SB: When I am contacted about a job, I am often get asked if I have edited a film on the subject concerned before. I think directors can feel a bit lost as to what to look for in an editor, what qualities would you suggest they look for?

TD: “Ultimately, it's all about storytelling, I don’t think it’s about specific expertise. I don’t think if you haven’t made a film about yachting you never can. The process of documentary editing is the central part of the production process, which is putting a story together. That, classically, is what editing is about, putting images together to tell a story. So I suppose my advice would be choose an editor whose films you’ve seen before and whose work you like. It can be about any subject whatsoever.

I suppose the other thing about choosing an editor is about casting, try to get personalities that can work together. You spend so much time in a room together during the edit, probably more time than you spend with your partner. If that person rather irritates you, or is going to come at things from a completely different angle, whether you’re the editor or the director, it’s probably not going to be the most creative relationship. I quite enjoy thinking ‘Well that person would really like working with him or her.’ When that works, both parties come out of it saying ‘I initially thought of it this way, but actually by working with so-and-so I've now done something that is better than my first idea.’ I think it's really exciting, when two people work together so well that it improves their initial vision.
I have to say, at times I get that wrong. Usually it’s the director saying, ‘I can’t get the editor moving’ or ‘I can’t get the editor motivated.’ I suppose the editor goes to his or her mate and spills it all out there. It’s an important job the producer has to do, casting, putting the right people together.”

SB: Once an editor is on board what qualities do they need?

TD: “Well, it goes without saying they need to be strong with the technology. Also, I like editors who have an awareness of broader film culture. I like editors who talk about the movies they’ve seen, trends that they’ve picked up from movies or completely different documentaries. I’m sure most good editors enjoy movies. They can bring all sort of ideas about storytelling from outside the box you're looking in, abbreviating certain processes and improving the grammar of film-making.”

SB: Do you think films are made in the edit?

TD: “I think factual programming films are made in the edit. I don’t mean that material that is not shot well can be made into a brilliant story, but weaknesses can be made better.”

SB: Do you have a favourite film or film-maker where you feel the editing contributes in a very special way?

TD: “Well, I’m a huge fan of Robert Altman. His mosaic-type films like Nashville are really great. You’ve got a multitude of stories interwoven. Stories overlap around one broad event.”