The world of cinema has long been a male-dominated industry, but behind the scenes, a powerful force has been shaping some of the most iconic films: female editors. These women have not only been instrumental in shaping the visual language of cinema but have also played a crucial role in the creative process, often going unnoticed. In this article, I will delve into the world of female editors, exploring their contributions, the challenges they face, and the impact they have on the final product. From the early days of Hollywood to the present, these editors have been the unsung heroes of the silver screen, and it's time to bring their stories to the forefront.
The Early Days: Breaking Barriers
In the early days of Hollywood, female editors were breaking barriers and challenging the status quo. Anne V. Coates, who edited David Lean's Lawrence of Arabia, won an Oscar for her work, despite the film lacking female speaking characters. This was a testament to her skill and the power of her craft. Similarly, Anne Bauchens, who was nominated for Cleopatra in 1934, became the first female winner of the editing category in 1940 for North West Mounted Police. These early pioneers paved the way for future generations of female editors, showing that their work was not only valuable but also worthy of recognition.
However, the received wisdom is that women entered the editing suite while being excluded from other creative roles. This was due to the assumption that editing was monotonous, unskilled labor, and as the male-dominated studio system emerged, editors were subordinate to the producer and director. But this may not be the full story. According to JE Smyth, professor of history at the University of Warwick, during the studio system, editing was not considered unskilled labor. In fact, women were the best editors in the studio system, many with musical backgrounds that helped them find a flow.
The Creative Partnership: Trust and Vision
The partnership between a director and editor is often vital to long-term creative success. Justine Wright, editor of The Last King of Scotland and The Iron Lady, emphasizes the importance of trust and a shared vision. It's about being open to suggestions and honest in your opinion while being sensitive to each other's vulnerabilities. Because they are a step removed from the script stage and turmoil of a shoot, editors can see things a director can't, but a director has to be able to stand up and defend their film. The many hours spent together make it crucial to like the vibe of each other.
This creative partnership can also be personal. Mary Sweeney, editor of Lost Highway and Mulholland Drive, was briefly married to director and collaborator David Lynch. She describes their relationship as a synchronised dream for two decades, a very productive professional relationship. However, she also acknowledges the challenges of mixing professional and personal lives.
The Gendered Lens: A Double-Edged Sword
The key question is whether female editors are viewed through a gendered lens. Have they been hired in the stereotypical belief that they are more accommodating or to passively execute the visions of 'genius' male directors? Thelma Schoonmaker, who edited Raging Bull, The King of Comedy, and GoodFellas for Martin Scorsese, has modestly said that she 'works with a lot of geniuses' and laughs at the idea of overruling Scorsese. She stresses that she would 'never show (him) anything other than what he originally planned'.
However, Quentin Tarantino's late editor, Sally Menke, has been described in maternal terms, with Tarantino explaining that a woman would be 'more nurturing to the movie' and to him, not 'trying to shove their agenda or win their battles'. Mariana Moraes, a film and TV editor, pushes back at this, describing Menke as a 'great editor' characterized by a 'powerful understanding of character and continuity, a rock-solid sense of musical rhythm and timing, and boot-camp dedication to the work'.
The Frustration of Creative Leadership
Despite their achievements, female editors still face challenges in creative leadership. When we look at BAFTA or Academy Award nominations, department heads are still overwhelmingly men. This imbalance can create a sense of frustration, as seen in the case of Mariana Moraes, who recently worked on a production where every assistant in post-production was a woman, while the editor, post producer, composer, sound designer, VFX supervisor, and VFX editor were all men. At times, it felt like a playground where 'the boys' were allowed to take part in the most exciting aspects of filmmaking.
However, the women I spoke to resisted the label of frustrated creatives, emphasizing their dedication to the craft in its own right. Mary Sweeney describes editing as the final rewrite, where the poetry is written in cinema language. The film is made or broken in the editing room. This romantic view highlights the power and impact of their work, and it's time to bring these female editors into the spotlight and celebrate their contributions to the art of cinema.
