CRAFT
together to ask them who threw the poo out of the bus window,” explains Webb. “That’s a different challenge because you’ve got a 30-hander, where it’s a bit like doing a boy-band video. You’ve got to check in with everybody to see where everybody’s at.”
New ideas, fresh approaches
Webb, who has been an integral part of the recent Sex Education team, having edited six episodes over two seasons, cut his teeth editing music videos in the 1990s for various boy bands and “more interesting artists,” including George Michael, Charlatans, Super Furry Animals and Paul McCartney. After spending a decade cutting commercials, Webb moved into long-form TV editing.
Season 3 of the bawdy teen dramedy shot September 2020, after facing severe delays due to the Covid19 pandemic, until March the following year, seamlessly mixes laugh-out-loud humour with darker, harder themes facing teenagers, gender and sexuality.
Webb, the managing director and partner at commercial edit house Final Cut, edited from its boutique dry hire
facility the Lofts at Final Cut, in London’s West End, alongside Steve Ackroyd and Phil Hignett.
The biggest challenge on Season 3 for the editors was not Covid interruptions.
“Trying to advance what we had done, trying to find an interesting perspective that we hadn’t already touched upon, I think gets harder and harder as seasons go on,” Webb muses. “The writing enabled that, they’re always very conscious to keep exploring new areas.”
Music and mixing it up
Webb says it is interesting for white middle-aged men to be telling stories of non-binary, people of colour, as those are not shared experiences.
Always pushing the envelope with music - a part of the show where Webb and his team have hung their creative hat - is another challenge.
IMPACTFUL ISSUE FACING A CHARACTER
CUTTING A FLYING POO OR SOMEONE WANKING TO (SINGER) TERENCE TRENT D’ARBY AND THE NEXT YOU’RE EDITING AN EMOTIONAL AND
ONE DAY YOU’RE
“We’ve tried to find interesting music choices and curate an interesting soundtrack and that’s always a challenge because you used up all your best tracks that you thought you were going to use,” Webb notes. “We’re able to draw upon the most unlikely music sources and try and subvert them. [Series director] Ben Taylor is really open to this and we have very lively arguments about music choices.”
After wrap, Webb and team have about five weeks per episode to work. “It’s got longer each time because everyone creatively realises we need the time to finesse things.
“None of us would say we’re comedy editors. We’re just editors and we try and put the same attention to detail into all themes,” he says. “One day you’re cutting a flying poo or someone wanking to (singer) Terence Trent D’arby and the next you’re editing an emotional and impactful issue facing a character.”
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