelling was incredibly inspiring. I also had the honor of meeting Carol Littleton at an ACE screening of The Big Chill. She’s a true legend in the field, and I was humbled by her wisdom and grace.
There are so many others who’ve influenced me, and I continue to learn from all the talented people I’ve been lucky enough to work with.
What advice do you have for others wanting to start a career in post?
My biggest piece of advice for anyone wanting to start a career in post-production is to be curious and relentless in learning. Editing is a craft that constantly evolves with technology and storytelling trends, so never stop honing your skills. Master the tools—whether it's Avid, Premiere, DaVinci or another platform—but remember that the software is just a means to an end. Your job as an editor is to tell a story, to find the emotional core of each scene and make it resonate.
Be open to starting in any position in post. You’ll learn so much by watching and listening, whether it’s how to manage footage, organize projects, or how directors and producers collaborate with editors. Every experience is valuable, even if it doesn’t feel glamorous at first.
Networking is key. Reach out to people whose work you admire, even if it feels intimidating. Most people are happy to share advice or give you guidance if you show genuine interest. I landed one of my first major scripted jobs by reaching out to an editor I admired. It led to a mentorship and eventually to opportunities I never would have imagined.
Lastly, stay passionate and resilient. Post-production and freelance life can be demanding and sometimes isolating, but if you love storytelling and the magic of shaping a project, it’s one of the most rewarding careers out there.
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