Zoe Schack - Editor
Job title - Editor
Experience - 10+ years
“I do my best to immerse myself in the subject’s stories. My goal is to craft a story built around emotionally complex characters that an audience will feel invested in.”
Describe your job role and the kinds of projects/clients you work with.
I edit commercials, short films, and documentaries. Recently, I had a fantastic time editing a sci-fi short and I’m looking forward to cutting more of that, comedy, and narrative work. I’ve had the chance to collaborate with some amazing directors, agencies, and brands, including Spike Jonze, Showtime, Amazon, HP, Planned Parenthood, and 72andSunny.
What does an average day look like in your post production working world?
Every day varies depending on the project and where I am in the editing process. Recently, most of my work has been in documentaries and unscripted commercials, so I’ll focus on my doc workflow process.
At the beginning of a project, my days are peppered with conversations with the team, the director(s), story team, archivist, or any other editors on the project. We discuss the structure, tone, style, things to look out for from the shoots, issues we may need creative solutions for, archival footage, potential animation or graphic treatments, and of course music.
With any new documentary project, I spend a lot of time watching footage – regardless of the increasingly truncated schedules. I do my best to immerse myself in the subject’s stories. My goal is to craft a story built around emotionally complex characters that an audience will feel invested in. While I watch the footage, I pay careful attention to what draws me in. I make outlines and timelines, which help me see the shape of the characters’ most important life moments. I focus on any key interviews, performances, b-roll, and archival footage. Archival is crucial, I like to work from a place of more and then whittle it down to see what works.
Documentaries are a lot of trial and error. I find that experimentation is key. If I have an idea for a new structure, I will give it a try. So when I’m done with a scene or act, I’ll share the work with my story producer. As I review my cuts, I pay close attention to any bumps in the flow, and if I get bored, I'll hone in on that section to dial it in and make it as engaging as possible. I do my best to keep an open mind and will try anything if a scene or moment isn’t working. It’s like throwing spaghetti at the wall to see what sticks.
How did your career in post production begin?
I went to film school – started at RISD, then transferred to NYU. I started working in animatics right out of college and then made a short film, directed a music video, and eventually moved to LA to work on bigger projects. I began freelancing at Final Cut’s LA office as an assistant editor and immediately knew I found my creative home! I was promoted to roster editor a few years after.
What has been your career highlight?
Finding Final Cut Edit changed my life. I was able to learn from some of the best editors in the business. That’s not hyperbole! They consistently win awards for best edit house. I am so proud to be part of this magnificent group of creatives.
Beastie Boys Story was another highlight. We started with the initial book tour, then the filmed tour with Spike Jonze, and then edited the film. The entire project was a dream come true. It has opened a lot of doors for me, including some recent projects. I cut Remote, directed by Eric Jungmann, a short sci-fi teen adventure that’s part of Hulu’s Huluween bite-sized shorts series. I love working with so many practical and special effects. I edited episode two of the newly released Showtime limited series Spector. Learning about Phil Spector, whose music permeates all our lives, and about the woman he murdered, Lana Clarkson, was all-consuming. I felt such a responsibility to both of them as people and as artists. Their lives were both tragic in their own way and am grateful to have had the opportunity to work on this story.
Who are your role models in post?
My biggest mentors are Jeff Buchanan, Joe Guest, Rick Russell, and Crispin Struthers at Final Cut. They are wonderful editors and the best people.
Role models include Amanda James, from the Final Cut UK office. Her Oscar-winning short film The Long Goodbye is so visceral. And I love Joanna Naugle’s work on The Bear and Jennifer Lame’s work on Manchester by the Sea.
What advice do you have for others wanting to start a career in post?
If you want to start a career in post, edit as much as possible! Joining an editing house or team is helpful because you can work and learn from many different editors, see what methods work best for you, and develop your own personal style. Take on as many side projects as you can! The more you cut, the more you will see what feels right and develop a style and workflow that works for you.