Arrows in Flight with editors, Paul Watts and Eden Read

This year’s Young Arrows awards have closed, and with a record-breaking number of entries received in our first free-to-enter year, it’s set to be an exciting awards show. Hosted by Reggie Yates, winners will be announced at the ceremony taking place on October 22nd at HERE at Outernet, London.

Why not join us, and see work by the next generation of moving image advertising talent and celebrate alongside the community.

In this interview, Young Arrows winner Eden Read, Film Editor at The Assembly Rooms, and British Arrows winner Paul Watts, Film Editor at The Quarry, go head-to-head, firing each other questions to find out more about the challenges and rewards of editing and what they’ve learnt on their creative journey to award-winning success.

Paul: What is it about editing that drew you in?

Eden: For as long as I can remember I've loved patterns, puzzles and anything visually creative. As a teen I loved collaging, carefully cutting out magazine pages, and spending hours assembling the images until it looked 'right' and I could glue it down, an early version of a timeline perhaps! My favourite part of the cinema has always been the commercials and trailers, rather than the film. I loved watching a whole story unfold in a short amount of time by just using visuals. I'm always amazed by the human eye and how much it can pick up so quickly.

Looking back, these things seem small but are significant events that led me to editing. I am very much a perfectionist in my own way, I love fiddling with things until they look just right and editing allows me to do this.

Eden: What was the first job that you remember as career-changing?

Paul: When I was fortunate enough to get a call from Chris Palmer’s producer, asking if I was available to edit a commercial for him, I jumped at the chance. He wasn’t fussed about looking at a reel (thank god), as he had heard good reports about me from Malcolm Venville, who I had been helping in his quest to transition from photographer to director. So I guess the ‘quick and rough’ I cut for Malcolm (and many other projects following that first one), for no money at all when I was still an assistant, was ultimately the job that changed my career, as it led to the door of Chris Palmer and then Frank Budgen.

Paul: What challenges did you face in becoming an editor, and how did you overcome them?

Eden: I was in my first year of assisting when I was diagnosed with ADHD, I had always wondered why I found some tasks harder than other people and how my work methods just didn't align with those around me.

Eventually, a lot of stuff just clicked into place and I began to find ways to cope, but some days are more challenging than others.

Typically, I work quite quickly and hyperfocus on projects, often forgetting even to eat, haha, but sometimes I find it harder to focus and stop my mind from wandering or my organisation slips. To overcome these issues I learned about the power of to-do lists, setting one hour 'focus' timers and getting out for some exercise. I think as editors we spend a lot of time sitting at a desk in a dark room and forget the benefits that light and moving our body can have on our brain and therefore our edits.

Eden: You were recently nominated for a Bafta, how does it feel?

P: Crazy…. The whole carnival that takes place when a film has been completed is pretty extraordinary; from the Q&A’s at home and abroad, to the awards season and beyond.

It’s a stark contrast to the long period spent scrutinising material, finding the form, and working closely with a dedicated team of people to realise the final expression of the project. I guess it’s the last leg of the journey - pushing something off out into the world to see what comes back. So in that context, to receive an editing nomination from Bafta was very special indeed, as it was to see all the various nominations and awards for Zone across all the categories - it was a great send off for the film.

Paul: What excites you about a script when it lands in your inbox?

Eden: Film touches on our emotions and reminds us we are human; it gives an insight into something you may not see every day. I love emotionally driven stories about people and injustices, and I love editing films that tell a story you might not have witnessed first hand.

One of my favourite projects from last year was Pamilya, a documentary/ narrative hybrid directed by Miles Blacket about the FDWA, an organisation dedicated to assisting Filipino victims of modern slavery in the UK. I had never heard of it before and it's a story that will stay with me forever. Miles combined documentary with narrative elements to shine a light on a dark and troubling issue while representing the women as who they are: mothers, partners, etc.

On the flipside, I also love anything a bit weird and out there, I think music videos are one of my favourite things to edit because you get to bend the boundaries so much and tell a whole story in such a short amount of time.

Eden: Who is the dream director to work with that you haven’t yet?

Paul: Gosh…. There are many many dream directors out there. I don’t think I’d want to prejudice my opportunity of working with one of them by failing to mention them here, so I’ll keep my thoughts to myself. But for me, a dream director, or collaborator, has more questions than answers.

Paul: What kind of support do you expect from the edit house that represents you for commercial work?

Eden: Since making the jump from assistant to editor the one thing I noticed is how vital it is to have a good producer. I am lucky that at The Assembly Rooms all the producers are exceptional and have continued to look after me since I started almost two years ago.

As someone whose mind clicks naturally more into the creative side, it's so important for me to have people around me who can handle the schedule and budgeting, so I can focus on the edit, a luxury not everyone gets to have!
Our producer, Taise, often produces my jobs and she never drops the ball, even for a second, despite me always having multiple jobs on the go.

It truly takes a village to make a good edit and a good post producer is essential to that, and whilst I don't expect it, it makes my life 10 times easier, so I'm super grateful.

Eden: You edited ‘Superstar’ for adidas, what’s your favourite shot and why?

Paul: I don’t really have favourite shots, but there was one sequence that I cut many ways, one that I kept coming back to - I think it ended up being only two or three shots.

It's a kid, in a white tracksuit practising his moves at home. His face, his wardrobe, his performance, the art direction, and the decision Daniel Wolfe made to capture him on VHS - all these things make it so authentic - it felt like a privileged peek into some kids' family home movies. Nothing fancy at all. Just perfect.

Paul: What’s the stupidest thing you’d done with a director?

Eden: One of my favourite parts of this job is the social side, there's nothing I love more than a room full of clients/directors where ideas are bouncing around and you’re having a good laugh.

The first music video I ever edited, I was fortunate enough to work with Will Hooper at Blink, I enjoyed the entire process and laughed A LOT.

One particular memory that sticks out was playing what Will called 'The Yo Game'. At this point in my life I was assisting during the day and editing in the evening with lots of late nights. The idea of ‘The Yo Game’ was to wake you up when you'd flag - you both stand up, look at each other and copy each other’s clap/click movements that progressively get faster. And guess what, it actually worked! The project was such a silly experience and I am lucky enough to still call Will a friend.

Eden: What would be your Desert Island coffee order and where from?

Paul: Don’t get me started, I’m a coffee nut. I have four grinders, two lever machines, various pour over devices and a kettle that brews to a preset temperature with alarming accuracy. I use scales, stop watches and a special contraption with 0.22mm acupuncture needles sticking out of it so that I can perform the Weiss Distribution Technique. For anyone fortunate enough to not be afflicted with this particular obsession, it’s stirring your coffee grounds prior to tamping. But in answer to your question - Pour over, Penny Drop or Monmouth. Something light roast, natural process, probably quite funky and juicy. Well, you asked!

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