Killing your babies. It’s a crime in life and a difficult process in art. We’re immersed in the edit process, with our very fine point man Paul Maxwell leading the process. The good thing is that he hasn’t been on set during filming and so has no context for how shots were achieved or why we might like them. All he’s interested in is the story – what are its  major turning points, and how do we move it along. Paul, whose credits include Rain, Sione’s Wedding and The Tattooist, describes himself as ombudsman for the audience. Fortunately for us he’s not only talented, but has the right instincts for the film we’re making. He understands what we’re trying to do, and is our partner in achieving that for us. The art of the editor is vital, particularly as he or she shapes the final version of what the audience will see.

It doesn’t make the process any easier. Inevitably, there are sequences which the director has a particular attachment to which hit the floor. There are differences in opinion over what a particular scene may represent, or why it deserves a place on the screen. In these situations, the most important element is the discussion taking place between the editor and director. It’s vital to have an atmosphere of trust, but also one of blunt honesty in which there can be a battle for the best film to be made. As a writer, I understand the process well. When a novel goes to the publisher, there’s always to and fro with the assigned editor, who will come up with a list of suggested changes. I tend to divide my responses into three categories: changes which are clearly improvements and easily agreed to; changes which need negotiation and discussion; and changes which I feel detract from the story or characters and I will fight to the death for. It’s this creative battle which produces the best results.

We’re a little over half way through assembling the rough cut. A few days ago Rosemary and I watched the first hour of the film which Paul had put together. Astonishingly, given that we’ve seen each and every clip over and over again, it retained the power to move us. This is a tribute to Paul’s skill, and we’re over the moon (so to speak) that he’s the guy we’ve entrusted our film to. Of course Rosemary (our director) is pushing back on behalf of her babies, holding out on some of them. It’s a struggle for the truth on both sides: a friendly and committed tussle to make the story rise to the surface and lead the audience on a journey without unnecessary stumbling blocks. Film is always the most synergetic of all the arts.

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