Editors Retreat 2016 Sunday
Like every mountain top experience, eventually, the time comes to head back down to the valley, back to the "real-world". For Editors Retreat attendees, it was back to our edit caves scattered across the post production map. But for us, there was a real sense of a renewed energy and a reignited passion for our craft. We took with us more than just new editing techniques and $5,000+ worth of tools. We left Editors Retreat with a stronger identity as editors, affirmed by having made new friendships and having strengthened old ones. Because, regardless of content, we are united by a passion for the process; we all share in the satisfaction of editing.
Group Conversation with Michael Tronick
Go to Michael Tronick's bio
Listening to feature film editor, Michael Tronick, (Straight Outta Compton, Mr. and Mrs. Smith, Remember the Titans) was a high point of Editors Retreat. It was fascinating to discover some of Michale Tronick's editing credits come from having been requested by studios to give a "fresh perspective" on films already edited. These instances testify to the legacy of Michael Tronick, both his skill as an editor and his amiable disposition.
Fun fact: when asked if he had any creative technique for approaching an edit, Michael replied that he enjoys taking walks, not just for inspiration but for health reasons too. In fact, while working on Act of Valor with the directors, Mike McCoy and Scott Waugh, this became known as the "Tronick walk". So, next time you need to recharge or refresh your you creative mind, try the Tronick walk.
One thing was evident in the personalities of each keynote speaker at Editors Retreat: humility. It was a defining characteristic of their careers. So much so, it made you realize you won't be successful without it. And for those that are, they're not well-liked, which calls into question whether they truly are successful. Not so for Michael Tronick. His humility and likability was obvious, both on and off the stage. You will see it called out in his quotes below.
Straight Outta Compton is an example of Michael Tronick being asked by a studio to help edit a film deep in post production. He shared several insights, including how he had to cut the film down from 3+ hours, while not wanting to condense any of the songs. The lyrics in the songs, he said, were linear stories that needed to be kept intact. He also revealed that he is now one of the few who have permission to refer to Ice Cube as "Cube".
For all you editors who have questions about creative control in the cutting room, listen to what Michael Tronick has to say. Remember, his advice comes from being not just a professional editor, but one that studios assign to help other professional editors! If there's an editor who reserves the right to be indignant towards feedback, it would be Michael Tronick. Again, you can hear the humility in his awareness and acceptance of creative input.
Michael Tronick really took it to the house when he talked about why editors do what they do. He applauded the fact that editors are driven by more than recognition. It's true; satisfaction for an editor comes from the emotional connection to the story he or she is editing, and greatest reward for a job-well-done is another job.
The hardest part of Editors Retreat was having to forsake watching the Denver defense win Superbowl 50. But, what better way to replace it than screening parts of Remember the Titans and hearing them broken down by the master who edited them?
Thank You Editors Retreat
Thanks to all Premiere Bro followers for the engagement and readership during Editors Retreat. Hopefully the content shared here was beneficial and provided an insightful and vicarious perspective of this event. Please don't hesitate to reach out with questions about attending Editors Retreat.
