Join Ashley Kennedy for an in-depth discussion in this video Interview with Monica Daniel, part of Conversations in Video Editing.
- [Voiceover] Hi, I'm Ashley Kennedy. Welcome to our third installment of our series Conversations in Video Editing. And here I talk with Freelance Editor Monica Daniel about her hectic schedule of editing a totally new project every few weeks, as well as her down to earth philosophy of caring and collaboration in the editing room. Monica has spent the last decade embracing every type of project she can, from documentary to narrative to promo to episodic to music video. She also treats us to an in depth analysis of two of her most recent projects.
All right, let's get on with the interview. Monica, thank you so much for talking to me today. Would you start off by just introducing yourself and who you are and what you edit and get us oriented with your world. - Oh, the hard question. My name is Monica Daniel. I work out of L.A. and I've worked on all types of shows. I've worked on game shows, multi-cam studio shows. One of those is working on the Nerdist, 'cause I'm just like a huge dork, a geek.
I go to Comic-Con every year so I was like "yaaay!" I've worked on TV documentaries, some really gritty things. I've worked on clip shows. I've worked on the red carpet shows for E!. I do all the pre-produced packages when the show opens for the Ryan Seacrest coverage. I've worked on independent documentaries. I've worked on some scripted stuff, not stuff I can really talk about.
I've just kind of run the gamut. - Yeah. - I've worked on a lot of different things. - So, a lot of editors sort of arrive at a particular genre and work mostly in that, but you are all over the place. So my question is, with all of that, what's your favorite? - Well, it's funny 'cause a lot of times I don't know if it's different elsewhere, L.A. we're like our own little weird bubble. So things are done a specific way in L.A. I don't think that's how the rest of the world works.
It's definitely they pigeonhole you into a certain genre. I think that has to do a lot with the fact how much time you have to dedicate to it. Producers want people with experience in a certain type of thing, very specific. So when editors go for something like scripted, for example, they want to see a scripted editor 'cause they don't think a reality editor can cut scripted unless they have the resume to prove it. So it's really hard to cross genres. For me, I feel like I've been fortunate.
I can't pick a favorite, honestly. Because when I work on the red carpet shows, it's just a lot of fun pop culture stuff. It's very visually pretty. To me it's like I'm a kid with a really expensive crayon box and I just get to play, 'cause I've been lead editor on those shows for a long time. So they let me kind of go crazy. I love that. It's such a cool creative outlet. I was hugely influenced. I love Cirque du Soleil and those visuals. I have a dancing background, I used to choreograph so it was all about creating those visual structures.
That's where that love comes from. I love working on that. What's great about the multicam studio shows it's working different muscles, but it always comes back to the same thing, keep your audience engaged. What's the story you're telling? What's the point you're trying to make? And so I can't pick a favorite. If I did any one thing all the time, I would go crazy. Everyone's ultimate goal is always "I want to do scripted." Don't get me wrong, I want to work on a scripted show. That would be awesome.
Something I learned in documentary, it's like I'm gonna take what I learned there and I'm going to put it in reality. Something I learned in scripted, I'll take somewhere else. I've also been able to work in different types of environments under different deadlines. So it's like, I can't pick a favorite, 'cause I like all the flexibility. I just like storytelling. It's like storytelling in all it's forms. Editing's like a muscle, and you have to work it. I always tell people, everyone always make that argument 'cause they get pigeonholed that "Why won't they hire me for this? "I'm an editor, I can cut anything." The truth is, the person who specializes in that genre, if they're any good, they're gonna be better at it than you are, 'cause they dedicate more time to the aesthetics of that genre, to the particulars, the specifics and the details.
So if you haven't really done much work in that maybe you could end up at the same point but maybe you're not gonna get there as easily or as quickly as someone who's very experienced in it. But if that person who is very experienced is only in that genre, then they're gonna miss out on working in all the other genres. That's why I push really hard to be as flexible as possible. I just think that's a really valuable skill as an editor. The best editors are open to learning other things and not just focused on, I'm only gonna do it this way.
No, you gotta constantly refine that skill and craft. It changes with the times, it changes with the aesthetics. Cuts are a lot faster now. It changes with your audience. You just have to be able to adapt. - How do you think you have evolved as an editor as you've been working? - When I started I was just trying to figure out, so I would just copy what the other people do. Their work was getting approved and complimented.
"I need to cut it like that. "They're doing a good job, and I want to do a good job too. "So I'll cut it like them." I got more confidence to step out of the templates that the more experienced editors had created and to start creating my own. When I started doing that is when the producers really started noticing me as an editor, when I was stepping out of the templates. I would take it to another level and they're just like, "Whoa, that's really cool.
"I love what you did there." That's something when I first started, I didn't know what I was doing. I was afraid to try anything new. Sometimes it's hard to try new things because you still have to go under whether it's that producer or that network. They have a branding. They want things cut a certain way. So sometimes you have to do it a little bit at a time and also with experience just understanding how far can you go away from their formula so you can just keep stretching it, expanding it? From there it can evolve.
Sometimes they're really rigid about it. Sometimes you can sneak things in. And then they'll notice that you've added something new to their show and they'll want to hire you again 'cause you'll bring something to the table. You're not just a button pusher. - And you've created a template that other editors will copy and turn, I'm sure (laughs). So because you're reaching into all of these different buckets, you are obviously interfacing with a lot of different personalities. - Yeah. - Our previous two guests have one team that they're with all the time, and they're very grateful and they gave shout outs to specific members of their team that they've been working with for six and 22 years respectively, but you're all over the place.
talk to us about that-- - My teams change every two weeks to two months. Two months are my long gigs, just 'cause the shows I tend to work on have really fast turnarounds. - [Ashley] And break it down. So you got your assistant editors, your directors, your producers. What are your strategies for getting along in all those arenas? - What I always try to do is, I mean with the assistants, whether or not they're a assistant that's just collecting their paycheck, which I've worked with, or an assistant that really is like taking that extra step, I treat them all the same and I treat them nicely.
'Cause no matter what, they have everyone else barking at them, demanding things out of them. They have so many masters. It costs me nothing to be nice to them. What I get in return is when I need something, I get put at the top of the list. For example, on one show I was working on, it was me sitting with the supervising producer and they had been trying to import this footage for literally three days.
It was the two assistants and the post were trying to get this footage in for us. I actually could not do anything until I got the footage I needed. They could not figure out how to do it. I just turned to the producer and I was like, "let me see if I can help them out. "Just give me five minutes." He was like, "All right, fine." I go in there and I'm like, "Tell me in 140 characters or less, what the problem is. "As concise as possible, give me the exact details. "I'm gonna tweet it." And so they told me, I sent it out.
Literally two minutes later, I think it was the project manager or the director of the ISIS, from Massachusetts, in Avid headquarters, tweeted me the answer, 'cause I guess he follows me on Twitter. I'm on Twitter a lot. And I just showed it to my assistants. I was like, have you tried this? Their faces were priceless. They were just like (gapes). I didn't do it in a way that made the assistants feel bad or anything, except I told them "Get your butts on twitter, guys." Like seriously.
"Why did this take you three days?" - Can you take us through a typical or at least an example of concept to creation to delivery? What it's like for you when you get hired onto a show and through the process of actually editing it? - I work on a lot of documentary. To me, really falls under that same genre, 'cause you're trying to achieve the same purpose. You're telling the story of these real people. Sometimes I get scripts.
Sometimes I don't. But the first thing I always do is I try to see, what's the goal? What's the goal of the show, the overall picture? From there it's like you break it down. What are the goals of the individual acts or sections? And then within that, what are the goals of the individual scenes? You just break it up. You keep all the pieces in mind, but once you really start working on it, you just gotta focus on that section, making that section work.
It's like you always need to break it down to something manageable or you're going to drive yourself crazy. Make sure that story works. Once that story works and you have all your A-rolls strung out and you've cut it down and you've cleaned up the dialogue, depending on what I'm working on, I might do music next. A lot of shows like wall-to-wall music and they like to approve that music.
Sometimes I might do the music after that, once it's kind of cut down to make sure we've got the right tone, the right feel. We're changing it up at the right places. Sometimes music will come later if that's not as important for the producer to see early on. If they're like, "Yeah, that's fine. "We'll figure it out after." Or we have a composer and he's like composing music to the piece, then I don't need to put music in. From there, it's really about the coverage, the B-roll, so the audience isn't just looking at a talking head the whole time.
But it's like you're always trying to find that emotion and put that dynamics in it. With the visuals, sometimes we get video. Sometimes it's just pictures. Just really helping to tell that story through the music and the pictures. A lot of times, what we'll do is I never want it to look like I just slapped the picture-- Sometimes footage you can get away with if it's archival. You just make sure it looks clean.
If it's like a picture, pictures are so flat. You don't want the image to look flat. Maybe you'll add a small little effect. The effects come after. Nice little gradients or vignettes. Just to make it pop a little more. It doesn't look like a slide show. And I know different networks do different things and they have different philosophies about it. Me personally, I don't want it to look like a slideshow. Even if it's just a vignette on the picture. Something to give it some depth.
It is a visual medium. - Can you take us through what it's specifically rough cut to fine cut and all of the communication that you have with the various people as you arrive at that finished product? - Well, I feel like there's no such thing as a rough cut anymore as far as a first screening. The rough cut is basically stuff either I or the producer I'm working with directly is seeing. So we have to work pretty fast. No sloppy cuts. Obviously.
As little slights as possible. Unless it's something really specific, just try to find something that's not a slight if we can get away with it to cover it with. Then replacing it later. So it's kind of in those three stages. Just the notes process, it can go anywhere from a day to weeks. Especially if it's a new show and the network's just trying to figure out what they want. If they shot it one way, and they're like, "But we want this." And we're like, "Well, we didn't shoot it like that." "We want it anyway." Have to try to rework everything, and everything becomes a mess.
'Cause at that point it is like a fine cut. So we have to move all our sound effects, we have to change all our music. It can get really really messy sometimes. That's when you need to stay calm. - Right. (laughing) - I always do things in passes. Some editors work where they're refining as they go. They're nitpicking everything. When I do it like that I feel like I'm not getting anything done. It's like, this first minute looks really nice and then the rest of the act looks like a string out.
That drives me crazy. So I like to break everything down and do it in passes. That way I could focus on one particular aspect. I do that across any genre I'm cutting, I will do it in passe assembly line style. It's like, I'm just gonna do all the dialogue first. That's all I'm doing. And I'm able to get through it faster, 'cause my mind's already in that mode. Because when I'm working, when I work in music, my mind's in a different place. If I'm doing coverage, my mind's gonna be in a completely different place.
And so I'm able to get through things quickly by doing it in passes and that's something someone early on told me when I first started editing and I was trying to figure out what was the best way to work for me and my brain. That's what I found really works for me. But that doesn't work for everybody. It drives them nuts to leave stuff rough. When I'll get sequences and they're like, "Hey, can you finish this up?" And I'm like, "Come on you guys, "you've worked on the first 30 seconds all day yesterday. "What about the rest of the act?" Not even to that point yet.
It drives me crazy. - What about when you're cutting multicam? What strategies do you zero in on when you're cutting multi-cam versus single cam? - Well, multicam, that's the same thing. That's the one you definitely have to do in passes. What happens is they shot a finite amount. If they shot an hour and a half and you have a 22 minute show to cut, you need to get that cut down. The problem with the multi-cam shows is you have all these ISO MICs.
You need them all strung out for the mixer. So I'll lay everything out and I color code all the cameras. Not everyone does this, but I'm a very visual person. So I get all that done first. From there I literally just do passes and start taking chunks out for the sequence. Some of the stuff is obvious and some of the stuff we'll get field notes on. We're like, "Yeah, cut this section out." We're just like, "Done. "Easy. "Closer to time.
"Yes." I love when they give me those notes, except when they make the show too short, 'cause it's a pain in the butt. Then I'll just go through, and I don't even worry about cameras. I never use line cut cameras because they're always changing at the wrong time. I just want to make it feel like nice and seamless. It never feels seamless. You're always missing something if you try using the line cut that they did in studio. So I completely ignore visuals and I just completely focus on audio. For multicam shows, it's all about what they're saying.
They're either game shows or they're interview shows. Usually. Reality is a whole 'nother beast. So I just get the audio, making it sound like a natural conversation and just cleaning up those transitions where I've made cuts. Then after that, I literally go through and I will change all the cameras. I'll do it live where I do the multicam editing. That can never be exact. So I'll do a section at a time. We'll do like a minute long section at a time or a conversational subject.
I'll go through that section and watch it again. I'll literally just trim the shots when I change it just to clean it up. And then I'll move on to the next section. - When you have a music video or something that is music driven, like the clip we're about to watch, what strategies besides simply edit on the cuts, cut on the beats, can you offer someone who might be starting off in that genre? - For something that's very music driven, definitely cut on beats.
But it doesn't have to be every single beat. And it doesn't have to be the up beat. It can be the down beat. When you always cut on the same beat and you don't change it up, it gets stagnant. It gets boring. It gets blah. It's when you add those dynamics where you're changing on the beats, cutting on the accents in the music that you really add some fun to it. Also, don't just look at where to cut, look at what's happening in your shot. 'Cause that was one of the things that caught the attention of people and why the first time I was really able to cut a show open, I was cutting like these little seven second montages.
They were all just like nonsense. It's just like, "Hey! "Hey, what's up?" With lots of effects puked on them. That's how people would cut them. (mumbling) Done! That's gets kind of boring after the 30th montage. So what I started doing is I would look at the gestures within the cut and see what people were doing. Then I would speed manipulate them so they would ramp up and hit on a beat.
So I wasn't cutting on a beat. I was making whatever was happening in the shot happen on a beat. So it was like the shot itself had a rhythm to it. And so, that's what I would suggest doing. Look beyond the cuts to what's happening within the shots. - Actually, that is what I want to look at in the example that we have here. Let's take a look at it for everyone watching. Let's look for that. Let's look for where the cuts are and what's happening in the shot, and the relationships between the shots to see how you've Monica-ized this montage.
- There are no effects in this, by the way. - Which is good to know, which is good to know. - Yeah, I am not a one trick pony. - The magic is happening in the editing, not in the sparkles, right? - Yes. - Okay. - Different kind of sparkles. (laughs) - All right, let's take a look at the movie mash-up. - [Man] The imitation game. Would you like to play? - Who are you? - [Man] I'm the new loppy boy. - [Man 2] My name is Stephen Hawking.
(dramatic music) - They call themselves the Guardians of the Galaxy. (singing) - Where's my kiss? - Why are you staring at me? - 'Cause you're beautiful. - Welcome to an evening with Annie and Jay. - [Man 3] I look like I need a bra. - I think you're going through manopause.
- I just don't want you to get hurt. - I'm not gonna get hurt. - Oh, broke my ass! (honking) - Ow! - Ahhh! - Holy sh-- - Got that interview! - Up high! (slapping) Whoa, hey now. - Not quite my temple. (spitting beats) - Dance off, bro! - Awesome! ♫ Everything is awesome ♫ Everything is cool when you're part of the team ♫ Everything is awesome ♫ We're living in our dream ♫ - What the hell are you doing? - The mashed potato.
- That ain't no mashed potato! - [Man 4] Before we get started, does anyone wanna get out? (dramatic music) - I'm thinking I'm bad. (shot fires) (explosion) - This isn't real.
We're not gonna make it! - Yes you are. - If we burn, you burn with us! - Get him! (explosions) - I'm ready to come home! - It is unacceptable that they use that power and keep us voiceless. - It's time for me to become my own person.
- [Woman] We have each other. Everything else is background noise. - Live in the moment. - [Man] Where there is life, there is hope. - Write your own stories. - I just want to be able to do anything I want because it makes me feel alive. - [Woman] Sometimes it is the people who didn't want to imagine anything at all who do the things that no one can imagine. - All right. So how'd you do that? Was there anything that you did on paper before getting it into the timeline? You definitely have sections, motifs, things that are aligning and then I'm just curious about what approach you took.
- Well, it was definitely a team effort. There is a producer that I worked with directly. We both worked directly on this. What she did is she had an entire list of movies and it was based on the top 100 movies released. This includes the top 50 box office. Domestic box office release.
The nominees for best actress, actor, leading and supporting, and best picture nominees. They all needed to be included. My producer, before she even came in the cutting room with me, she had those whole list and she pulled her selects. When I say she had a list, she gave me a packet this thick. It took me two and a half days just to string it out.
We were selective going through it. It was really just like this movie, this movie, this movie, this movie. She didn't put it in any order. She just kind of found what she liked and shot selections she liked and names of the movie just so that we would remember to look at them. She came to the bay with this huge stack of papers, gave it to me and was like okay, let's just start shooting it out first. - I'm like, alright. I just started watching trailers with her. I'd pick shots I wanted. We did that for two and a half days.
We had this nice, long strand. I think our initial string had 136 films in it. This one had 102 films in it. From there, we just refined. I started grouping things together thematically. All the actions sections very obvious. The punching section. We knew-- - It's even as specific as a face coming towards the camera. It's motions, it's gestures. What you were talking about before. - [Monica] Shots to shot composition.
There's even relational shots. There's a section that I like to call Pratt-on-Pratt. It was like the Guardians of the Galaxy. Christ Pratt says, "Dance off, bro." And then it cuts to Christ Pratt in a later movie. So I called that Pratt-on-Pratt. I don't know if anyone noticed it, but it amused the hell out of me. I'm like, "Oh yeah, I'm not moving that. "Those are going next to each other." 'Cause that is just too hilarious. I think people watching will get a kick out of it. I always include little details like that for the fans.
'Cause I'm just a huge nerd. I'm just a fan girl. I love watching films. I love all those popcorn movies. I love the fancy pants movies that always get nominated. I like watching those, but I love the popcorn movies as well. I appreciate them all. I love B-movies too. Watch 'em all. - Well, just a whole lot of creative license. Definitely, they tell you what you want, they tell you the structure that they're after, but down to the very granule of everything that you put into it, it's your creative decisions, which is so cool.
Why don't you tell us what this project is? The Still Screaming project. - Still Screaming is a documentary on the original Scream trilogy. It was in production and was released the same week that Scream 4 came out. It was perfect timing. That was intentional, and it was smart, 'cause that's when the interest would be highest. It was a producer I had worked with before and I love him to death.
I was actually working full time on the awards season that year, eight months pregnant, and I would cut the Still Screaming documentary at night. Miramax and Lionsgate released it on the Scream Blu-ray box set that they released of the Scream trilogy. That was just so fun to work on, because the producer and the director and I, we were all just huge fans of the films. What Halloween is for some people, that defines the slasher genre in a lot of ways.
That's the movie that they refer to when they talk about horror movies of the '80's. Halloween and Friday the 13th. But Halloween's the big one. For me, I was about 18, I can't remember the year, when Scream first came out. I was just like, "Oh my God, this is so awesome." That's what Halloween was for some, Scream was for me. So we all approached it from fans making it for people who are fans. We love the films and we wanted to make it for people who love the films.
Everyone else, if they want to watch it, great. But that was who we made it for. So they let me do whatever I wanted, essentially. So I took some bites from their selects. And I had already been cutting the rest of the documentary before I cut the cold open that was cut later on in the process. So I was already familiar with a bunch of bites that we were using in the documentary. So I would pull bites to put in the open. I was like this flows nicely, this flows nicely. I already had sound ups from the movies in mind.
The most memorable things. The two opening shots of the cold open, I knew that's how I wanted to start it. Those are the most memorable shots of the whole series. They define them. I knew that's what I wanted to start with. So I essentially kind of wrote it. - Let's take a look and see if we can recognize some of these iconic moments for those fans that are fans of the series. (phone ringing) - Hello? - [Man] What's your favorite scary movie? - Scream was just like a phenomenon.
- [Woman] Scream reinvented a genre. - That was a beautiful time in the movie business. - There was this little place for magic to kind of be created. You had Wes Craven, who was a master at telling those stories. - In my wisdom, I turned the project down. Went home and thought about it. I was, "Okay, if the job's still open I'll do it." (screaming) (screaming) (screaming) - [Man] Kevin was writing material that gave the audience a lot of credit.
- [Woman] It was clearly a genre that he loved. - We didn't really expect it to have the success that it would. He made 30 million the first weekend. - And then the next weekend, it went up. And then the next weekend, it went up again. - Drew was like, "No one's going to think "that I'm gonna die." (screams) - That was just like, oh my god. - Everybody's a suspect! - A lot of secrecy around the script. - People literally thought I was the killer. - I remember seeing a lot of blacked out pages in my script. So I thought, I might be wearing one of those.
- [Man] I didn't know that I was going to be the killer until well into shooting. - No one's safe. (punching) - She really hit me. She accidentally punched me. (screams) - It was very intense to see ghostface become such a part of our pop culture. - This could be a phenomenon for generations. - It's a scream, baby! - So fun. - There you go.
Can you talk about your subtle strategy at having the different screen movies interact with one another? - It's easy if I show it. This is a shot from screen one. Once we heard the call of what's your favorite scary movie? It cuts into ghostface attacking. So this is from Scream 1 followed by him throwing a knife.
That's Scream 2. So it's like the fight scene continues across movies. Scream 1 goes into Scream 2. That's Scream 3. So I put that together. And I just knew those shots from memory. 'Cause I may have seen the movies several times. I just put that together. It's so subtle that unless you really know the films and are really paying attention, you probably wouldn't catch that I just did Scream 1, Scream 2, Scream 3 shots of their fight.
I always get a kick out of it. Doing stuff like that, I always try to do that in all my work. I just thought that was really really fun. Another thing, how do we paint this picture that we are talking about all three movies? The easiest way to depict it without people saying "Yeah, when I worked on Scream 1." And then someone will say "Scream 2." And Scream 3. I just decided to do this fun little montage of clips. As a fan, fans love montages of the stuff they love watching.
And so it's like I'm just gonna take this moment to let the sound bites breathe and have this little montage. So I just took the opening title graphics and followed by really memorable moments from the films. But I wanted to make sure I included different people. They had so many different people in the cast that at the time maybe they weren't as well known. They're huge now, so they're well known. I wanted to represent all these big stars that have been in these films. They're a huge cultural influence.
It's like you have these iconic moments. Then we go to Scream 2. Sarah Michelle Gellar, Jerry O'Connell, Jenny McCarthy and Scott Pollen. Little things like that, I wanted to represent the films. We thought about all those fun little things. We just wanted it to be really fun. We have enough time to talk about Going Postal. If there's anything else you want to talk about, editing, before we switch to talking about the podcast, I just wanted to give you the opportunity to do that.
- Something I've always been fighting against, I'd like to think of myself as pretty flexible and well-rounded when it comes to creative versus technical, offline versus online editing. It's like, I can cut the story, I can add these complex effects and do compositing to add heights of stories. I could color correct. I could do all these things. A lot of times, not every editor can do that.
Some editors are I'm just an offline editor. It's like, they take pride in the fact that, "I just tell story. "That's all I do. "That's all, I tell story." The fact that if maybe someone else can use effects, well that's your thing, effects. But I tell story. It's funny because I use the effects to tell a story. I don't always use effects. I use them when appropriate. It's like this weird thing and it's something I believe, taking advantage of every aspect of the medium.
I cut things that are really colorful and flashy but then I also cut things that they don't have. They have all hard cuts. The most they might have is color correction. - Speaking of wearing mini-hats. Let's just talk about a few more hats that you wear. While I get this fired up, can you just talk about your life on Twitter? - Oh, my life on Twitter. Oh, my life on Twitter. Twitter, someone told me I had to get on Twitter about four years ago now.
I was kind of against it. What am I gonna do on Twitter? I don't care. I got on it, and I think I just started with doing random editing advice. I would slowly engage in people's conversations so they would follow me-- - [Ashley] In the moment, you were like, I can't figure this out. Let me tweet it. And then you would get-- - No no no, I would do advice. - You would give advice. - I didn't know what hashtags were. - Okay. - I didn't know how to use Twitter at all.
I didn't know how to use it. I was like, "How do I get people to start following me?" So I started following people and just looking for people and following them. Then slowly over time I'd just engage in peoples' conversations here and there. If they found I had something worth saying, they would follow me back. Over time, as more people followed me, I'd put out random advice. I'd get retweets. They would have thousands of followers and because they retweeted what I said, I'd get more followers.
People wanted to follow me. - But specifically, the post community, why is it important? 'Cause most of what you do is with other editors and post production professionals. Why is it important to be social when you are a creature that lives in edit bay? I probably just answered the question there. - It's a lot of reasons for me. People love showing how much knowledge they know. So if you post a question on Twitter, within two minutes you're gonna get an answer. If you can send out something or have a conversation with someone in like 140 characters, that's like the perfect timing for us.
Walking to that bathroom, I have time to tweet. I think it just helps bring us all together. There are people that I've engaged with on Twitter that are now my friends. We would meet at mixers. "Oh hey, what's up? "Twitter." We're like, "Ah, It's nice to meet you." With some people, I know people from all around the world now, that's the way I communicate with them.
Cell phones, I'm not gonna text an international number. What I do is I tell people, "Find me on Twitter." I respond to every question on Twitter. Every time someone asks me something, I will respond on Twitter. I engage them. - You've channeled it into a pretty cool podcast. - Yes. At the time I was starting to get more active on Twitter and I saw putting out tips and stuff. People were taking notice and I wanted to paint myself as "Hey look, I'm an editor.
"People want to hire me." Just trying to establish that online reputation. And also just share my knowledge. I love doing presentations and demos because I want to share with people my passion and my love that we share. Hopefully they'll learn something. If they talk to me, I could learn something from them. Since then, it's just kind of grown into this fun little thing. It covers post, it covers production, it covers pop culture. We're just huge geeks.
So it's like we have this new segment. I make jokes like "Wake me when you guys are done." Because they're usually talking cameras and all these things I don't use. It's like "If I start snoring just wake me up." They'll leave those in. My little sleep references. We'll have a topic to discuss. And we'll have a one-on-one interview with a prominent person in the industry. Then we'll just do a movie review and that's our pop culture aspect.
For one episode, 'cause I go to Comic-Con regularly every year, I produced an entire 30, 35 minute episode at Comic-Con where I interviewed a makeup effects artist at the Walking Dead Escape obstacle course. They were also the guys who did the show the Walking Dead. So I got to talk to them about that. He was the guy who sculpted the little China Girl in Oz. I interviewed people on the floor. Adobe was there. So I actually produced the whole episode and I cut it.
That was actually really fun. It's a nice little way to just relax and enjoy our passion as opposed to, no one's giving us notes. The direction is completely ours. We have complete control of it. It helps us deal with the craziness of our day-to-day lives working in post production. It's a fantastic job to have, but it's not an easy job. It can be very challenging at times, and just mentally exhausting.
So this was like our outlet. It's grown. Now we're known as the Going Postal crew. - That's great. It's clear that you really love to interact with others that share your passion through Twitter, through Going Postal, to working in so many different types of shows with so many different types of people. That's all very awesome. Is there anything that we didn't cover that you'd like to say before we wrap up? - I should probably say Going Postal is the brainchild of Adam Bedford.
He's the one who came up with the show format. Ben Bardin, he's our resident grump. He'll probably say, "Of course you would say that." So yeah, it's fun. I like doing all the things I do. With the Fitness in Post, that's the other aspect, staying mentally healthy, physically healthy. I've had some tendinitis issues that were very painful. So fitness post has helped me work through that and have a lot more energy.
I don't know if you can tell, but I have kind of a little bit of energy. I'm not just "God guys, I'm tired." A lot of that is because I joined up with Zack's Fitness in Post revolution. It's kind of turned everything around for me. I feel so much healthier. I have the energy to go to work, do my work well and then go home and play with my kids and get a good night's sleep without tossing and turning. I have all this energy now.
It just feels so much better. So it's like all these different aspects. It's taking me time to figure all this out. - Sounds like every well-rounded life. - I still work a lot. I'm still tired a lot. But I smile more now than I did a couple years ago. - Well, thank you so much for adding us to your day. We'll talk to you again soon. Thank you. (cheering)