I see editing as a conversation between the director, the material and the audience.

I like to get close to a project: to understand what the filmmaker is trying to say, what the characters need, and what kind of experience the film wants to create.

From there, the edit becomes a process of exploration. You try things, get them wrong, find something unexpected, go back to something you thought was wrong, and discover that it was actually right all along.

STORY

I’m interested in what’s underneath a scene as much as what’s happening on the surface.

Sometimes the strongest version of a scene is the one that says less. Sometimes a moment needs to be held for much longer than feels comfortable. And sometimes the best thing you can do is get out of the way.

I like finding those discoveries in the material rather than imposing a formula on it. Every film tends to tell you what it needs — you just have to listen carefully enough.

PERFORMANCE

I pay close attention to performance and behaviour — the small reactions, contradictions, hesitations and unexpected moments that can reveal something about a character.

For me, editing isn't about making every scene “work” in isolation. It’s about understanding what each moment contributes to the emotional journey of the whole film.

A look can sometimes do more than a line of dialogue. A badly timed smile can tell you everything. And sometimes the best performance is the one that almost got left on the cutting-room floor.

RHYTHM

Every film has its own rhythm.

I’m interested in finding it rather than deciding in advance what the pace should be. That might mean tension, stillness, humour, fragmentation, or simply allowing a moment to breathe.

Sometimes a scene needs to move quickly. Sometimes it needs to sit there and make everyone slightly uncomfortable.

I like working out which is which.

COLLABORATION

I like working closely with directors and being part of the creative conversation.

I’m happy to challenge a scene when I think something isn’t working, but I also believe the director’s voice should remain at the centre of the process.

The edit room should be a place where you can try things, get things wrong, change your mind, laugh at something that definitely wasn’t supposed to be funny, and discover something better than either of us expected.

THE KIND OF WORK I’M DRAWN TO

Character-driven stories.

Distinctive voices.

Unusual perspectives.

Films that aren't afraid to take risks.

And films that have something to say, even if they’re still figuring out exactly what that is.