How ‘The Bear’ Editor Harnesses Chaos Across Film and TV

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What contrasts can be drawn between film editing and editing television episodes? How can you effectively make cuts during filming, and what advantages does this approach offer? In situations where the director or producer provides feedback that you might not agree with, how should you respond?

In this episode, GG Hawkins from No Film School engages in a conversation with editor Joanna Naugle, covering the following topics:

• The origins of Joanna’s passion for editing and her entry into the industry.
• Joanna’s affinity for collaborative TV work involving multiple editors.
• The distinct mindsets required for editing feature films as opposed to television episodes.
• The utilization of temporary design and sound elements in the film “Molli and Max in the Future.”
• Joanna’s exclusive use of a particular editing software.
• Insights into the post-production workflow at her studio, highlighting its adaptability for her and fellow editors.
• The advantages associated with making edits during the filming process.
• Crafting the context for a captivating donut montage in the project “The Bear.”
• The importance of receptiveness to alternative ideas and the inclusion of diverse collaborators.
• The phenomenon of editors becoming overly attached to their footage.

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