August 15, 2024 • 20 mins
Hello Hollywood Faithful! Welcome back to another episode of the Hollywood Confessional, the podcast where industry professionals share their deepest, darkest, most insane Hollywood stories.
This week we have a story about an editor getting their first union job, and the boss that made them question whether or not they wanted to spend their time making someone else's dreams come true.
Balancing a demanding career with a personal life is tough in any industry, but Hollywood presents its own unique challenges. We explore the burnout from long hours and the frustration that comes from witnessing problematic behavior glamorized. Don't miss this candid and inspiring discussion that sheds light on the flexibility and self-discovery inherent in the gig-based nature of editing.
Connect with us:
Check out some of our favorite shows:
- Screenwriters' Rant Room
- Screaming into the Hollywood Abyss
- It Happened in Hollywood
- The Secret History of Hollywood
Hollywood Confessional is a Ninth Way Media production, produced by Meagan Daine and J.R. Zamora-Thal.
Sound Effects and Music provided by Zapsplat and Pixabay.
Keywords: filmmaking podcast, film podcast, screenwriting podcast, entertainment podcast, Hollywood, filmmaking, writerslife, actorslife, setlife
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
In nomine Cinema e TV Espiritu Streaming.
Amen.
Hello, Hollywood, faithful,Welcome back to another episode
of the Hollywood Confessional.
I'm your podcast priest, JairZamorathal.
Speaker 3 (00:23):
And I'm Megan Dane.
Thank you guys so much forjoining us here on the
Confessional where people revealtheir deep, dark Hollywood
secrets.
And, JR, you have a little bitof a secret this week, I believe
.
Speaker 1 (00:35):
I do.
I am coming to the end of mycurrent job.
Speaker 3 (00:39):
Oh my God, Finally.
Speaker 1 (00:41):
I am about to be fun-employed.
Speaker 3 (00:43):
Fun-employed, that is such a good term.
Is that a thing, or did youjust like invent that right now?
Speaker 1 (00:47):
Oh, that's absolutely a thing.
I would love to take credit forit, but that is absolutely
already a thing, and you knowthis time it is going to be a
little bit fun.
I've got a lot of plans, I'vegot some travel plans, I've got
plans of what I want to write.
I've got plans of maybe makingthat short we talked about last
time.
So you know it will be fun,employed until it isn't.
Speaker 3 (01:07):
Yeah, exactly, it's so funny.
It's like you you, you have ajob and it's amazing and you're
so excited.
And then you know, of courseeverybody gets tired and and so
you get that little window oftime right after the job ends
where you're chilling and likegoing on vacation and everything
, and then all of a suddenyou're like, okay, well, now I
might need to start looking forsomething.
Speaker 1 (01:26):
Right, right, and I love that feeling right when you
get off a job where you're likeI'm only going to take
something that I am absolutelyin love with.
Next.
Speaker 3 (01:33):
Yeah, exactly, you have all these plans right Like
it has to, uh, be exactly thekind of show that I want to work
on.
It has to be a wonderfulenvironment.
It has to be like basicallywalking distance from my place.
Speaker 1 (01:46):
And as time, goes on all those criteria, just start
shedding away and finally it'slike I would just like a job.
Employment, please.
I will trade time for money.
Speaker 3 (02:00):
And that is how, ladies and gentlemen and friends
, you end up with a job likethis.
In this week's episode of theHollywood Confessional, we have
what happens in editing.
Speaker 1 (02:12):
Should we step into the booth?
Speaker 3 (02:14):
Let's do it.
Speaker 4 (02:25):
Forgive me, Father, for I assisted a man-baby who
had no idea how to be ashowrunner.
Speaker 1 (02:32):
Hollywood, where you can start at the top, whether or
not you know how to do the job.
Could this be part of theproblem?
I'm betting it's most of theproblem.
Tell us everything.
Speaker 4 (02:44):
I've wanted to go to film school since I was like 15,
so I've been pursuing a careerin entertainment for like half
my life.
Coming out of film school,you're working with your friends
and you're making each other'svisions come to life.
But when there's money involved, it takes the joy out of things
sometimes.
The story I'm going to tell youis about my first union job.
My title was assistant editor.
(03:06):
I had been working on somenon-union stuff for a few years,
building up my hours, and I wasready to join the union.
Luckily I had a friend who waslooking for someone and he was
like okay, I like you, here's ajob, but it's only for three
weeks.
And I was like I don't care,I'm taking this opportunity.
To get into the union as aneditor, you have to work at
(03:27):
least 100 non-union days.
I had worked my 100 days onqualifying projects, stuff that
had been in a theater or in oneof the bigger festivals.
So I just needed my first unionjob so I could pay my dues and
join.
Even though the gig was supershort, I was happy.
I was like cool, I'll get ataste of it and if it's awful I
can leave.
It's not permanent, I have afunny feeling.
Speaker 3 (03:48):
You wouldn't be here if it wasn't awful.
Speaker 4 (03:50):
The job was great, but the star of the show was
also the showrunner and he was anightmare.
Speaker 1 (03:57):
I mean, does it ever work for the star to also be the
showrunner?
Speaker 3 (04:01):
I mean Phoebe Waller-Bridge, sean Fleabag,
bill.
Speaker 4 (04:03):
Hader on Barry Maya Erskine and Anna Conkle on Pen15
.
Speaker 1 (04:07):
Okay, okay, I get it.
I had a rough night last night.
Don't judge me.
Speaker 4 (04:11):
Sometimes it's amazing, but with not so much.
He was on set 12 hour days,Monday through Friday, but then
wanted to work on weekends withthe editors Not to do his cut.
He wanted to sit there duringall the cuts and he did it in a
way which I later learned kindof goes against how our
contracts work.
After production on an episodewrap, the editor should have
(04:33):
three days to do our editor'scut.
Then the director comes in andhas two days to do the
director's cut and after allthat then you work with the
producers and the showrunner soI don't know how he was able to
like.
Speaker 2 (04:45):
I'm just gonna sit in here and see what's going on,
even though we're still inproduction on the episode.
Who cares about IATSE or DGArules?
Speaker 4 (04:54):
At the time I thought this was normal because it was
my first scripted show and I waslike, okay, I guess this is the
life.
Speaker 1 (05:01):
Oh, that is such a classic line.
I can't even tell you.
There were so many firsts whenI'm just like, oh, this must be
normal.
And then, two jobs later, I'mlike, no, that was not normal.
Speaker 4 (05:13):
Speaking of things that weren't normal.
My main job was to finish upthe dailies, which is the raw
footage shot on a day ofproduction.
I was watching the dailies oftrying to direct some improv in
the show and there was this oneawful scene.
It was a three page scene butthe footage was like six hours.
The other actors would startdoing some improv stuff and
(05:33):
would stop in the middle of thescene and be like no, no, no, no
, no.
Speaker 2 (05:38):
Do this, do this, say this.
Speaker 4 (05:40):
You have to do it this way and just like it's
literally not the point ofimprov not to mention he's
stepping all over the directorthere were so many rules being
broken on this show now that I'mthinking about it.
The editor I was working with itwas his first editing job and
it was a lot for him and one ofthe other editors on the show
had cut a lot of stuff so theywere just like give it to the
(06:04):
golden boy, he can do it, and itwasn't his episode.
I don't really think that aneditor can jump onto another
episode for like a scene.
So this was my first impressionof which I got from the dailies
.
I was like this guy's annoying.
I have no interest in meetingthis person.
And then I found out theyshifted me to a Tuesday through
Saturday schedule so we couldhave the Saturday session with
(06:25):
him.
Speaker 3 (06:25):
What those weekend stealing bastards?
Speaker 4 (06:28):
Thankfully, my editor was a really good dude.
I had signed up prior for likea race on Saturday.
I was like, okay, I have thisrace at 8am so I can get in at
like 10, and he was totally coolbut got to the studio super
early, even before my editor.
It was so weird because he wasprobably on set until late on
Friday night.
This was before people werefighting for the turnaround
(06:50):
times and stuff that we got inthe last contract.
I was like does this man notsleep?
Anyway, I showed up after myrace and I met him Right away.
Red flags.
There was a couch in theeditor's suite and he was like
lying on the couch with hislaptop on his lap watching the
basketball game.
Speaker 1 (07:06):
Wouldn't that mess with the editor's ability to do
his job?
When I edit this podcast, Ican't have like any music or TV
or I'll miss things.
Speaker 4 (07:13):
Yeah, it was super distracting.
I was like, why are you here?
Like this is a pleasantSaturday for you, you're doing
essentially what you would bedoing on a Saturday at home, but
you're making your team work.
Then I introduced myself to himand he got all weirded out.
So I'm like come on, it's you,me and the editor, like why be
weird, I'm going to be orderingyour lunch.
But he barely looked up fromthe basketball game.
(07:35):
Since it was already gettingclose to noon, I chose a place
to order lunch from, and this iswhen I realized what a man baby
he was.
He wanted a buffalo grilledcheese sandwich, but without the
buffalo sauce.
And I was like so you want agrilled cheese sandwich?
Speaker 2 (07:50):
And he was like yeah, and make sure it doesn't have
any lettuce or anything, justcheese and bread.
Speaker 4 (07:57):
I remember calling up the place, I was like, hey, can
I get this buffalo grilledcheese without the buffalo sauce
?
And they were like you can justorder the grilled cheese on the
kids menu.
Honestly, that's just me beingpetty, but he was also an actual
dick.
Pretty much the only reason Iwas there on a Saturday was to
be support for my editor,because I'd finished all my
(08:18):
daily work.
So the editor offered to let mesit in and see how it works to
be in the room, but the officewas really, really small, so I
ended up pulling a chair rightnext to the sofa, right next to
my head.
Speaker 1 (08:30):
I'm sure the sofa could have sat two people if he
wasn't reclining.
Speaker 4 (08:33):
It could have fit three people.
And so I'm sitting in thischair and he's changing his
position every once in a whileas he's watching basketball and
he has this pillow propped upbehind him.
He shifts and it falls on thefloor and it's by my feet, so I
pick it up and put it back forhim.
It happens again and again,keeps happening, and I keep
picking up the pillow, and thenthere's this one time where
eventually, it falls again andthen he just like does a little
(08:56):
crunch, waiting for me to put itbehind him.
Speaker 3 (08:58):
Oh that motherfucker.
Please just tell me you let himsit like that until his neck
broke it got worse.
Speaker 4 (09:06):
It got worse, I think , because I had an assistant in
my title.
He thought I was like a PA orsomething, so he asked me to
leave the room to get himanother Spindrift sparkling
water.
I was there to learn not to bea PA, but then I was like I'm
not even learning anything.
I'm watching Bleep watchbasketball.
He wasn't even paying attention.
You're trying to watch thescene we just cut and then Bleep
(09:26):
is like oh sorry, can we watchit again?
Speaker 2 (09:29):
I got distracted.
Speaker 4 (09:31):
Eventually I was just like, okay, this isn't
benefiting me.
So I left the room and justfound other work to do.
So that was my firstinteraction with.
Then there was another one thatmade me so angry.
When I came on, there wasalready a lot of footage that
had been processed and we neededto do a gag reel for the wrap
party.
My editor encouraged me to cutit because that's how he ended
(09:54):
up getting his editing job.
He had cut the gag reel on hislast show to put himself in the
room.
My editor encouraged me to cutit because that's how he ended
up getting his editing job.
He had cut the gag reel on hislast show to put himself in the
room with the post producer whothen brought him onto this show,
so this was potentially a bigopportunity.
Yeah, at the time it definitelywas.
I was learning the processcutting, getting notes,
incorporating the notes.
Speaker 1 (10:10):
Was that intimidating ?
Speaker 4 (10:15):
No, I think, because my editor really had my back.
I first reviewed my workone-on-one with my editor and he
pointed out notes thepost-producer probably would
have, since he knew thepost-producer really well.
It was really nice.
The first time that thepost-producer watched it he was
laughing.
I was like that feels reallygood.
It was definitely an excitingthing to do, especially because
there were three other assistanteditors on the show and I was
(10:39):
the one cutting it.
Speaker 2 (10:39):
And so we're at the wrap party and they're getting
ready to show the gag reel Stepsup to introduce it and he's
like and just by the way, Ihaven't seen this, so if it's
not funny, it's not my fault.
Speaker 3 (10:48):
What the fuck Did he know that you were the?
Speaker 4 (10:51):
one who cut it.
I don't know, but that was sucha fucked up thing to say.
Regardless the person who cutit.
I don't know, but that was sucha fucked up thing to say.
Regardless.
The person who cut it was atthe wrap party.
I was at the wrap party and itwas my work and he was prepping
everyone for it to be shitty.
Did you ever say anything tohim?
No, because I know he wouldn'thave listened.
I don't know.
I think if I had been adifferent person, I would have
(11:11):
been like yo, what did you thinkof the gag reel?
And then, if he had saidsomething good about it, it'd be
like yeah, well, I cut it.
Speaker 3 (11:16):
Now that the show is out and it's getting good
reviews, what do you think ofthis guy?
Speaker 4 (11:20):
God, I hate him and I don't watch the show.
I mean, it definitely is not ashow made for me, but my sister
lived right next to this giantbillboard for a while and she
sent me pictures.
She's like my new view and Iwas like I hate that.
So I'm not even going to watchthe show and I just hate it.
I think there was a previewthat came out.
I don't know if it was like ajoke, but I also don't think it
(11:40):
was a joke because the show wasso based on him.
But the preview showed himsleeping with so many women and
I was like that makes me reallyuncomfortable.
That's just so gross.
He's not the worst person inthe world, you know.
I sometimes tell stories abouthim and I'm just like, yeah,
that happened.
It's kind of funny and peopleare like that's so fucked up and
I'm like is it?
Is it really Like?
(12:01):
Really Like it wasn't like hewas doing anything really awful
to me, it's just he was an awfulperson and that's how he
treated everyone.
Speaker 3 (12:10):
Yeah, there's definitely a sliding scale of
shittiness in this industry,Like we give people a lot of
credit for not being absolutelyfucking horrible and then it
takes somebody outside theindustry to give us the
perspective to be like no, thoseare assholes.
Speaker 4 (12:25):
Why do we do this?
It starts to make me feelburned out.
Maybe it would be different ifI worked in features.
I think there's more care inall the crafts and features
compared to TV.
Tv is just constantly churningit out.
I work a show and then I'm likeokay, I'm not going to work for
at least two months.
I make enough money to be ableto do that.
(12:45):
But the part where it getsexhausting is when I'm on a show
.
A lot of other aspects of mylife have been put on hold, like
my social life, and I'm beingexpected to be available until 8
pm every night, and that's alot.
But then there are people onset who have it much worse as an
editing team.
Eight hour days should be whatit is, and it's funny because I
know people like are trying tofight for fewer than 40 hour
(13:07):
work weeks, and I'm like I'd beso happy with the 40 hour work
week.
Amen, yeah, the days that I dowrap at six, I feel great.
Speaker 1 (13:16):
Did you know how many hours it would be when you
started down this path?
Speaker 4 (13:20):
Yeah, but when I started I didn't have that many
friends.
I was like so career driven,no-transcript.
And then I discovered hobbiesand developed relationships that
I want to maintain and that'sdifficult to balance with the
workload.
Then, when you have to dealwith assholes like I don't even
know if I want to follow thispath anymore.
I guess it's just like seeingthe people who do become editors
(13:41):
, especially the younger ones.
They care so much about thework and I just don't.
The editor I'm working withright now she was working on her
editor's cut.
She was just so nervous andnitpicky and I was like it's
fine, you just follow the script.
One of our editors didn't evendo temp sound design, didn't do
(14:01):
temp ADR.
You don't need to put as muchwork into it.
But I guess that's where peopleget fulfilled.
For me it's just a job.
The passion of fulfillingsomeone else's creative vision
isn't as high on my prioritylist anymore.
Speaker 1 (14:13):
Do you feel any pressure to stay?
The passion of fulfillingsomeone else's creative vision
isn't as high on my prioritylist anymore.
Speaker 4 (14:16):
Do you feel any pressure to stay in film and TV?
Yeah, and I think it's more ofa self-pressure than like
pressure from other people.
I'm like, why not stick it outand see what happens?
Yeah, stick it out and becomean editor and see how you like
it, then decide.
Speaker 1 (14:31):
What does?
Speaker 4 (14:31):
it take to jump from assistant editor to editor.
Well TV, you really just haveto find an editor who's going to
let you cut scenes and thenmake it obvious to the post
producer and the producers thatyou're the one who cut the stuff
, and a lot of it is finding apost producer who's willing to
give you an editing credit oradditional editing credit.
At least the way that unionrules work is you need to get
paid at least one week as aneditor, and there are some post
(14:51):
producers who won't even do that.
The difference in a week's payof assistant and editor is only
like $800 or something, and it'sjust like you can't find that
$800 or so so I can get thiscredit.
Speaker 1 (15:03):
I mean, just skip lunch for a day.
Speaker 4 (15:05):
I know it's just like find the money.
You can find the money, but ittakes finding a post producer
who is willing to do that.
Speaker 3 (15:12):
Is there any advice you would give to younger
editors based on your experience?
Speaker 4 (15:16):
The most important thing is to ask for what you
want.
If you want to cut a scene, askif your editor will let you cut
a scene and let it be knownwhen you're finding work that
you want to become an editor,because there are some editors
who'd rather work with anassistant who's just going to do
their thing.
They give exactly what isneeded, but my editor I'm
working with right now is verycollaborative and listens to my
notes, which is nice.
(15:37):
You want someone like that ifyou're trying to become an
editor, and don't be afraid tospeak up.
Obviously you know, read theroom and don't do it when the
showrunner is in the room.
Speaker 3 (15:45):
Especially if they're watching basketball.
Speaker 1 (15:47):
I mean, in that case, fuck it.
Speaker 4 (15:50):
But yeah, give your editor your thoughts about what
you're doing or what they did.
It's a good way to show thatyou know your stuff and they're
probably going to be morewilling to give you an
opportunity to cut.
I also think a benefit toediting is that things are so
gig based and you can take timeoff, like take a month or two
off, say you save enough moneyto take a few months off and
step away from it, and if youfeel like you have the drive to
(16:11):
go back, go back, and if youdon't, then use that time to
think about what else you wouldwant to do.
Speaker 1 (16:17):
Thank you for your insights.
If you continue down this path,I hope you don't have to work
with anymore.
Speaker 3 (16:22):
Definitely not.
Go create in peace.
Speaker 1 (16:31):
Wow, I really think we got some great advice at the
end of that confession.
Speaker 3 (16:34):
Yeah, we really did.
I think somebody who's been inthis type of situation you know,
obviously, god, there's so manyof them and they're so awful.
But silver lining, you often docome out with a lot of
perspective.
That is really helpful topeople who are just starting in
the industry.
Speaker 1 (16:51):
Truly, I really like when our confessor said that you
know, when we get this time offbetween jobs, it's time to
really reflect.
We're not just kind of fuckingoff, you know we can actually.
Speaker 3 (17:04):
It's not just a funcation.
Speaker 1 (17:05):
Yeah, it's not actually fun employment all the
time oh fun employment.
Speaker 3 (17:09):
Oh my God, I fucked it up.
Fun, fun employment.
I'm such an idiot.
Speaker 1 (17:15):
But yeah, it's a good time to reflect and do that
sort of mental health cleanup.
I think that we all need.
Speaker 3 (17:21):
Yeah.
Speaker 1 (17:22):
And one thing that I've learned is I actually start
every day when I'm on a jobwith three empowering mantras
that I gave myself, and one ofthem is that my time is mine and
I can give it and I can take itaway, and I think that's what
the confessor was talking aboutat the end.
If you're not having a good time, if you're not enjoying your
own life, if you're not enjoyingthe work of it, then you
(17:43):
definitely can step away.
There's no shame in that.
And, you know, find a careerthat actually works for you.
Speaker 3 (17:49):
Yeah, wow, that's really interesting.
Speaker 1 (17:51):
It's way more important to be happy and
fulfilled rather than chase someyou know bullshit.
Dream that 18 year old yourselfgave you.
Speaker 3 (18:00):
That's oddly specific , but, yeah, I totally agree.
And then you know, conversely oryou know sort of to add to that
, not conversely, I guess, yes,and I'm remembering how to talk
today, people, the like advicethat the confessor gave about
(18:22):
how to advocate for yourself sothat you are getting the
experience that you want.
You know, that's also reallyimportant and it speaks to me
and, I think, to a lot of ourlisteners as well, this idea of
you, know, you, you can havethis amazing mantra of my time
is mine and I spend it how Iwant and I can take it away.
Amazing, gonna steal that, um.
But also there is a way thatyou can make the time that you
(18:47):
have more fulfilling.
Or you can make sure that whenyou are stepping into a
situation that you and whoeveryou're going to be working for
know that your time is of valueand this is what you want in
exchange for your time.
And then you know, if itdoesn't work out, then hey, at
least you've been honest withyourself and with everyone
(19:08):
around you and you can choose tomove on.
But also, maybe you'll end upwith a better use of your time
in the long run.
Speaker 1 (19:17):
That is much more eloquently put than I did.
I also want to say my bullshitdream at 18 was to create
mechanical exoskeletons.
Speaker 3 (19:30):
Oh, that's an amazing dream.
Speaker 1 (19:32):
I definitely had to pivot when I realized that that
was not my calling in life.
Speaker 3 (19:38):
Well, that's subject matter for another day.
Um, an episode on pivoting weshould.
We should look into that.
It's not bad.
All right guys, listeners.
Um, anybody got a story to tellabout pivoting to another,
another department or perhapsanother career?
Let us know at, fess uphollywood.
We would love to hear from youand until then, go create in
(19:59):
peace.
Speaker 1 (20:04):
The hollywood confessional is produced by
megan dane and jair zamora thal.
Joelle garfinkel is ourco-producer and aj Thal is our
post-production coordinator andeditor.
Our cast today Shira Gorelick,Mike Mizwicki.
Special effects provided byZapSplat and Pixabay.
Hollywood Confessional is aNinth Way Media production.
(20:27):
Follow us on socials atFessUpHollywood.
In nomine Cinema e TV Espiritu Streaming.
Amen.
Hello, Hollywood, faithful,Welcome back to another episode
of the Hollywood Confessional.
I'm your podcast priest, JairZamorathal.
Speaker 3 (00:23):
And I'm Megan Dane.
Thank you guys so much forjoining us here on the
Confessional where people revealtheir deep, dark Hollywood
secrets.
And, JR, you have a little bitof a secret this week, I believe
.
Speaker 1 (00:35):
I do.
I am coming to the end of mycurrent job.
Speaker 3 (00:39):
Oh my God, Finally.
Speaker 1 (00:41):
I am about to be fun-employed.
Speaker 3 (00:43):
Fun-employed, that is such a good term.
Is that a thing, or did youjust like invent that right now?
Speaker 1 (00:47):
Oh, that's absolutely a thing.
I would love to take credit forit, but that is absolutely
already a thing, and you knowthis time it is going to be a
little bit fun.
I've got a lot of plans, I'vegot some travel plans, I've got
plans of what I want to write.
I've got plans of maybe makingthat short we talked about last
time.
So you know it will be fun,employed until it isn't.
Speaker 3 (01:07):
Yeah, exactly, it's so funny.
It's like you you, you have ajob and it's amazing and you're
so excited.
And then you know, of courseeverybody gets tired and and so
you get that little window oftime right after the job ends
where you're chilling and likegoing on vacation and everything
, and then all of a suddenyou're like, okay, well, now I
might need to start looking forsomething.
Speaker 1 (01:26):
Right, right, and I love that feeling right when you
get off a job where you're likeI'm only going to take
something that I am absolutelyin love with.
Next.
Speaker 3 (01:33):
Yeah, exactly, you have all these plans right Like
it has to, uh, be exactly thekind of show that I want to work
on.
It has to be a wonderfulenvironment.
It has to be like basicallywalking distance from my place.
Speaker 1 (01:46):
And as time, goes on all those criteria, just start
shedding away and finally it'slike I would just like a job.
Employment, please.
I will trade time for money.
Speaker 3 (02:00):
And that is how, ladies and gentlemen and friends
, you end up with a job likethis.
In this week's episode of theHollywood Confessional, we have
what happens in editing.
Speaker 1 (02:12):
Should we step into the booth?
Speaker 3 (02:14):
Let's do it.
Speaker 4 (02:25):
Forgive me, Father, for I assisted a man-baby who
had no idea how to be ashowrunner.
Speaker 1 (02:32):
Hollywood, where you can start at the top, whether or
not you know how to do the job.
Could this be part of theproblem?
I'm betting it's most of theproblem.
Tell us everything.
Speaker 4 (02:44):
I've wanted to go to film school since I was like 15,
so I've been pursuing a careerin entertainment for like half
my life.
Coming out of film school,you're working with your friends
and you're making each other'svisions come to life.
But when there's money involved, it takes the joy out of things
sometimes.
The story I'm going to tell youis about my first union job.
My title was assistant editor.
(03:06):
I had been working on somenon-union stuff for a few years,
building up my hours, and I wasready to join the union.
Luckily I had a friend who waslooking for someone and he was
like okay, I like you, here's ajob, but it's only for three
weeks.
And I was like I don't care,I'm taking this opportunity.
To get into the union as aneditor, you have to work at
(03:27):
least 100 non-union days.
I had worked my 100 days onqualifying projects, stuff that
had been in a theater or in oneof the bigger festivals.
So I just needed my first unionjob so I could pay my dues and
join.
Even though the gig was supershort, I was happy.
I was like cool, I'll get ataste of it and if it's awful I
can leave.
It's not permanent, I have afunny feeling.
Speaker 3 (03:48):
You wouldn't be here if it wasn't awful.
Speaker 4 (03:50):
The job was great, but the star of the show was
also the showrunner and he was anightmare.
Speaker 1 (03:57):
I mean, does it ever work for the star to also be the
showrunner?
Speaker 3 (04:01):
I mean Phoebe Waller-Bridge, sean Fleabag,
bill.
Speaker 4 (04:03):
Hader on Barry Maya Erskine and Anna Conkle on Pen15
.
Speaker 1 (04:07):
Okay, okay, I get it.
I had a rough night last night.
Don't judge me.
Speaker 4 (04:11):
Sometimes it's amazing, but with not so much.
He was on set 12 hour days,Monday through Friday, but then
wanted to work on weekends withthe editors Not to do his cut.
He wanted to sit there duringall the cuts and he did it in a
way which I later learned kindof goes against how our
contracts work.
After production on an episodewrap, the editor should have
(04:33):
three days to do our editor'scut.
Then the director comes in andhas two days to do the
director's cut and after allthat then you work with the
producers and the showrunner soI don't know how he was able to
like.
Speaker 2 (04:45):
I'm just gonna sit in here and see what's going on,
even though we're still inproduction on the episode.
Who cares about IATSE or DGArules?
Speaker 4 (04:54):
At the time I thought this was normal because it was
my first scripted show and I waslike, okay, I guess this is the
life.
Speaker 1 (05:01):
Oh, that is such a classic line.
I can't even tell you.
There were so many firsts whenI'm just like, oh, this must be
normal.
And then, two jobs later, I'mlike, no, that was not normal.
Speaker 4 (05:13):
Speaking of things that weren't normal.
My main job was to finish upthe dailies, which is the raw
footage shot on a day ofproduction.
I was watching the dailies oftrying to direct some improv in
the show and there was this oneawful scene.
It was a three page scene butthe footage was like six hours.
The other actors would startdoing some improv stuff and
(05:33):
would stop in the middle of thescene and be like no, no, no, no
, no.
Speaker 2 (05:38):
Do this, do this, say this.
Speaker 4 (05:40):
You have to do it this way and just like it's
literally not the point ofimprov not to mention he's
stepping all over the directorthere were so many rules being
broken on this show now that I'mthinking about it.
The editor I was working with itwas his first editing job and
it was a lot for him and one ofthe other editors on the show
had cut a lot of stuff so theywere just like give it to the
(06:04):
golden boy, he can do it, and itwasn't his episode.
I don't really think that aneditor can jump onto another
episode for like a scene.
So this was my first impressionof which I got from the dailies
.
I was like this guy's annoying.
I have no interest in meetingthis person.
And then I found out theyshifted me to a Tuesday through
Saturday schedule so we couldhave the Saturday session with
(06:25):
him.
Speaker 3 (06:25):
What those weekend stealing bastards?
Speaker 4 (06:28):
Thankfully, my editor was a really good dude.
I had signed up prior for likea race on Saturday.
I was like, okay, I have thisrace at 8am so I can get in at
like 10, and he was totally coolbut got to the studio super
early, even before my editor.
It was so weird because he wasprobably on set until late on
Friday night.
This was before people werefighting for the turnaround
(06:50):
times and stuff that we got inthe last contract.
I was like does this man notsleep?
Anyway, I showed up after myrace and I met him Right away.
Red flags.
There was a couch in theeditor's suite and he was like
lying on the couch with hislaptop on his lap watching the
basketball game.
Speaker 1 (07:06):
Wouldn't that mess with the editor's ability to do
his job?
When I edit this podcast, Ican't have like any music or TV
or I'll miss things.
Speaker 4 (07:13):
Yeah, it was super distracting.
I was like, why are you here?
Like this is a pleasantSaturday for you, you're doing
essentially what you would bedoing on a Saturday at home, but
you're making your team work.
Then I introduced myself to himand he got all weirded out.
So I'm like come on, it's you,me and the editor, like why be
weird, I'm going to be orderingyour lunch.
But he barely looked up fromthe basketball game.
(07:35):
Since it was already gettingclose to noon, I chose a place
to order lunch from, and this iswhen I realized what a man baby
he was.
He wanted a buffalo grilledcheese sandwich, but without the
buffalo sauce.
And I was like so you want agrilled cheese sandwich?
Speaker 2 (07:50):
And he was like yeah, and make sure it doesn't have
any lettuce or anything, justcheese and bread.
Speaker 4 (07:57):
I remember calling up the place, I was like, hey, can
I get this buffalo grilledcheese without the buffalo sauce
?
And they were like you can justorder the grilled cheese on the
kids menu.
Honestly, that's just me beingpetty, but he was also an actual
dick.
Pretty much the only reason Iwas there on a Saturday was to
be support for my editor,because I'd finished all my
(08:18):
daily work.
So the editor offered to let mesit in and see how it works to
be in the room, but the officewas really, really small, so I
ended up pulling a chair rightnext to the sofa, right next to
my head.
Speaker 1 (08:30):
I'm sure the sofa could have sat two people if he
wasn't reclining.
Speaker 4 (08:33):
It could have fit three people.
And so I'm sitting in thischair and he's changing his
position every once in a whileas he's watching basketball and
he has this pillow propped upbehind him.
He shifts and it falls on thefloor and it's by my feet, so I
pick it up and put it back forhim.
It happens again and again,keeps happening, and I keep
picking up the pillow, and thenthere's this one time where
eventually, it falls again andthen he just like does a little
(08:56):
crunch, waiting for me to put itbehind him.
Speaker 3 (08:58):
Oh that motherfucker.
Please just tell me you let himsit like that until his neck
broke it got worse.
Speaker 4 (09:06):
It got worse, I think , because I had an assistant in
my title.
He thought I was like a PA orsomething, so he asked me to
leave the room to get himanother Spindrift sparkling
water.
I was there to learn not to bea PA, but then I was like I'm
not even learning anything.
I'm watching Bleep watchbasketball.
He wasn't even paying attention.
You're trying to watch thescene we just cut and then Bleep
(09:26):
is like oh sorry, can we watchit again?
Speaker 2 (09:29):
I got distracted.
Speaker 4 (09:31):
Eventually I was just like, okay, this isn't
benefiting me.
So I left the room and justfound other work to do.
So that was my firstinteraction with.
Then there was another one thatmade me so angry.
When I came on, there wasalready a lot of footage that
had been processed and we neededto do a gag reel for the wrap
party.
My editor encouraged me to cutit because that's how he ended
(09:54):
up getting his editing job.
He had cut the gag reel on hislast show to put himself in the
room.
My editor encouraged me to cutit because that's how he ended
up getting his editing job.
He had cut the gag reel on hislast show to put himself in the
room with the post producer whothen brought him onto this show,
so this was potentially a bigopportunity.
Yeah, at the time it definitelywas.
I was learning the processcutting, getting notes,
incorporating the notes.
Speaker 1 (10:10):
Was that intimidating ?
Speaker 4 (10:15):
No, I think, because my editor really had my back.
I first reviewed my workone-on-one with my editor and he
pointed out notes thepost-producer probably would
have, since he knew thepost-producer really well.
It was really nice.
The first time that thepost-producer watched it he was
laughing.
I was like that feels reallygood.
It was definitely an excitingthing to do, especially because
there were three other assistanteditors on the show and I was
(10:39):
the one cutting it.
Speaker 2 (10:39):
And so we're at the wrap party and they're getting
ready to show the gag reel Stepsup to introduce it and he's
like and just by the way, Ihaven't seen this, so if it's
not funny, it's not my fault.
Speaker 3 (10:48):
What the fuck Did he know that you were the?
Speaker 4 (10:51):
one who cut it.
I don't know, but that was sucha fucked up thing to say.
Regardless the person who cutit.
I don't know, but that was sucha fucked up thing to say.
Regardless.
The person who cut it was atthe wrap party.
I was at the wrap party and itwas my work and he was prepping
everyone for it to be shitty.
Did you ever say anything tohim?
No, because I know he wouldn'thave listened.
I don't know.
I think if I had been adifferent person, I would have
(11:11):
been like yo, what did you thinkof the gag reel?
And then, if he had saidsomething good about it, it'd be
like yeah, well, I cut it.
Speaker 3 (11:16):
Now that the show is out and it's getting good
reviews, what do you think ofthis guy?
Speaker 4 (11:20):
God, I hate him and I don't watch the show.
I mean, it definitely is not ashow made for me, but my sister
lived right next to this giantbillboard for a while and she
sent me pictures.
She's like my new view and Iwas like I hate that.
So I'm not even going to watchthe show and I just hate it.
I think there was a previewthat came out.
I don't know if it was like ajoke, but I also don't think it
(11:40):
was a joke because the show wasso based on him.
But the preview showed himsleeping with so many women and
I was like that makes me reallyuncomfortable.
That's just so gross.
He's not the worst person inthe world, you know.
I sometimes tell stories abouthim and I'm just like, yeah,
that happened.
It's kind of funny and peopleare like that's so fucked up and
I'm like is it?
Is it really Like?
(12:01):
Really Like it wasn't like hewas doing anything really awful
to me, it's just he was an awfulperson and that's how he
treated everyone.
Speaker 3 (12:10):
Yeah, there's definitely a sliding scale of
shittiness in this industry,Like we give people a lot of
credit for not being absolutelyfucking horrible and then it
takes somebody outside theindustry to give us the
perspective to be like no, thoseare assholes.
Speaker 4 (12:25):
Why do we do this?
It starts to make me feelburned out.
Maybe it would be different ifI worked in features.
I think there's more care inall the crafts and features
compared to TV.
Tv is just constantly churningit out.
I work a show and then I'm likeokay, I'm not going to work for
at least two months.
I make enough money to be ableto do that.
(12:45):
But the part where it getsexhausting is when I'm on a show
.
A lot of other aspects of mylife have been put on hold, like
my social life, and I'm beingexpected to be available until 8
pm every night, and that's alot.
But then there are people onset who have it much worse as an
editing team.
Eight hour days should be whatit is, and it's funny because I
know people like are trying tofight for fewer than 40 hour
(13:07):
work weeks, and I'm like I'd beso happy with the 40 hour work
week.
Amen, yeah, the days that I dowrap at six, I feel great.
Speaker 1 (13:16):
Did you know how many hours it would be when you
started down this path?
Speaker 4 (13:20):
Yeah, but when I started I didn't have that many
friends.
I was like so career driven,no-transcript.
And then I discovered hobbiesand developed relationships that
I want to maintain and that'sdifficult to balance with the
workload.
Then, when you have to dealwith assholes like I don't even
know if I want to follow thispath anymore.
I guess it's just like seeingthe people who do become editors
(13:41):
, especially the younger ones.
They care so much about thework and I just don't.
The editor I'm working withright now she was working on her
editor's cut.
She was just so nervous andnitpicky and I was like it's
fine, you just follow the script.
One of our editors didn't evendo temp sound design, didn't do
(14:01):
temp ADR.
You don't need to put as muchwork into it.
But I guess that's where peopleget fulfilled.
For me it's just a job.
The passion of fulfillingsomeone else's creative vision
isn't as high on my prioritylist anymore.
Speaker 1 (14:13):
Do you feel any pressure to stay?
The passion of fulfillingsomeone else's creative vision
isn't as high on my prioritylist anymore.
Speaker 4 (14:16):
Do you feel any pressure to stay in film and TV?
Yeah, and I think it's more ofa self-pressure than like
pressure from other people.
I'm like, why not stick it outand see what happens?
Yeah, stick it out and becomean editor and see how you like
it, then decide.
Speaker 1 (14:31):
What does?
Speaker 4 (14:31):
it take to jump from assistant editor to editor.
Well TV, you really just haveto find an editor who's going to
let you cut scenes and thenmake it obvious to the post
producer and the producers thatyou're the one who cut the stuff
, and a lot of it is finding apost producer who's willing to
give you an editing credit oradditional editing credit.
At least the way that unionrules work is you need to get
paid at least one week as aneditor, and there are some post
(14:51):
producers who won't even do that.
The difference in a week's payof assistant and editor is only
like $800 or something, and it'sjust like you can't find that
$800 or so so I can get thiscredit.
Speaker 1 (15:03):
I mean, just skip lunch for a day.
Speaker 4 (15:05):
I know it's just like find the money.
You can find the money, but ittakes finding a post producer
who is willing to do that.
Speaker 3 (15:12):
Is there any advice you would give to younger
editors based on your experience?
Speaker 4 (15:16):
The most important thing is to ask for what you
want.
If you want to cut a scene, askif your editor will let you cut
a scene and let it be knownwhen you're finding work that
you want to become an editor,because there are some editors
who'd rather work with anassistant who's just going to do
their thing.
They give exactly what isneeded, but my editor I'm
working with right now is verycollaborative and listens to my
notes, which is nice.
(15:37):
You want someone like that ifyou're trying to become an
editor, and don't be afraid tospeak up.
Obviously you know, read theroom and don't do it when the
showrunner is in the room.
Speaker 3 (15:45):
Especially if they're watching basketball.
Speaker 1 (15:47):
I mean, in that case, fuck it.
Speaker 4 (15:50):
But yeah, give your editor your thoughts about what
you're doing or what they did.
It's a good way to show thatyou know your stuff and they're
probably going to be morewilling to give you an
opportunity to cut.
I also think a benefit toediting is that things are so
gig based and you can take timeoff, like take a month or two
off, say you save enough moneyto take a few months off and
step away from it, and if youfeel like you have the drive to
(16:11):
go back, go back, and if youdon't, then use that time to
think about what else you wouldwant to do.
Speaker 1 (16:17):
Thank you for your insights.
If you continue down this path,I hope you don't have to work
with anymore.
Speaker 3 (16:22):
Definitely not.
Go create in peace.
Speaker 1 (16:31):
Wow, I really think we got some great advice at the
end of that confession.
Speaker 3 (16:34):
Yeah, we really did.
I think somebody who's been inthis type of situation you know,
obviously, god, there's so manyof them and they're so awful.
But silver lining, you often docome out with a lot of
perspective.
That is really helpful topeople who are just starting in
the industry.
Speaker 1 (16:51):
Truly, I really like when our confessor said that you
know, when we get this time offbetween jobs, it's time to
really reflect.
We're not just kind of fuckingoff, you know we can actually.
Speaker 3 (17:04):
It's not just a funcation.
Speaker 1 (17:05):
Yeah, it's not actually fun employment all the
time oh fun employment.
Speaker 3 (17:09):
Oh my God, I fucked it up.
Fun, fun employment.
I'm such an idiot.
Speaker 1 (17:15):
But yeah, it's a good time to reflect and do that
sort of mental health cleanup.
I think that we all need.
Speaker 3 (17:21):
Yeah.
Speaker 1 (17:22):
And one thing that I've learned is I actually start
every day when I'm on a jobwith three empowering mantras
that I gave myself, and one ofthem is that my time is mine and
I can give it and I can take itaway, and I think that's what
the confessor was talking aboutat the end.
If you're not having a good time, if you're not enjoying your
own life, if you're not enjoyingthe work of it, then you
(17:43):
definitely can step away.
There's no shame in that.
And, you know, find a careerthat actually works for you.
Speaker 3 (17:49):
Yeah, wow, that's really interesting.
Speaker 1 (17:51):
It's way more important to be happy and
fulfilled rather than chase someyou know bullshit.
Dream that 18 year old yourselfgave you.
Speaker 3 (18:00):
That's oddly specific , but, yeah, I totally agree.
And then you know, conversely oryou know sort of to add to that
, not conversely, I guess, yes,and I'm remembering how to talk
today, people, the like advicethat the confessor gave about
(18:22):
how to advocate for yourself sothat you are getting the
experience that you want.
You know, that's also reallyimportant and it speaks to me
and, I think, to a lot of ourlisteners as well, this idea of
you, know, you, you can havethis amazing mantra of my time
is mine and I spend it how Iwant and I can take it away.
Amazing, gonna steal that, um.
But also there is a way thatyou can make the time that you
(18:47):
have more fulfilling.
Or you can make sure that whenyou are stepping into a
situation that you and whoeveryou're going to be working for
know that your time is of valueand this is what you want in
exchange for your time.
And then you know, if itdoesn't work out, then hey, at
least you've been honest withyourself and with everyone
(19:08):
around you and you can choose tomove on.
But also, maybe you'll end upwith a better use of your time
in the long run.
Speaker 1 (19:17):
That is much more eloquently put than I did.
I also want to say my bullshitdream at 18 was to create
mechanical exoskeletons.
Speaker 3 (19:30):
Oh, that's an amazing dream.
Speaker 1 (19:32):
I definitely had to pivot when I realized that that
was not my calling in life.
Speaker 3 (19:38):
Well, that's subject matter for another day.
Um, an episode on pivoting weshould.
We should look into that.
It's not bad.
All right guys, listeners.
Um, anybody got a story to tellabout pivoting to another,
another department or perhapsanother career?
Let us know at, fess uphollywood.
We would love to hear from youand until then, go create in
(19:59):
peace.
Speaker 1 (20:04):
The hollywood confessional is produced by
megan dane and jair zamora thal.
Joelle garfinkel is ourco-producer and aj Thal is our
post-production coordinator andeditor.
Our cast today Shira Gorelick,Mike Mizwicki.
Special effects provided byZapSplat and Pixabay.
Hollywood Confessional is aNinth Way Media production.
(20:27):
Follow us on socials atFessUpHollywood.
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