And once production is over, how do you tackle all the scenes you’ve now strung together?Auteur theory tends to consider films in relation to the director or producer or even studio in regards to modes of production. Averick has only really worked with Ava DuVernay, but on a wider note, I wonder about the extent to which you can tell whose edited a film through watching, if there are particular editing styles.
Then I get back to LA and I have a week or two to continue editing by myself without Ava, to finish the editor’s cut, trying to keep up. When they shoot three scenes in one day, I’m trying to edit three scenes in one day as well, which is hard to do, so you fall behind. So those couple weeks after you get back is your time to catch up. By no means is the editor’s cut great, but the movie’s at least put together, although it’s long and it’s rough. Then Ava comes in after two weeks, she watches the editor’s cut, then we go from there. Then it was five months for the two of us. We had our producers, Plan B, Oprah, and Paramount in dialogue and giving us feedback as well. It’s a collaborative experience, but mainly it’s Ava and I together."
Film The Credits has an interview with Spencer Averick describing the process of editing Selma which has some useful material about how an editors choices influence the director and vis-versa:
Posted on Friday, February 06, 2015