Reflections On EditDay2018

Solent Post Day 2018  – Kimberley KIng

Solent Post Day, otherwise known as Edit Day, is a one-day conference showcasing the talent and behind-the-scenes process of many notable editors and sound designers from television and film. This year, students and the public alike had the opportunity to get inside the minds of industry professionals as: Melanie Oliver (editor of Bridget Jones’s Baby, Jane Eyre), Paul Machliss (editor of Baby Driver, The World’s End) and Eddy Joseph (sound designer of Casino Royale, Corpse Bride). Through going to this event, attendees were able to gain new knowledge of the industry, as well as receiving tips on how to be successful in an increasingly competitive business.

The first conference was an interview with television and film editor Melanie Oliver and fellow TV editor Nick McPhee (Doc Martin, Downton Abbey) asking her questions. Oliver spoke with great respect for her mentor Jane Campion, whom she worked for as assistant editor on An Angel at My Table and The Portrait of a Lady. She told of Campion’s process for editing, in which she would create a map of shots to help her with organisation. Some of the key points to take away from Oliver’s conference were: if you want to thrive in this industry, you are going to have to learn how to handle criticism and that you should not disagree with directors’ notes unless you are entirely sure that you are making the right editing decisions.

The next conference was a discussion between TV editors John Wilson (Downton Abbey), Caroline Bleakley (Midsomer Murders), Andy Morrison (Waterloo Road), Nick McPhee (The Durrells) and Adam Gough (Fright Bites). They each spoke of their entry into the industry, which varied greatly from person to person; in terms of their prior education and starting roles. The editors gave helpful tips such as: treating every scene of a show as its own short film and work out how to fit them together after they are all shot and edited, and to start building up a library of foley sounds and music to use as temporary tracks during the editing process.

Following that, there was a conference on sound design with Eddy Joseph and Alex Joseph (Charlie and the Chocolate Factory, Golden Years), who are father and son. They both discussed how they got into the industry, showing how they were getting into the family business, with Eddy Joseph’s father being Edward Joseph, a producer with credits In Search of Gregory and Harry Black. Personally, as someone who had never thought about sound in film, this conference was a real eye opener. Eddy and Alex went into depth about the importance of foley sound, the process behind creating it, and the journeys they take to find real life sounds that can be edited in to add emphasis to an important shot in a film.

The final conference of the day was with film editor Paul Machliss, known for his work on Edgar Wright films as Baby Driver and The World’s End. He told of his journey into the industry starting at the young age of 5 when he first stumbled across an old editing machine and immediately decided that this was the career for him. His humour and charisma brought a joyful atmosphere as he told amusing anecdotes of his journey and career. He too spoke of the importance of sound in film and how it can bring emotion or humour to a scene, which can especially be seen in Scott Pilgrim vs. the World which he also worked on.

Attending this conference was a must for Film and TV students alike, who were able to gain a professional insight into the industry and insider tips on how to be successful in the world of post-production.

Mick Audsley awarded honorary degree at Southampton Solent University

World renowned film editor, Mick Audsley, was awarded the honorary degree of Doctor of Arts from Southampton Solent on Wednesday 12 July.

With more than 52 feature credits to his name, Mick has collaborated on numerous projects with celebrated directors, including Terry Gilliam (Twelve Monkeys), Neil Jordan (Interview with the Vampire), Mike Newell (Harry Potter and the Goblet of Fire) and Stephen Frears (High Fidelity).

On being awarded the honorary degree he said: “… I feel very proud, very flattered and because my job over these past, dare I say,  40 years has been in the role of editing films in the dark room behind the scenes, to be brought out from under a stone and given a pat on the back is extremely flattering and gratifying.”

He recently edited Everest, directed by Baltasar Kormakur; co-edited Robert Zemeckis’ film Allied, and is currently editing Murder on the Orient Express for Kenneth Branagh, due for release this November.

Mick is already a Visiting Fellow at Solent and a regular collaborator, adviser and supporter of the University’s production degrees.

“What impresses me about being here at Solent is that there is an openness and connection with the industry. That interface between industry and education, to me, is incredibly important for the future of filmmaking.”

In 1994 Mick won a BAFTA award for editing The Snapper, directed by Stephen Frears.

Mick also works extensively as supervising editor and editorial consultant on feature films, TV series and shorts, and has been invited to join the Academy of Motion Picture Arts and Sciences.

When not in the editing suite, he has contributed to a number of books, articles and international conferences regarding the art and craft of film editing and its development into the digital era.

Mick’s endeavour to bring together filmmakers has resulted in the launch of Sprocket Rocket Soho – a networking organisation that holds regular events in London, with links to New York and Los Angeles.

His advice to those students graduating into the film industry is: “Go into it with a strong sense of yourself but remember that [always] it’s a collaboration, which to me is the greatest joy.”

Editing and Post Production