Hi Reader,

I’m right in the middle of editing my short film, Room 309, and it’s reminded me how different this part of filmmaking feels from writing or directing.

Writing is mostly solitary. You imagine the scene, hear the dialogue in your head, and try to get all of it onto the page.

Directing is the opposite. Now you’re surrounded by actors, crew, locations, props, costumes, lighting, sound, and a hundred moving pieces. Your task is to take those words and turn them into something real.

Editing is different again. Now the set is gone, the cast and crew have gone home, and you’re left to sort through the footage - either alone or with a small editing team (in my case, with my cinematographer).

Our job is as simple as it is daunting - compile all those shots and find the best version of the story. But what does that actually mean?

The script is only the beginning

The script still guides the edit, of course. But once you get into the footage, you also start finding moments that were never really on the page - a look, a pause, a tiny reaction. The way an actor shifts before speaking or something happening quietly in the background.

It's a matter of finding the best, the most beautiful, and ultimately, the most human moments, and turning them into a story with the right pacing and the right shot composition to best convey the plot and character development.

Honestly, I love this part of the process because I get to see the nuances and tiny details in the faces, expressions, mannerisms, dialogue, actions, and even the sets and background that I may have missed when directing the scenes.

On set, you're more focused on getting all the coverage the script demands - that is, all of the action, dialogue, and important scenery and props.

In the editing room, you know you already have all those things, so you can focus more on the details that best accentuate that coverage.

Often, it's what takes the film from adequate to amazing!

Then comes the next layer

Once the edit is locked, the film will head to the colorist. And believe me, that’s another transformation entirely.

Raw footage can look flat, but the right color grade gives it mood, shape, contrast, and personality. For a period supernatural film like Room 309, that’s going to be a huge part of the final look.

I’m really looking forward to seeing that stage come together!

Every role teaches you something different

One thing I feel very lucky about is being able to look at this film as a writer, director, and editor. Each role forces you to see the same story in a completely different way.

That can be tough. I mean, there are times when you have to separate yourself from the choices you made earlier, and you have to be willing to admit when something didn’t work.

Maybe the writing could have been tighter, or the blocking could have been better, or the shot wasn’t as useful as you thought it would be.

But you know what? That’s okay.

Not only does it force you to be more creative at every step of the process, but every film should teach you something - new skills, new information, or a few lessons you can carry into the next project.

That’s how you get better. And that’s where I am right now with Room 309. Still shaping it, still learning from it, and getting closer to the finished film every day.

Stay tuned for more updates as it all comes together!

Need help with your story?

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Until next time - keep writing, and stay creative!

Neil

​

P.S. Check out my feature film, Spin the Wheel - out now on Tubi!

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