Theo Mercado - Editor
Job title - Editor
Experience - 10+ years
“As solitary as the act of editing might seem, the job is really about relationships. If you’re just starting out, try to talk to and learn from as many people as possible.”
Describe your job role and the kinds of projects/clients you work with.
I’m a video editor at Work Editorial, where I work on everything from commercials to music videos to short films and PSAs. My favorite part of the job is definitely the vast array of creative people I get to collaborate with every day. I work closely with directors, agency creatives, actors, musicians, and beyond.
What does an average day look like in your post production working world?
There really is no average day working in post. On Monday, you might be listening to your favorite album, selecting dailies in your sweatpants at home, but by Friday, you just might find yourself in a room full of clients anxiously waiting for you to press play. In general though, the typical process for any job begins with close communication between the producer, assistant, and director. I like to start by discussing the schedule and overall plan with the producer, then once the dailies are in, I talk to my assistant to go over the most efficient way to break down the project. While all the sound effects, graphics, voice-over, and music tracks are being imported, I screen all the footage and select the best bits, organizing the selects in whichever way fits the project’s needs. Next, the director and I work together to create something we’re both proud of—this is the exciting part, because we never really know where the project is going to end up. After that, the agency comes in to collaborate and present the job to the client, refining the piece even further in the process. Of course, each job can vary, but the most important aspect underlying it all is making sure there’s a clear line of communication between the edit team, the director, and the agency.
How did your career in post production begin?
In middle school, I would ask teachers if I could submit a movie instead of a paper for my final, and since then I’ve always known I wanted to be an editor (that tactic rarely ever worked, by the way). However, right out of high school, I managed to get a job working as an intern at an edit house, taking coffee orders and learning to do what one would think were simple tasks, like picking up the phone and ordering gazpacho for a client. I remember once heating up a bowl for a director because I didn’t know gazpacho was meant to be served cold. The memory still haunts me. I worked at that edit house on my summer and winter breaks throughout my time at NYU Tisch, later graduating and starting a new job as a runner. I then worked my way up to editor at Work, a place I’ve revered since I started in the industry.
What has been your career highlight?
Being half-Argentinean, it really was a pleasure to edit Messi in Budweiser’s World Cup campaign this past year. When I called my dad to tell him, he nearly cried (and of course wrongfully assumed I could get him a signed jersey). Being able to work on a commercial that was shot around the world, for the world, was truly a highlight of my career, and it definitely didn’t hurt that Messi was able to win.
Who are your role models in post?
Growing up in the editing world, I’d be nowhere without the guidance and leadership of some of the best editors in the game. I revere anyone in the industry who goes out of their way to lift other people up, whether it’s a partner, editor, producer, or assistant. I’ve gotten to work with and learn from such talented, strong editors with such widely different styles, and without their support, I’m not sure where I’d be. Starting out as one of the few female assistants at my company at the time, I couldn’t help but look up to the women around me who paved the way for me and others (editors like Trish Fuller, Anne Perry, and Meg Reticker, just to name a few).
What advice do you have for others wanting to start a career in post?
As solitary as the act of editing might seem, the job is really about relationships. If you’re just starting out, try to talk to and learn from as many people as possible. The stigma behind the editor sitting alone in the dark room is really only so we can see the screen, I promise. Most editors I’ve met are eager to share their process. I can’t tell you how much I’ve picked up from a wide range of people without even realizing, whether it be how I sound-design my work to how I handle myself when presenting for the first time (just get it over with—rip the band-aid).
Tell us about some of your favourite projects.
Some of my favorite work has been for musicians I deeply admire. Recently, I got to work on two tracks for Orville Peck’s new album “Bronco”: “Hexie Mountains” and “Let Me Drown.” Both were wildly different since "Hexie" was shot similarly to a short film, while "Let Me Drown" was shot almost like a live concert. Collaborating with the director Austin Peters to create unique pieces that exemplified Orville as an artist, where he gave two distinct and dynamic performances, made these two of my most memorable projects to date. It also never hurts when the songs are actually good, you know, since I have to replay them over and over.