Why not kick back for a few minutes and sit down with Editor Nick Gilberg of Whitehouse Post London...click the image to view Nick's reel.
1.What inspired you to be an editor?
I just liked thinking about how the story gets told and experimenting with that journey. I felt that editing was a way to craft a story with the power of beautiful imagery and energetic and compelling footage.
Editing allows me to find more captivating ways to unfold that journey, to keep the energy flowing at its best and most effective pace. I’m always looking for new and provocative ways to keep evolving my craft; new ideas inspire me most of all.
2. What does your job entail?
I feel my job really is to identify the best way to tell a story or represent an idea. Yes it’s about taking and understanding feedback, taking a new direction, enhancing the flow of the material, being prepared to get a little lost and then find your way again. Or sometimes it means finding a new way or a version of the old structure. It can entail sticking with it even when it gets tricky, and being able to look at it afresh until we all end up somewhere very cool. I think it’s important to try and approach all projects from a different angle in order to spot unusual moments that will strengthen the film.
3.What skills do you need to be a good editor?
Hopefully I will be able to answer that in a few more years. But Walter Murch (who I reckon knows very well) says good editing is being able to tell the story with emotion and the right rhythm.
He said something like you can go to school to learn how to dance but having the rhythm is what makes you a great dancer.
4.What’s your favourite part of your job?
I think its when I know the footage so well I can really reveal it to its best effect and that can mean a departure from what was expected or sometimes just a deft refinement of what was expected – but however the understanding is expressed I get a sense that I’ve found and crafted the very best iteration of the footage.
5. If there was one thing you could change about your job what would it be?
A more realistic perspective on the time restrictions. You really do need a rational amount of time to become familiar with footage so that you get the very most out of it.
6. Has your style been influenced by other editor’s work?
Definitely. I’m always researching different films, commercials and documentaries. If I had to name two editors it would be Walter Murch and Chris Cunningham, they inspire me a lot. I also love Bill Viola’s films.
7. What do you think you’d be doing if you weren’t an editor?
I started a little skate clothing brand when I was at school and was very interested in design. Then I went into building with my dad and then I nearly moved to Colombia to start a little restaurant with my wife. So I guess I would have tackled one of those three.
8. What projects are you most proud of?
I think Coco De Mer X really taught me complete freedom and confidence to explore different approaches with both sound and image. There was so much there, yet it also so little, that I had to find moments that would be beautifully strange, unique and more artistic. Something that would not be expected in that type of film. Those types of projects are rare in the commercial industry.
9. What are your latest projects?
I’m just about to finish off a Nissan GTR film for Walter Campbell. This one is interesting because Walt originally shot a 30sec spot, but because he shoots so much and always wants more, he asked me to help him create something longer and stranger. It was interesting to work on this because the footage was so visceral. I’m also refining a very dynamic Adidas spot with Dave Meyers, which is becoming very compelling.
10. Lastly after a long day of editing what do you like to spend your spare time getting up to?
I tend to obsess over my projects so when I've completed one and I feel it has been resolved really well my head emerges out of that intense space all I want to do is spend time with the family, that's my Nirvana.