Can you give us a brief overview of your background in editing?
I’ve been editing professionally since 2016, pretty much straight after Uni. I really fell in love with editing as an intern for the production company MadKids. They were making some really funny web series and shows for the ABC, which inspired me to pursue comedy both as an Editor and filmmaker. After that, I bounced around a bit until Screenwest gave me an attachment at Siamese, who were editing a 'Children of the Corn' prequel at the time. That was my first feature, and my time there working with Merlin Eden taught me so much. I don’t think I could have cut a feature like this without my experience working with Merlin.
Could you summarise the plot of the film?
'Before Dawn' is about these young boys who run away from home to join their fellow ANZACS on the Western Front during WW1. Of course, it doesn’t go well for the main character, Jim, which leads to the core of the film, which is all about redemption and responsibility. It’s quite a grim coming-of-age film set during WW1. Not as fun as 'Perks of Being a Wallflower', but just as harrowing, I think.
What editing software and equipment did you use for this project, and why did you choose them?
I’ve always used Premiere to cut when given the choice. At this point, it’s second nature. I don’t have to think about how to do something; I can just do it. Taking on a feature for the first time is daunting, so I needed that safety net, honestly.
How do you do a split screen in Avid? Is it even possible? No one knows, and there’s no possible way of finding out. (For the sake of future employment, I definitely know how to do a split screen in Avid.)
I also love using Productions within Premiere. I’m addicted!
How long did the editing process take? Did you feel you had sufficient time to complete it?
It was a longer process than usual just because the budget was so tight, and I had to step away a couple of times to cut a TVC or two to pay the rent. So, all up, from assembly to picture lock, I think it was about 6-7 months. If you had asked me at the time, I would have probably said we needed more time. Time is great, give us more time PLEASE. But looking back, I think it came to a natural conclusion. There’s only so much you can throw at an edit both technically and creatively until it gets to a point where you’re just changing things just to change them. Deadlines are good!
Can you describe your workflow? Did you work with any assistants? Were you present on set during filming?
I had the privilege of having the incredibly talented Daniella Unger as the Assistant Editor for this film. Not to be dramatic, but I will be - without Dani, I think I would be wandering the streets of Fremantle as an empty, withering husk of my former self.
With Dani’s help, we were able to get an assembly done quite quickly. I try not to overthink “best takes” while getting the ball rolling on an edit. I watch through a string out of a scene, grab what stands out to me, and throw it into the assembly. Once the assembly is done, I then look at the big old mess I created and start cleaning it up. At that point, it’s way more obvious what does and doesn’t work and what takes are good and bad. Looking at takes and scenes in isolation can be counterproductive for me. I find it much easier to work in context.
I wasn’t there during filming, but oh boy, did I hear all about it from my mates who were.
What were some of the challenges you faced during the editing process?
Oh boy. At one point, I decided to take a step away from the edit to build a small Ikea cabinet and basically had a mental breakdown. It was complicated, okay! I had to get my mate Kiah to help me in the end. But you probably mean challenges with the edit.
Honestly, the biggest challenge is usually finding the story. Or making sure you have found the story. Sometimes you can go down the wrong track following the wrong story or what turns out to be no story. Then it’s a whole thing of walking it back to where you started.
Before Dawn was a challenge in this regard. The shoot was so gruelling, and I think some elements of the screenplay got left behind in the hustle. So, I would get to a scene and realise that what was intended on paper wasn’t what we had to work with. And from that, there is a lot of digging and experimenting to try and find the story. Sometimes that’s looking at reaction shots (it’s a lot of this, actually) or even reordering the scene to give it a whole new context. Lots of different challenges and solutions, but mainly Ikea cabinets.
How did you become involved in editing this film?
My friends Dan Quinn (DOP) and Alex Blocher (Sound Recordist) had worked on Jordon’s last film, so I knew about this one for a while. I reached out to Jordon, and we had a chat, and yeah, he brought me on board. It was a long drive from Perth to Esperance just to meet him for a coffee, so I think he probably just felt too guilty to turn me down. I get most of my jobs through guilt or pity.
Is there a particular scene that stands out as most memorable for you?
One of the very first scenes I cut was a big one. If you’ve seen the film, it’s the wiring party scene. The big one! That scene was really fun because it sort of had a bit of everything. It was setting up the future dynamics between Jim and Nickles, there was a lot of slow-moving tension with no dialogue, I got to play with music and sound effects in an interesting way, and of course, there’s some big action to top it all off.
Another scene that stands out to me is the very last one. The war is over, and the boys are celebrating and remembering the ones they lost. The final moments of the film are where Jim is fantasising about going home. We see him thinking about his family and yearning to be back. This scene just bookends the whole film quite nicely, I feel. You can really see the growth he’s had in just this one small moment. It’s simple.
I’m really proud of that scene because none of that emotion was intended. Originally, it was about enjoying the silence for a second. That’s it. But I condensed the last couple of scenes into this one moment, which gave it a real emotional impact.
The film has some wonderfully tense scenes. How did you achieve this tension through your editing?
There were a couple of small things I did, like building up the sound of gunfire slowly through a scene. There are points where those sounds slowly get louder and louder as the action builds, or they start to pile on each other leading up to a moment much like the 'Jaws' theme. But I think the main technique that works is keeping the scenes simple and focused. Holding on a look or holding on a piece of scenery and letting the composer or actor do their thing is sometimes the most efficient way.
What did you learn from editing this film? Are there any key takeaways you can share?
I really learnt a lot about feature film structure and pacing. There are no rules when it comes to structure; as long as there is a beginning, middle, and end, and you follow the story, I found I ended up in the right place. I got in there and experimented and sometimes found out hard and fast when things didn’t work in those oh-so-lovely test screenings.
How did you approach editing scenes with minimal dialogue?
I LOVE editing scenes with minimal or no dialogue. They are so much fun. Sometimes a challenge, but always a fun one. I find in these scenes you have to pay way more attention to the actors and their choices. There are so many small and subtle looks that say everything, but they are easy to miss. Of course, it helps when you have great cinematography to lean on, too.
Regarding sound effects, were you provided with them, or did you use temporary ones during the editing process?
All the sound effects I used were temp, and funny enough, I actually pulled them from the Battlefield 1 game, which is set during WW1. So I kind of spoiled myself for choice and quality with temp sound effects, which were all replaced in the end by the amazing team at Soundbyte.
What advice would you give to someone aspiring to become a feature film Editor?
Advice for aspiring feature film Editors? I don’t know, I think I’m still aspiring too. Get a good assistant, follow the story, and drink lots of water. Oh, and if you need an Ikea cabinet built, I know a girl, so hit me up.
Thank you to Saxon Wright for sharing your experience.
Article by Muy Lang Linda Ung
28th June 2024