Crafting Tension: ‘Spermworld’ & ‘How To Blow Up a Pipeline’ Editor Explains

As an editor, should you specialize in documentary film or narrative film? Who says you can’t do both? Editor Daniel Garber proves it’s possible, sharing his unique approach to editing some of his most recent projects. He dives into the nuances of pacing, note-taking, and the art of knowing when not to cut.

In today’s episode, No Film School’s GG Hawkins speaks with editor Daniel Garber to discuss:

• Getting his first editing credit and learning from other established editors
• Working with director Lance Oppenheim on multiple films
• Keeping your expenses low as a filmmaker
• How tension emerges from the performances and the pacing of the edit
• Differences between doc and fiction
• The unexpected moments that happen after a scene has wrapped
• A very efficient note-taking process 
• Working on small indie films compared to large productions 
• The power of face-to-face interactions 

Memorable Quotes

• “I go back and forth between documentary and fiction. I get a lot out of that.” [15:05]
• With most documentaries, you have way more footage. You’re preparing yourself for a marathon rather than a sprint.” [17:28]
• “Making a decision not to cut is a huge part of editing.” [21:30]
• “The social aspect of editing is the most rewarding part.” [35:42]

Links:

Check out Daniel's website

Follow Daniel on IG

Daniel Garber on IMDb 

Find No Film School everywhere:

On the Web

https://nofilmschool.com/

Facebook 

https://www.facebook.com/nofilmschool

Twitter 

https://twitter.com/nofilmschool

YouTube 

https://www.youtube.com/user/nofilmschool

Instagram

https://www.instagram.com/nofilmschool

Send us an email with questions or feedback: podcast@nofilmschool.com!

Learn more about your ad choices. Visit megaphone.fm/adchoices