Finely Sliced: Finding Rhythm with Erin Nordstrom
Erin Nordstrom is an award-winning editor based in Los Angeles. She has cut numerous advertising campaigns for leading brands like Google, Amazon, Samsung, Toyota, and NHL. Her ability to capture the essence of a brand's message while maintaining artistic integrity has made her a sought-after collaborator.
Erin made her mark with her first feature-length documentary, 'I Am Trying To Break Your Heart,' a critically acclaimed exploration of the band Wilco. Her work was further highlighted in 'CaveDigger,' a documentary that earned an Academy Award nomination for its compelling storytelling and visual impact. Erin's most recent project, 'Smartless: On the Road,' airing on MAX, continues to showcase her abilities in compelling storytelling.
Her creative journey has been enriched by collaborations with top musical artists such as Chris Cornell, Jennifer Lopez, and Damien Rice. With work that has graced prominent platforms such as Netflix, AppleTV, HBO, and MAX, Erin鈥檚 editing style is characterised by its seamless blend of wit, sincerity, and a keen eye for detail, reflecting her dedication to crafting stories that leave a lasting impression. Erin remains committed to pushing creative boundaries and delivering excellence in every project she undertakes.
天美棋牌> The first cut is the deepest: how do you like to start an editing project?
Erin> I like to start by screening the raw footage in the order that it was shot without any preconceived ideas. I鈥檒l never be able to watch that material with fresh eyes after the first go, so I always centre myself and create a comfortable space where I can really absorb what鈥檚 happening on the screen. This allows me to pick up on the nuances of performance and recognise any 'happy accidents' or unintentional moments that could help add texture to the story.
After that, I mark up the material in whatever editing system I鈥檓 using and quickly block out a rough structure. I tend to work on a lot of documentary style projects where there isn鈥檛 a formal script so the interview bites and verit茅 moments are what I hang my hat on so to speak. Next I search for music, sound effects, etc..all the things that will help create the mood/ vibe.
天美棋牌> Non-editors often think of editing just in technical terms but it鈥檚 integral to the emotion and mood of a film. How did you develop that side of your craft?
Erin> I鈥檝e always just followed my instincts. If I feel something when watching, I trust that others will too. It鈥檚 a hard thing to express in words but emotion and mood have always been a natural part of how I approach editing. For me it鈥檚 about finding the appropriate mood for the story and sometimes creating an unexpected mood can take a project to a really cool and elevated place.
天美棋牌> How important is an understanding of story and the mechanics of story?
Erin> I鈥檇 say it鈥檚 THE MOST important thing to understand. Even if you eventually decide to turn everything upside down to create a non typical narrative structure, you first have to understand how it would live 'right side up' so you can deconstruct without losing the elements that make it make sense. The art of editing is very much about understanding how all the pieces fit together to create a coherent and engaging narrative and then having the flexibility to play with that structure as needed.
天美棋牌> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it鈥檚 a film without actual music) 鈥 how do you think about the rhythm side of editing, how do you feel out the beats of a scene or a spot? And do you like to cut to music?
Erin> Rhythm is so important. Ironically, I usually cut without music at first. I find that things can get overlooked when watching against music. The small twitch of an eye or a quiver of a lip can really add to the overall takeaway of a scene. If you cut to a piece of music that entices you to keep a certain pace you can inadvertently miss what鈥檚 actually happening in camera.
That being said, audio is integral to how people experience video content. I believe music can make or break a piece so once I get the initial assembly to my liking, the search for music is no joke. Music is a powerful tool in adding depth and information making a viewer feel any number of complex emotions.
天美棋牌> Tell us about a recent editing project that involved some interesting creative challenges.
Erin> I recently cut a docuseries that didn鈥檛 fall into a typical genre. It involved cutting between a live stage interview, live musical performances and verit茅 moments that happened throughout the same day.
Our intention was to tie those verit茅 moments with themes that were being discussed/ happening real time in the stage interview and musical performances. I believe we were super successful in tying the three seemingly unrelated moments together in a very non linear way. I鈥檓 super proud of how that project turned out. Now it鈥檚 hurry up and wait till it airs (hopefully) next year.
天美棋牌> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?
Erin> The relationship between editor and director is super important to me. While working on long form projects, it鈥檚 often the director who I spend most of my time with (outside of my partner and child).
It鈥檚 a weirdly intimate relationship because being truly creative requires being vulnerable. Creating a safe space so that ideas can be thrown around freely is crucial.
Once trust is established, any differences of opinions can be hashed out openly. That鈥檚 usually when the magic happens because nobody is worried about being judged and it becomes a truly collaborative experience leading to some really remarkable and authentic work.
天美棋牌> In the US we know that editors are much more heavily involved across the post production process than in Europe - what鈥檚 your favourite part of that side of the job?
Erin> I love being involved in the sound mix. I do a lot of sound editing during offline and place various audio elements with intention. I really enjoy collaborating with the sound mixer to improve upon those elements and get it just right. Audio is so crucial to the final piece. A film where you can listen with your eyes closed and still 'see' what鈥檚 going on is a win to me.
天美棋牌> What鈥檚 harder to cut around 鈥 too much material or not enough? (And why?)
Erin> Not enough is harder for me. Maybe it鈥檚 because I work on a lot of documentaries and docu-style projects but if there鈥檚 not enough material it can be very limiting. Too much material can be daunting but in my experience that鈥檚 never really been a problem. I鈥檓 pretty good at getting to the heart of the material when there鈥檚 a lot to choose from. And in the end, you are able to problem solve with ease.
天美棋牌> Which projects are you proudest of and why?
Erin> A recent project that I really enjoyed working on was a television series called 'Smartless: On the Road'. It was challenging because it blends elements of documentary, comedy, and live performance. Comedy thrives on timing and energy so it requires a keen sense of pacing and rhythm.
At the heart of a documentary lies the essence of storytelling and authenticity. Combining unscripted verit茅 moments with more structured content can be tricky so pacing was crucial. It needed to reflect the high energy and spontaneous nature of the podcast鈥檚 live shows while also allowing for quieter reflective moments that offer deeper insights.
天美棋牌> There are so many different platforms for film content now, and even in advertising something can last anything from a few seconds to a couple of hours. As an editor, are you seeing a change in the kind of projects you鈥檙e getting from brands and agencies?
Erin> Sure. Agency and brand needs are ever changing, but I don鈥檛 think that鈥檚 a new thing. The type of projects that I have gotten from brands have been ever changing since the beginning of my career. I actually like that brands are looking to do some longer format stuff these days.
天美棋牌> Who are your editing heroes and why? What films or spots epitomise good editing for you?
Erin> Oh man鈥.that is such a tough question. Honestly, I have admiration for so many editors. Not only does editing require creative talent but it also requires such patience, problem solving and perseverance. I鈥檝e been very lucky in that I鈥檝e gotten to collaborate with many different editors and each time I do it鈥檚 an incredibly enriching experience.
Each editor brings their own unique approach, techniques, and insights to the table which in turn broadens my understanding of the craft. I walk away from each project with a slightly different perspective. I think that鈥檚 what I love most about this job.
天美棋牌> How does editing in the commercial world differ from the film world and TV world?
Erin> The specific requirements and constraints vary significantly but the core principles of editing - storytelling, pacing, emotional impact - apply across all mediums.
In my experience, there is a lot of creative freedom when working in the film/ TV world. I am usually given a lot of 'alone' time to execute the story. In the commercial world there鈥檚 a lot more hands on collaboration from various creative roles like the director, the agency, the brand. So in terms of my day to day, they are a bit different but ultimately telling a story is telling a story. The hard part is figuring out what story are you telling.
天美棋牌> Have you noticed any trends or changes in commercial editing over recent years?
Erin> I try not to pay too much attention to trends. I鈥檓 a big believer in telling a story in the most impactful way. Trends are fun to play with but they tend to cycle - in style one day and out the next so I try to think about what will enhance the story and stand the test of time whether it鈥檚 trending or not. I like to play with trends to enhance my skillset but I try not to let them determine how I will tackle a project.
