Kat McAuley - Editor/ Activist
Editor
Experience 15+ years
“Have a thick skin, and stay calm. Situations are often unfair, and you have to find a way to rise above it. I often focus on the end goal, making a great project that honors it’s subject matter. ”
Describe your job role and the kinds of projects/clients you work with.
I'm a scripted tv and film editor, and I've worked with quite a few major, Black creators as an Editor: Lena Waithe (Twenties), 50 cent (BMF), Nkechi Okoro (NK) Carroll (All American Homecoming. As an assistant I worked on John Singleton's Snowfall, Pamela Adlon's Better Things, the Nun, and Gaga: Five Foot Two among others.
What does an average day look like in your post-production working world?
Honestly, an average day can be tranquil or complete chaos. As an editor, we balance a lot of personalities and expectations. I often listen to (or read) contradicting notes, and I have to find a common ground that will satisfy all involved. I've found that I'm really good at that. I kind of feel like it's my super power as an editor.
If we're in dailies, I start the day by viewing them (if I haven't the night before) and wait for the first scenes from my assistant. I try to keep up with dailies, which means completing all scenes by the end of the day. Some of my initial sequences won't make sense to other people, as I often keep alt takes that I can't decide between side by side, until I do another pass. Other scenes make sense right away, and are almost complete on the first assembly. I usually add music after the edit, then adjust again.
We're such an integral part of the collaboration, as directors now shoot so much with videos and multi-cams. We often get the kitchen sink, then have to separate the fine china. After that, it becomes a collaboration again, based on our initial cut. In TV, the Producers sometimes go back to our editor's cut, as we know the beat and style of the show. I try to keep the integrity of the director's asks as much as possible, often advocating for their vision once they've finished their Director days. It's important to honor their 'non negotiables', and as much of their vision as we can. I often try to find that subtle balance of advocating for them, and merging theirs with the vision of the Producers.
How did your career in post-production begin?
My career in editing began as a frustrated actor in LA. I decided to wear my hair natural, and my agent told me only light black women could do that, at the time. I decided to change my career trajectory, as I was also a writer, working in production. Ben Barenholtz was one of my early mentors.
I remember going home and watching a documentary about editing. Quentin Tarantino and Sally Menke's relationship really inspired me. When I lived in NYC, I had written, produced, and starred in a short film, and the editor told me that I thought like an editor. I often visited my friend Leander Sales over at Spike Lee's, so that was an inspiration as well.
I remembered all of that as I locked myself in my room for two days to teach myself Final Cut, and I started to cut together little music videos. I was hooked! Next, I went to Moviola to see if I could be a part of their internship program. They accepted me, and I continued on until I earned my ACSR (Avid Certified Service Representative). All of that prep landed me a 'prestigious' job as a PA at 51 Minds (LOL). I went above and beyond. Despite turning down a six figure job, I willingly scrubbed the kitchen, and even cleaned up after the other PA's. It didn't go unnoticed. I was fast tracked by the head of Post Production and the President of the company.
Despite going on to work on top reality shows like Hell's Kitchen and The Voice, it was hard to break into scripted. A friend from the Voice, Tim Walsh, referred me to an editor, Girish Bhargava, who took a chance on me (despite much push back), to assist him on the Disney movie Cloud Nine, which launched the career of Dove Cameron. It was a career changing opportunity. Girish had been the shadow editor for the dance scenes for Dirty Dancing, and he was also Martha Graham's go to editor, so I learned a lot about editing to music.
My friend, Leander Sales, had moved to LA, so he often invited me to Union events. The male members that greeted him, often asked if I was his wife or girlfriend. This was frustrating, as Post seemed to be the last bastion of Production to take women seriously. I look at how things have changed in the spam of the 12 years I've been a Union member, and I have to acknowledge George Floyd. Before his unfortunate and untimely death, I felt like we were invisible, especially as women of color.
I co-coordinated, and moderated a roundtable at MPEG, called BLM and Beyond: The MPEG Women's Diversity Group Examines How Race Impacts Gender in the Post Environment. It was hard to get this approved, but it was one of the most attended MPEG events, and opened the eyes of the many Studio Exec's that attended. DEI got us in the door, an interview, but our enthusiasm and talent gets us the job and keeps us employed, despite obstacles that our white, male counterparts don't have to endure.
I'd like to see 'inclusive' interviewing continue, and to especially reflect the content of the subject matter. Inclusion has been inverse, with the most privileged getting most of the opportunities. It should be inverted so those who are the most disenfranchised get the first considered. There is so much untapped talent in that pool.
I also created a platform for diverse assistant editors to learn the craft and workflow, called the DEI Hall Pass. Originally, during Covid, it included editors, but I had to narrow it down. It's so exciting to see assistants that passed through the program go on to work with editors like Joe Walker, and so many other industry titans. It feels good to prepare others for opportunities that weren't available for me at the time I was coming up. I'd like to offer more classes in the coming year.
What has been your career highlight?
Pamela Adlon referred me to Lena Waithe for my first Union editing job on Twenties. After years of assisting, it was amazing to have someone advocate for me, and give me a shot.
Who are your role models in post?
Salle Menke, Thelma Shoonmaker, and Terilyn Shropshire.
What advice do you have for others wanting to start a career in post?
Have a thick skin, and stay calm. Situations are often unfair, and you have to find a way to rise above it. I often focus on the end goal, making a great project that honors it's subject matter. I laser focus on that for my strength. But if something is really disturbing your peace and not giving you the respect you deserve, leave it. Something better is always right around the corner. Nothing is worth your mental and physical health.
Tell us about a favourite project;
A favourite project has been short film Aurinko in Adagio. It was a heartfelt, inspired piece from a very talented director, Elisee Junior St Preux. Please go to his page, as he's currently raising finishing funds for his first feature. He's a rare talent, and I hope to work together again some day. Currently, I have a project, Can You Feel the Beat: The Lisa Lisa Story. It debuted on Lifetime on Feb 1. It was really a labor of love for everyone involved, as Lisa Velez is such an iconic figure, and a survivor in so many ways. From the vision of Director Tailiah Breon, it was an inspired, mostly female crew, and it's not your average Lifetime biopic! It’s still streaming on Lifetime and Pay-per-view.
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