Editor Berenice Chavez (UNLV Film '13)

Welcome to Season 2 of The Film Dept. Podcast! Please meet our fresh crew reviewing the latest films screening at The Beverly in downtown Las Vegas... and beyond.

This episode we take a look at a range of films from Berenice Chavez, a Los Angeles based editor and UNLV Alum. Our hosts talk with Berenice about INTOTHE FIRE: THE LOST DAUGHTER (2024), PAMELA: A LOVE STORY (2023), and COME SEE ME IN THE GOOD LIGHT (2025) which just premiered at Sundance. COME SEE ME IN THE GOOD LIGHT stars Megan Falley and Andrea Gibson. Directed by Ryan White. Produced by Sara Bareilles.

Credits:
Email us: [e-mail]
 
HOSTS - Nic Patrick, Ani Rogy, L Villareal
 
Production Sound Mixer - Sydney Maier

Co-Producer/Editor - Lilly Richie
Assistant Editor - Byron Schnell Davis
Production Coordinator - Kay Walgate


PRODUCERS - Tom Bjelic, Sam Decker

EXECUTIVE PRODUCED BY - Adam Paul, Roudi Boroumand 

To read the hosts' reviews, head over to substack.com/thefilmdeptpodcast
 
This semester, The Film Department has teamed up with the mad geniuses of The Beverly Theater. Imagined by The Rogers Foundation, The Beverly Theater brings cinematic connectivity, novel collaborations, live happenings, cultural portals, and a zest for independent spirits to DTLV. With a mission to stage uncommon cinematic, literary, and live experiences, The Beverly Theater is Las Vegas’ first and only independent film house, storytelling arena, and live music venue.
For the latest screenings and events at The Beverly, visit thebeverlytheater.com
 
The Film Department Podcast is supported by UNLV Film. At the film department of the University of Nevada Las Vegas, every story has a beginning.With degree programs for undergraduates and graduates, state of the art equipment and facilities, incredible professional internships around the world, and expert guest speakers, students discover the power and potential of cinema as they prepare for the film and television industry… and beyond.
 
Learn more at UNLV.EDU/FILM UNLV Film. Find your voice. Tell your story.

Episode Transcript

(00:00):
The Film Department is supported by UNLV Film.

(00:04):
At the Film Department of the University of Nevada Las Vegas, every story has a beginning.
With degree programs for undergraduates and graduates, state-of-the-art equipment and
facilities, incredible professional internships around the world, and expert guest speakers,
students discover the power and potential of cinema as they prepare for the film and

(00:24):
television industry and beyond.
Learn more at unlv.edu/film.
UNLV Film.
Find your voice.
Tell your story.
Welcome to the Film Department, the movie review podcast of UNLV Film.

(00:48):
This semester, we'll be discussing the film screening in our partner Movie House, the
Beverly Theatre, Las Vegas' only independent film house and performance venue.
I'm Nick Patrick, a third year film major in your host for this episode, and I'm joined
by.
I'm Annie.
I'm a fourth year film major at UNLV with an emphasis in production design.
I am Al, a fifth year over here at UNLV Film Program with a specification in film history

(01:13):
and screenwriting.
Also, happy to be here, guys.
How are you doing?
Good, how are you?
I'm doing good.
Doing good.
Good.
Comfort of our homes today.
Yeah.
In the comfort of our homes today.
Yeah.
It's amazing.
I can see you guys right here in front of me, but I just can't.
I know.
That's insane.
Soon we'll have the VR and we'll be able to just like be in each other's germs, dermal

(01:35):
lids.
And we can even be in the audiences rooms.
Ah, we'll be right there with them.
Yeah.
Restraining orders.
Before we get into this week's very special interview, I kind of want to talk about an
article that I recently saw in the Hollywood Reporter where Maya Hock claimed that some
producers in the industry actually are using Instagram followers and other social media

(02:02):
like presences as like a requirement to be casted.
Basically saying that you have to have a certain amount of followers to be casted and if
you don't, the other cast members have to have a certain amount to make up for it.
How do you guys feel about that?
Is that a...
Obviously, it's not very ethical.
I'm sorry.

(02:25):
I'm sorry.
I kind of contain it.
Tell us your thoughts, El.
I don't like that at all.
I mean, I'm kind of the set like I'm Maya Hock within the sorrow call.
I'm reading it a bit.
I mean, it's one of the first things that she's quoted up saying is like, "I always wanted
to be is an actor where the work is what the draw is, not the personhood.

(02:46):
And I think along the lines of that, that is very fair to say."
Of course, there is always a thing about the casting people that are good people and such
and such.
I just think when it comes to the idea of followers, it seems like such as Stratons becomes

(03:07):
this whole game of, "Oh, who's the most popular contest raised a hand?"
And then, "Oh, this person has good, like, I changed before in the performances.
They have a good way of how to display the character.
Now you have to throw in like a popularity contest in the mix of that."
I don't like that.

(03:29):
And I don't think social media followers is an indicator that people are going to go
to the theater.
You know?
Absolutely.
I believe it was Dua Lipa, was an R-Gyle.
I didn't see Dua Lipa fans go see R-Gyle.
I didn't see Omar Apollo fans, all the Omar Apollo fans go see Queer.
It was still a very small art house film.

(03:49):
And I think that's a completely wrong way of going about it.
And what's even crazier is not even nepotism can save--
That's just going to bring out the--
Can save Maya Hock, you know?
The daughter--
I just think you know.
It's crazy.
It's absolutely insane.
Yeah, the fact that Maya Hock, out of everyone, is the first one to talk about this.
Right.

(04:10):
But she has to do the most famous parents in the world.
Very interesting.
Just unbelievable.
It is.
Another wonderful little thing that these producers in Hollywood are doing to try and make
a quick buck rather than focus on the art.
Only good news at the film department podcast.

(04:31):
Only good news at the PhotoPart podcast.
[LAUGHTER]
[MUSIC PLAYING]
Today, we are joined by Barroni Shavez, a Los Angeles-based editor and UNLV alum.
She received her MFA in film editing from AFI in 2016 and has gone on to edit multiple

(04:52):
short form and long form documentaries.
Her most recent works are Pamela Alavestory, Into the Fire and Come See Me in the Good Light,
which one audience favorite at this year's Sundance.
And would you mind telling us a little bit more about those films?
Of course.
So Into the Fire is a short form mini series on Netflix that documents the story of Kathy

(05:13):
Turcanean searching for her missing birth daughter in 1989.
We also have Pamela Alavestory from 2023, which follows Pam Anderson, the sheer, calls
the highs and lows of her career through her perspective.
And then Come See Me in the Good Light, which just premiered at Sundance.
And like you said, one audience favorite, which is the story of two poets, Andrea Gibson

(05:37):
and her partner, Megan Folly, as they navigate life after discovering Andrea's incurable
diet ghost.
[MUSIC PLAYING]
I would just love to kind of just jump right into it and kind of talk about like the documentary

(05:58):
process as a whole.
Considering a lot of documentaries are interview based and not scripted narratives, I'd imagine
it's kind of hard to have a solid plan of like what the documentary is going to look
like until you get to post production.
So how does the creative collaboration look between like you and the other editors and

(06:19):
the director during post production?
Or the, I want to say for at least in my experience, it's been, you know, like the director will come
to you and say, this is what I see the film being.
And then you know, once they start shooting, things obviously change, especially as you get

(06:41):
into the edit, it, you just kind of like start to evolve the story based on what they're actually
getting.
For example, this film that was at Sundance, "Come see me in the good light."
We thought it was going to be about Andrea Gibson's cancer journey and just about them,

(07:06):
but then we realized it was actually a love story about Andrea and their partner Megan
so then it was just like, we were like, oh, this is a love story.
It's not about dying.
It's not, you know, it's not about, it's not
a sad story.
It was so funny and they're both so funny and that's kind of when we really, like, you know,

(07:27):
it's one of those things where it's just like, it's not what we thought it was going to
be as we, as they kept shooting and as we were editing.
And a lot of this trust too with the director, you know, it's just Ryan White, the director
who I've worked with in the past for a couple projects.
And at this point, just really trusted me to kind of take over and create the story.

(07:53):
If it changes the changes and sometimes we don't have an ending, like with Andrea, we
actually thought that they were going to die and they didn't.
But thankfully, you know, because we followed love with them, you know, we were like, luckily
it wasn't that story.
It wasn't about their death, you know, and so it was just like finding the ending at

(08:14):
that sense.
And Andrea was still alive and the same with other films, you know, like with Pamela, we,
you know, we just thought it was going to be an ending of her coming around and realizing
her life, but then as they were shooting, it was like, oh, she got Chicago, you know, and
so then it became about that and same with like, into the fire as, you know, as we were

(08:39):
shooting, it was like about, um, it just said, well, we luckily ended up getting
Kathleen Doyle's aunt to interview and she'd never spoken up about her niece's death and
it would, we were like, oh, this is, you know, this is going to change the story in a great
way.

(09:00):
Um, but usually that is like, you know, you come into the documentary and it's an idea, but
then it just changes from there, you know, it's never, you just kind of know it's never
going to be the same and working with other editors, especially in Pamela, it was, um, I
were, it's when I worked with another editor and she had a totally different style and I

(09:24):
had more of like, uh, she had more of like a crazy in your face type of editing type of
style and then I had more of a slow, sentimental editing, but it kind of worked because I was
able, we were able to realize that as we were working together and she was like, let me
do the Baywatch sequence where it's just like, flinching like this.

(09:45):
And I was more like, let me do a love story of Pamela and Tommy, where it's more slow and
sweet and that's kind of also when I really like working with other editors, I also realized
like my style of editing.
So it's, it's good for me, especially for other jobs to be able to be like, this film sounds
like you want it to be like crazy editing and that's not really my style.

(10:07):
So it's helpful for all of us to know that.
That's kind of cool.
A yin yang kind of situation came out of it.
Yeah.
You kind of got to discover, you know, your style and your voice.
Yeah.
Yeah.
Definitely.
It's amazing.
Yeah.
When it comes to, you know, um, being able to experience these things as it is, or when
you were like, having all this material in front of you, um, especially since so much

(10:32):
changes as you said during on your time, how's it feel to experience that, you know, being
able to come in with those distinct feeling of, oh, this is probably where it's going to
go.
But then having that whole thing turn around it, because I remember all of the watching
it into the fire.
And I was like, oh, I know this is where this is going to go.

(10:53):
And then so many parts being so shocked and absolutely flabbergasted at so many different
turns.
I was like, I found myself in like, no.
Yes, can't be.
But how does that feel like for you to experience?
I mean, I want to say it feels satisfying, you know, when I'm like, especially when I'm
like, as I'm editing, and then I do like, you know, um, where I'm, you know, where I just

(11:21):
come in and I have this idea and I'm just like, well, what if we like have this story in
our film come really later and it feels like a, like a holy crap, you know, type of
a moment.
And then when I sent it to the director and he kind of confirms that, it feels really, really
good for me as an editor because I'm just like, okay, cool.

(11:42):
Let's do this more then.
And you know, where you know, um, especially editing, it's a lot of like, when do we want
to reveal these moments, you know, like into the fire, Kathy's guilt.
You know, we could have easily put it up at the front.
So people right away could be like, well, why does she?
Because we did get that, we got feedback a lot about like, well, why does she care about

(12:06):
her daughter that she put up for adoption?
So then we're like, well, what if we have this guilt?
But you know, when would it feel like satisfying for viewers to, to hear her guilt?
Um, so we were like, well, what if it's right after she gets all this like information
of, of like the classmates that she had of, of the abuse of everything?

(12:27):
Um, it's, those moments are really like satisfying once you like hear that people are really feeling
them where they're coming in.
Um, so that's what it, that what it usually feels like for me is just like, great.
So some ease.
You know, I, I think I was an audience can feel that too because I was very much held, emotionally

(12:49):
captive, especially seeing all of the former classmates give some, like unfortunate
details.
I was just like, wow, that, that just hurt.
And then having the perspective of gosh, I'm forgetting her name, but she was kidnapped.
And then when they looked back to the photo, being like, that is the exact same guy I remember.

(13:11):
I was like, whoa, it was a surf step.
It was, it was her adopted father and I was like, whoa, that's, that's so much.
And I think that was captured so beautifully through just the tone and pace.
Thank you.
Um, something that I'm really curious about because a lot of your, your films are very
character driven.
And I think that as an editor, you seem to latch towards very like character driven stories.

(13:37):
Um, what's it like balancing like subjectivity and objectivity for you as an editor?
I would say I do like, I do tattoo gravity more towards character driven films just because
I feel like it's more, um, easier to bring out the sentiment, which I think for me is what's

(14:00):
important in a documentary film, what really captures, what really like captivates people
and, and to, and to see.
And I think that's one of the things we really got with like, into the fire too because it
was more of, um, you know, it wasn't your typical true crime because it did focus more
on, on the sentiment of the mother of the aunt, the, you know, it's, so for me, that's the

(14:28):
one of the things that's really important when I say yes to a film.
Like, I don't want, you know, like I, I didn't interview recently for a film, but it was, it
just was it.
For me, it wasn't, it didn't feel like it would have emotion because it just felt very like,
like I was saying, just felt very like flashy, very like, let's look back on this cool thing

(14:53):
that we used to have back in that day, um, but it just wasn't character driven, it wasn't,
you know, my, like I love to put, like my whole heart into a film, you know, and, and, um,
and I hope it shows, yeah, definitely.
It really does.
It, it, it comes in the good, like it's, it's like, I wish I could have given you guys that,

(15:17):
access to that film, but it's, it's one of the ones where I, it, it, I feel like it really
showed my style just because it's this love story and a lot of emotion and, you know, like
you're getting, you're really like feeling what both of these amazing people are feeling,

(15:38):
you know, and, like I, I felt a love with both of them, you know, and when I got to meet them,
that Sundance, you know, it was, it was just like one, it's your cry and they wanted to cry
and meeting me too.
And it was, you know, for me, it's, that's really important that when I see us to a documentary,
I feel like I can't just say yes to anything, um, just because it, that feels like it, I

(16:04):
know I can bring as much as I can to those type of films.
Um, I don't know if that answers your question.
Yeah, that does.
And it also, it really, um, highlights how empathetic I think your editing style is and
especially because when I watch Pamela, I love story, I feel like that's probably one

(16:25):
of the most like empathetic lights we had ever seen, Pam Anderson in and it's pretty
awesome now to hear that, that is in a lot of favor to your, guys, is filmmaking and to your
style of editing as well.
So thank you for answering that.
And, you know, speaking to that, I just love to ask because you went through, you know,

(16:48):
V, from 2008 to 2013, if that is to be said correctly.
Yeah.
Which say that your time in the program was the, what shapes that sort of perspective,
was, you know, I was looking into it.
You, uh, I had to possibly finding one of the first documentaries worked on just passing
the torch.

(17:09):
Um, and I watched that.
It was on, uh, this one link over on Vimeo and I was watching it and, you know, it's
the Holocaust and would you say that your time with, um, that in, uh, you know, beat, was,
would that inspire you or did you come to that along the way after the, the program

(17:29):
through like work with different colleagues or different mentors?
I mean, I mean, I want to say that I probably didn't realize it until later on in my career
that, that's kind of what I, what it, what did inspire me, but I think it did start at
you and all of the, you know, like Brett luckily gave me the opportunity to edit passing the

(17:53):
torch and I edited this short film too about my cousin's and, and, um, I think it was just,
they were both very sentimental films and, and, um, I kind of, Brett left me a lot to that,
to that, you know, like maybe she's sad and I didn't and it was just something that kind

(18:17):
of like worked out and then I just kind of realized that later on as I was working
more, more and more on films or even as an assistant editor, I've mostly done like sentimental films
and, and I, I would get attached even though I was just like on the site helping the editor,
um, I think there was like one film where it wasn't, it was just like, uh, biopic of, um,

(18:43):
uh, um, linear skinned and it was like fun to work on it, but it wasn't, you know, it wasn't
sentimental obviously it was like a, um, a character driven film is just like this biopic of them
but, um, it was, I think that's the only one that that wasn't. I mean, even like I was in
a associate editor on Goodnight Opie, which is the one about the Mars rover and that one

(19:08):
was very sentimental. I know weird way in. And even then I was just like, oh, I'm following
love with this robot. Um, so I, I, I, I just, I don't think I realized it but it definitely
started back. I know. And that makes so much sense when it comes to Mars rover. I, I, I, I, I,

(19:28):
I, I, I heard about the story when I was, uh, a few years ago, I, I, I just, I fell in love
with, with him too. Yeah. So I, I, I can fully understand at UNLV, I mean, there's such a,
uh, a, a massive film community and, uh, come see me in the good light as your latest collaboration
with Ryan White. And I was curious if, cause I think a lot of students are wondering this

(19:53):
too with, with their fellow, uh, classmates and stuff. What is the value of kind of finding
a collaborator that you love working with and, and how does that impact your work and your
drive to, to each project? Um, I mean, I want to say as an editor, I've mostly worked with

(20:17):
Ryan White. So it's, I think it's been, mostly because we both realized we do have the same
style. Like he's a very character driven director and he's very, um, sentimental too, you know,
like even the Mars rover one, you know, I, I'm looking light off the one. It's about a robot
but it's character driven by this robot, you know, and then everyone around, around

(20:42):
obvious telling, you know, obvious story. Um, so I think it's definitely important to have
someone that you're very, you have similar styles, but especially when it comes to documentary
because you want to do justice to your, um, he called them subjects, but I guess they're
subjects because then the characters feel, feels like we agree. But you know, you want to do justice

(21:06):
to these people that you're following for however months or a year, whatever it is. So it's,
it's important to have similar styles with your directory. And sometimes it, it might not
work out. I know I've heard of editors getting fired, but it's, it's more of like, you're
just not the right fit. Um, I've just been lucky that Ryan and I have a similar style.

(21:29):
Um, and I think that's also why I reject projects to if they don't feel like they're my style
because I'm like, I'm not going to do your film justice and, you know, your, your film is precious
to you and I want to make sure I give you that. So, um, just because I know my style, now I know
that I can say, I'm sorry, it's not, it's not going to work out. Um, but I don't know if that

(21:57):
answered it. No, absolutely, absolutely. I mean, you, you, you, you have to love the project and
you have to love who you're working with and to, to do like what you said, to do it justice.
So that makes complete sense. Yeah. And I think a lot of, I hope a lot of students, yeah, and like
upcoming independent filmmakers, um, follow through with that, you know, and, and stick with what they

(22:20):
love. Yeah, definitely. Yeah, definitely. Not only doing the story justice, but also the, the subjects
that you have, if you are, you know, highlighting, because I do think that that's so important for
your style and for your stories themselves. Um, another thing when I was, I was, uh, I watched Pamela

(22:42):
and then I was looking at letterboxed and one of the, like, one of the top comments someone had said
that, um, you guys had highlighted a strong woman, a strong woman telling her story through her own
words and her own terms. And I feel like that perfectly encapsulates that idea of justice through
documentary filmmaking. And I just would like to know what that, like, what that idea means to you.

(23:06):
It's, I mean, that's great to hear. I tend to avoid stuff like that, like reading comments and just
because sometimes I'm like, I'm just gonna make me mad like into the fire. There was,
part, into the fire there were so many with like, people judging Kathy and I was like, this is making me mad
and I'm tempted to do comments and because you've been with them for so long. Yeah,

(23:28):
I assume. As an editor in the project. Yeah, definitely. And it's, um, you know, it's like, like,
with, it comes to me like a lie that, you know, when we showed the film to Angie and Meg,
I remember, Angie, just, I heard back from the director and they were like, um, from Ryan White

(23:49):
and Ryan was like, you know, and just, just really loved the film and they felt like we really captured
not just like them, but also Meg and, you know, just hearing that is really, really, really, really nice.
Or like even from like, a lot of their friends were producers on the film and

(24:10):
they all were like, yeah, this is totally our friends, you know, you guys really captured. So it's
so nice to hear that because you are wanting to tell the best film that you can, but you're also
wanting to do justice to who they truly are. Um, and then sometimes in wanting to make the best film,
you might forget that, you know, you're, you're, these are people that are gonna see the film, you know,

(24:39):
like, um, for example, there's, we're like, Angie, I was like a little bit sensitive, you know,
with some topic. So we just had to like, tread lightly with like some of the, the stuff that we were
seeing. So, you know, when they saw the film, it was kind of like, okay, we got feedback on this. So

(25:00):
we probably should reconsider some of the, some of the things on it. Um, I, I feel like having that,
you know, seeing film, like as film, climber is coming together, depicting, there's always that,
like, have bubble of being, of seeing them and wanted to be authentic. Um, and provide authenticity

(25:22):
to their experiences. And, um, and when regarding sensitive material, because, you know, some of these,
ones that you're, that you're working on, have such sensitive things, but especially within like,
into the fire, we're dealing with cold murder case and, um, dealing with very sensitive, perhaps,

(25:46):
even what people could consider taboo, uh, topics. How would you say you as collaborators go about just,
you know, making sure that, um, to go, go to these places with authenticity, but, uh, with,
and the, with, with the society in mind, and also these people in mind, and how do you

(26:11):
juggle that together? I mean, yeah, with, with, into the fire, it was definitely tricky, you know,
we did have lawyers in that film and, um, where like, you know, we'd send them a cut and they'd be like,
okay, this is problematic because it might seem like there, this person, the state, like Brenda is

(26:34):
saying this and you want to avoid getting sued by Brenda, you know, um, because we don't, you know,
if it's like speculation versus facts, the, we were lucky enough to have lawyers, but then, you know,
we were always, you know, like with Kathleen Doyle, we, we personally didn't want to show any
crime scene photos, even though we did have access to them. Um, we wanted to respect Kathleen Doyle's

(27:01):
family. We wanted to respect Kathy's wishes, you know, so it's, it's definitely juggling a lot of
that, even though some of it were like, awesome people would really love to see this, but we,
we were like, morally, this is probably the best choice for the film or like, Pamela, you know,
there's this, the, the whole situation with Tommy, where, where, um, we couldn't legally say,

(27:32):
you know, what she did say in her interview, so we just kind of showed a graphic of like,
Tommy was arrested or whatever, I forget what it was, but, um, and then we had to legally show him
saying, denying that anything happened. So it's one of those things where you're just like, well, I'm on
her side, you know, because, um, but legally, we had to like show the other side too, just to kind of

(27:58):
balance that and, um, so it's, it's tricky and you always want to go with your person's side, but
sometimes you do have to kind of consider every, every situation. That's tough. That's a top
position to be put in, especially having to worry about being sued over such things. Um, I wanted to

(28:20):
ask about just your career journey as a whole. You had mentioned that you were assistant editor
on a few projects. Um, how did your transition from UNLV to AFI look and then how did, you know,
getting your MFA kind of take you into the industry? Yeah, um, but I guess after UNLV, I didn't really know

(28:42):
what to do. Um, I'm more of like an introvert, so, and then I like discovered the film department
really late in my undergrad career, so I didn't have much time to network within UNLV. Um, but I was like
constantly asking Brett, love, nerve-wracking advice and she was like, well, what about grad school? And

(29:06):
I applied to a few. I applied to AFI and I got in and at the time I wanted to do scripted, so I did
the two years at AFI and then after AFI, um, I struggled a bit to find my first job, but it was an
AFI alumni that gave me my first assistant job. Um, she's a big producer now and she's still like

(29:33):
reaching out to me for jobs and she's amazing and, um, and it was things to her that I was able to
do my first assisting job and then, you know, it was with a great editor who had worked with Brian White
and she had, she did, um, the keepers with Ryan, um, and then from there, I like kind of just,

(29:59):
I was a assistant on a few other projects and then Ryan's company reached out to me, they needed an
assistant and from there I was able to grow. Well, I had done an independent film, I should say with
the first producer that gave me my first assistant job and then I showed it to the producer with Ryan's

(30:19):
company just because I was like, I saw you're going to try Becca with this film, like I would love to
see it. I gave it to her and with Ryan's company, um, I was able to grow and then, you know, they,
the good mate, I'll be filmed, they gave me a assistant, they, they, they raised my credit from a
assistant to a associate editor and then they were like, what do you think about editing on Pamela

(30:46):
Doc and I was like, great, a sound spot and, um, and then from there, I've just been with
Ryan White's company until, until the last project. You've, you've had an amazing career in such a short
amount of time, it feels, and I think it's only going to continue to, to, to grow and I, and I want to ask

(31:08):
one thing too, is there a dream project or subject or even like a completely different role other
than editor that you want to explore in the future? Um, I think my dream project would be something with like

(31:29):
undocumented people. Um, I don't know what that is, but I'm just like, I think a part, I was actually
talking with another editor about this because I was asking her if she, whatever, there's so many editors
that are considering directing and so I was kind of asking her about this and, and she was like, I don't
know and I'm kind of in that same boat where I'm more comfortable sitting on my desk and behind

(31:54):
the computer, you know, and, um, but I think if the right project were to fall on my lap and it
would be something that I'm passionate about, then, you know, I'd, I'd consider it, but I'm, I'd also
consider just being an editor on it. Honestly, I'd say that for, uh, what you were speaking about your

(32:15):
experience and undergrad and, you know, I'll be, I've myself felt very, uh, you know, it was, uh,
that's what I'm experiencing. I feel, uh, sometimes I'm just not the most person that they self out there
myself forward. I know that I do like, it was certain class, but I just never have really gotten to
that stage of being able to connect as much as other people, um, with through, like, the programs. So

(32:40):
for people kind of like me who find themselves like, I don't know exactly how to go about this,
what to do, what advice would you give to those that really are kind of struggling to get
themselves out there and put their, their self-sword when they get so in their head about these things?
Let's say it just do, you know, I had to like force myself to just do it just because I was kind of

(33:04):
intimidated, you know, like, I would, there were so many like small film festivals that you know
when I was there, I don't know if they're still around, but, yeah, we still have like, you know,
spring flex, 20 hour, 40 hour film fast. Yeah. Uh, yeah. We still have a couple of those going around.
And I remember that they were around and I would go to them and I would see a lot of these like films

(33:27):
and, you know, like, the director would be the writer and the editor, um, but then I remember
had a classmate who was just like, just go ask that person if you, if you can edit their short film.
And I had to, I couldn't do it because I'm very shy and it took me a while too and then Brett also
pushed me too and, um, I was just like, hey, you know, if you ever have a short film, I love the work

(33:51):
that you do, can I be your editor on it? And I was able to like edit a few projects because of that, um,
because I would, it would have pushed myself. So I would say, you know, just,
I'm sure like a lot of these people would love to collaborate and would love to know what it's like
to work with an editor or a producer or whatever it is, you know, because I was intimidated by a lot

(34:15):
of these people that I would like, oh, they just want to do their own work. But, you know, once I actually
reached out and asked people if I could be an editor on it, they were totally open to it and a lot
of the time they did reach out when they had something. That's perfect. That sounds great advice.
I, I definitely will definitely take that a bit to heart because I always see them. I always see

(34:36):
people do such a great project. I'm like, oh, I just don't know if I should, uh,
you have some, yeah, they're all low-fingued, but that's, I thank you so much for sharing that.
No, yeah, yeah. It's always over thinking that makes me feel like, no, I can't.
So one, you know, you have your process that you go through. Um, I was just wondering when it,
when it comes to making someone the cut, uh, when you're stuck in a particular rut during the editing

(35:01):
process, or some ways you help yourself get out of that and push yourself forward, uh, or, you know,
like, what, what, what, how do you tackle that? I want to say, I usually will try to like
watch and rewatch that cut, go into the footage and see if maybe like, I miss something that

(35:25):
that might help push me through. If I'm really stuck, I will call the director,
because again, I mean, you know, before I used to be shy, I'm like, no, I'm gonna figure this out on my own,
but then it got to a point where I'm like, I'm just gonna call Ryan and, you know, like, we'll talk for
like 30 minutes trying to figure this out because, you know, like, I, maybe I think it's me, but then

(35:46):
as we're like talking through, through a way he's like, oh, yeah, this is tricky, you know, story-wise. So,
that's usually what I do. I'll be like, I'll jump into the footage, try to find, make sure that there's
not anything I'm missing, especially if it's like a scene related to like a baritone scene that's just
about that day. But, you know, my last resort is like, let me bother the director and get his thoughts on it.

(36:15):
My last question for you is, if you have a favorite documentary or a film, narrative film,
and how it, if at all, if it influences your work. I want to say my favorite documentary is My Need The Gap.
It's, um, I think it's because it was just like a sentimental film and I didn't expect it to be, you know,

(36:41):
and I just loved how it was like the transition of these three boys and it was just so beautifully
done and I think, you know, in many ways, maybe that's why it inspires me because it's not a film that
you would think is sentimental and then it is and it's just so beautifully done. But yeah, that one's

(37:01):
my favorite. Okay, I do have one and it is very, it's a, it's a kind of narrow question, but I'm really
curious. We kind of touched on it before, but having the, like, having archival footage and having
filmed footage, I'm really curious as an editor, how you balance those two, like, how you, how you

(37:26):
incorporate photos and videos into these stories and how you utilize that to tell your stories.
I will say I kind of had to learn to use it, but it was more of like, um, it has to feel motivated,
it has to feel earned to go into, like, a lot of, you know, like Pamela, it had to feel earned to go

(37:50):
into these moments of her archival footage or, you know, with into the fire, we had to earn
going into the interrogation room with, like, oh, especially since we had so much of it,
um, and that's kind of like what we usually tend to do is more of like, is it motivated to go to it

(38:12):
or are we just showing you because we're like, like, what we have, you know, and that's usually what
it wouldn't really work because it was just like, why am I looking at this footage? Like, yeah, it's
cute, but, you know, I'm just looking at it. Um, but that's usually the process that I kind of learned

(38:32):
to do with, right, in white, it's more, he loves archival footage and it was just more of like, um,
just making sure that it felt, earned and motivated and, and only that way would it be impactful
to see this archival footage. Bernie, thank you so much for your time today on the FilmFarton

(38:56):
Podcast. Um, we are just so excited to see the next thing that you do. Yeah, we just really
appreciate your time. It was so wonderful getting to talk with you and kind of just get to hear your
experience, uh, in your journey. So thank you. Thank you. It was great meeting you. Thank you so much.
I was really light, well, lightning. Thank you.
And that's it for this week's Film Department. We hope you enjoyed today's episode and we'll like,

(39:28):
subscribe and share wherever you're listening to podcasts. If you'd like to read your host in
depth analysis of this week's interview and films, head over to our substack at the Film Department.
Thank you to the Beverly and be sure to check out their latest programming at thebeverly.com.
I'm Nick Patrick. I'm Elvary Al. And I'm Annie Rogue. Thank you guys so much for joining us and we'll see you

(39:50):
next time. Imagine by the Rogers Foundation, the Beverly Theater brings cinematic connectivity,
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