Post-Production : Dealing with a difficult producer/director by Jason Horton

Hi Jason, I've been on both sides and I know how difficult it is to do something which you think is wrong. However, if you are professional you'll put your opinion aside and keep your clients happy (I'm still learning it). I know people who are very good at it...sometimes they do shit and they know it, but everyone is happy at the end. Don't worry about your name on it, unless this project is going to become famous. And if it does, you are lucky then.

Hello Jason, Sadly it ends up coming down to keeping the client happy and as Einar said you may just have to put your opinion to one side. Although depending on what changes they want you may still be able to work those changes in while keeping that creative element in there.

In the end, it is the Producer's and Director's project and I guess they hired you.

You don't own the project; they do.

Jason It can be hard.. You need to remember that you are part of a team lead creatively by the director and financially by the producer. From time to time there will be occasions when team members do not agree, that's life. Sometimes creativity succumbs to the financial implications . This could be both ways... A shot may be too expensive to do the way the director would like, or you can only get the money if you use a particular actor who you don't think is credible in the role. In your case you've discussed it with the director, he's made his call. If it will effect the income the film generates, by all means have a word with the producer, but if it doesn't then you're best off doing it the directors way.

They may also be reacting to something they don't like in the current cut but can't articulate. Don't throw away the file with the old cut. Just cut a new version the way they say they want it. Then let them decide if they like the new version or not without commentary or criticism. If they like it, embrace it and move on. It's their money. If they hate it, then the problem probably wasn't your initial cut but something lacking for them in the scene (or whole project) that may not be fixable with a new cut, whether good or bad. At that point suggest what you think may be the answer, guiding them away from the bad technical decisions. It may even mean reshooting some material.

If I were the director, I'd want you to explain to me why it was harmful, and discuss it. Maybe the director is unwilling to discuss why they want things done their way, but I think it's useful to sit down and have a chat about what you both want to accomplish. By why, I don't mean "creatively and technically." That tells me nothing. I mean "holding on her so long makes it look like she has gas" or "the quick cuts make it too tense, as if they are fighting, and change the emotion of the film. It contradicts my reading of the script and performance" and "I feel that if we cut this faster/slower [or keep it in full colour, whatever], it shows that the character hasn't gotten over the death, and it leads nicely into the next scene." In other words, articulate. Don't fight, but educate. Of course, you have read the script and know the director's intentions, right?

One thing i can advice you on is this - aside from "technically wrong" or editing techniques, being "wrong" based off of "editing rules," these things are all subject to opinion anyway. Some of the greatest film makers in history who have won awards for an "edit" that was "technically and creatively wrong" have won those awards because of the edit being done exactly that way. As a film editor it is best to do your best job of working with the Director and Producers by helping them create their version of the film their way. It is best to put the trust in them and know what they want and trust they have a vision they're going for - that you may not fully understand. Either way, quitting is not the answer, insisting that you are right isn't the answer - even if technically you are. If they are not listening then they just don't agree with your vision of the film. As for not wanting to put your name on it because you don't agree - that is your choice but - think about it this way, if you do that and for some reason at the end of it all the film wins an award for the "strangeness of the edit" that worked well in the eyes of the public and the distributors - you will have lost out. Grin and bear it does work. In the long run you want to work more right?

Show them your edit version and there edit version then make your case. Maybe you'll comprise and maybe you'll win your argument, but it's not your battle ultimately, that belongs to the Director and Producer.