Crew: Editing
personality who is easy to get along with—someone who is dependable, knowledgeable, and keeps up with the latest technology; someone I can rely on to help out with sound, temp music, and temp visual effects that may be needed; and [someone] to prepare whatever the producers or network may need.
SPOTLIGHT ON:
“Modern Love”
Ken Eluto, Film Editor
Rock” and “Modern Love.” They could not be more different; it keeps life interesting. I learned most of what I know on the job and [from] working with other people. What does a day in the life of an editor look like? On “Modern Love,” I came onboard to edit three episodes of the series…[and] worked at the post facility, Light Iron, in Soho [in Manhattan]. I worked on episodes that were being directed by three directors: Sharon Horgan, Emmy Rossum, and Tom Hall. With Emmy and Tom, I had a full rough cut of their episode, and then they came into the editing room to work with me to address their notes, as well as notes from producers. Sharon had to return to London, so we worked remotely, sending her cuts and getting her notes by email and phone…. “Modern Love” was cut on Avid, and media was shared so my assistant could prepare the dailies and help with other editing tasks.
From “Oz” to “30 Rock,” Eluto has helped create some of the most memorable TV moments of the last 20 years By Allie White
WHEN A FILM OR SERIES IS SHOT, THERE ARE COUNTLESS TAKES, various set-ups, and dozens of different iterations of the same lines of dialogue—basically, hours and hours of footage that needs to be crafted into the final product seen onscreen. So it’s a bit of an understatement to say that editors have their work cut out for them. Having worked on everything from “Oz” to “30 Rock” to “Succession,” editor Ken Eluto knows this process well; and it’s his eye for detail and pacing that has resulted in some of the most memorable TV moments of the last two decades. Here, Eluto sheds light on the process, how he works with different creatives, and the importance of learning on the job.
BACKSTAGE 05.27.21
ended up working with him for about seven years. We got along great, and at some point, he agreed to supervise a documentary film that I cut. I’ve worked on documentaries, dramatic shows like “Oz,” “Succession,” and “The Purge,” [and] comedy shows like “30
What do you look for in a potential hire? For an assistant, I look for someone with a good
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What are some of your favorite moments of great editing? There are too many inspiring films and shows to mention. They all influence my work. They are in my memory, but in the end, as an editor, you always have to find the right style that best serves the specific story, emotions, characters, and situations in an authentic way.
It’s a process of revisions, tightening, double-checking performances, cutting lines, or cutting or moving whole scenes. backstage.com
COURTESY AMAZON
How did you become an editor? I went to film school at Temple University. The first job I found was in editing, and I really liked it. I started as an apprentice editor on a corporate film, and soon after that, I got work as an assistant editor for Jay Freund on a feature documentary. I
What advice would you give aspiring editors? When I started out, I was fortunate to be in the same room as the editor, and could watch what they were doing and learn from them. In the digital age, assistants don’t have that opportunity as much, so it’s good to take any opportunity to learn from the editor you’re working with. If you have the time, try cutting some scenes on your own, and ask the editor for his or her comments and suggestions. One thing that’s great these days is that, with so many new streaming outlets, there [are] so many shows being produced that I think it’s much easier to advance faster. Persistence will pay off.
