#432 – What it's really like to be an Editing Duo.

I've not done the math, but I'd wager that most films (statistically speaking) are edited by one editor — a single hand at the wheel, aligned with the director's vision.
That said, many projects are so large, complex, and rushed (or bedraggled) that multiple editors are needed to get them over the finish line.
But what's it really like to be part of an editing duo?
A tag-team of editors intentionally joining together to craft a single project, melding like two halves of the ‘yin and yang’ or “one cohesive brain” as editors Nathan Orloff and Shane Reid describe it in this special Issue of Cut/daily.
Nathan and Shane have cut two movies together for director Jason Reitman (son of legendary Ghostbusters I & II director Ivan Reitman.) — Ghostbusters: Frozen Empire and Saturday Night.
I got the chance to peek behind the curtain and find out what it's really like to be part of a film editing dream team.
Ps - I've previously interviewed Nathan for his own Issue of Cut/daily Meets...
This piece by war correspondent Hollie McKay says it better than I:
“A home is not just four walls—it holds memories, milestones, and the essence of a life constructed piece by piece. “Things” are more than possessions; they are the tangible connections to loved ones, past chapters, and a sense of self. “Things” are never just objects; they carry the weight of our lives, stories, and emotions.”
What's the story behind how you came to edit Ghostbusters: Frozen Empire and Saturday Night together?
I’ve worked with Jason on a number of films and Shane had worked on an Apple ad with him and his father before he passed away.
When Frozen Empire was taking form, Jason thought we’d be a great fit both together and for that film, as well as Saturday Night.
What is it like to be part of an 'editing duo' - what are the benefits and challenges?
There are big benefits, especially on a film like this.
First, was the speed. In order to finish the film on time, we needed two editors.
Secondly, Shane and I share a unified vision of how the film should feel but will go about something in very different ways and there’s a yin-yang to our balance that I love.
One of us may be working on managing the chaos of narrative while another is getting inside someone’s headspace.