CRAFT EDITING
PRODUCTION
rare. When you’re assembling you get time alone to do whatever you want, and I think Sex Ed is special in that way. DW I think it’s part of the job. Our job is sound and picture, it’s not just picture. I think that probably does talk to our commercials and music video background because there’s always that expectation there.
How are the eps divided between the editing team? DW Ben tends to give episodes to those he thinks best suit people’s editorial style. And it’s a weird one because, the show looks like the show, but we can all discern whose episodes are whose. Ben leans into that.
Do you all cut together? SA The suites are next door to each other. We’re all in the same building and we often show each other stuff. Suggestions are made and then half an hour later, you do the change. DW You resist it but actually, once your ego dissipates, very often it works. PH I prefer working in a team. Editing is such a solitary position. When you’re the sole editor, you
don’t have anyone to bounce ideas off of except for your assistant if you’re lucky enough to have one. So having these guys as sounding boards throughout the entire edit is invaluable. SA It’s really helpful, because you’re getting another editor’s point of view. Sometimes you don’t change things because you’re being obstinate with yourself and it’s only when someone else says you need to change that, that you go ahead and do it. Getting that early is great. But the other thing about working as a team is it’s just nice not to be on your own for three months. It’s such a lonely job being an editor, you can lose a whole day and not have spoken to anybody. DW I think we’re gracious in sharing music ideas with each other as well. If there’s a track that you love that you can’t use, people will just say ‘have you tried this?” PH A perfect example of that is in series two. We were trying to find music for the girls destroying a wrecked car in the junkyard, and we struggled for a long time to find the music. And then David said, What about Mama Cass? It was the most expensive song ever, which blew the budget but worked perfectly. And everyone loves that. So not being not being precious about where the music is
going is important.
Do you have to be aware of the cost of music licencing? SA You have to be aware of it, but we initially ignore it. We get told off every year. But you’ve got to put what you believe is the best track on there first, and then you slowly pick away at some of them and you make concessions. Some of the music is so expensive, it’s insane and no budgets can really deal with it, but if you get them in front of the right people, and they fall in love with it, suddenly cheques get written, and you’ve got the track.
How do you bring new editors into the series? PH The easiest way to do it is to just watch and then just ask loads of questions. I think Izzy did the same thing, but was less annoying. It’s nice to have a blueprint to work from. SA You don’t want to dictate anything off the bat. Every editor deserves their own version of it, it’s as much their piece as anybody else’s. DW It’s small nudges. But there are no tablets of stone. Everyone wants to put their own stamp on it. That should be embraced.
form background in music videos and commercials. It’s kind of our bread and butter”
Steve Ackroyd, Editor, Sex Education
“All of us come from a short-
Sex Education Summer 2022
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