Ernie Gilbert keeps his feet firmly planted on the ground. The editor’s enviable credits span everything from music videos for Childish Gambino and Shawn Mendes to award-winning TV shows like Atlanta and Barry. Despite these accolades, Ernie is a perpetual student. “I like variety,” he muses. “I’ve been lucky enough to work on a bunch of random things, so I like that I get to play. As far as the style goes, I lean towards grounded things – less cutty and more lingering. But I’ve done a bunch of music videos that are kind of contrary to that. I’m still figuring it out even though I’ve been doing it for a little while.”
You must perfect the delicate tango between creators. Versatility is the main currency. “I think with editing, so much of it is, what does the producer or director need? I want to be adaptable and I want to meet them where they are. I can give them something wildly cutty or if they want something that’s slower and more methodical, I can do that too.” Chemistry can never be underestimated. An initial ongoing dialogue bodes well for the forecasted synergy of a pairing. “It’s kind of like dating, where you have to get to know the person. You do an interview, you’re in the early throes of a project, and you’re figuring out what their taste is, what their choices are. Openness is a big green flag. You have an idea and somebody’s first reaction isn’t ‘No, that’s terrible.’ People who will hear you out and listen. I’ve worked with directors in the past who didn’t like to give compliments and didn’t like to ever be excited about anything. If they’re fighting their own battles about whether or not they think the project is good or whether they’re happy with it, I think it translates into edits being uncomfortable. Find people to have fun with. We don’t have to like the same movies, but at least we have movies in common that we can debate vigorously at lunch and get excited. The best directors want somebody who’s going to litigate through or have ideas that push things into a new place. Otherwise, you’re just hiring me to press buttons and it’s not really fun for me. It’s not really fun for you. It’s not really fun for the project.”
Film and TV offer Ernie a different set of equally rewarding challenges.”It’s running a marathon versus running a sprint. What I like about the short form stuff, the commercials, the music videos, the concert visuals, is that I can hop into something wholeheartedly and two weeks go by and it’s done. It doesn’t have to occupy a space in my brain or my heart anymore. The film and TV projects linger with you and stay with you. I just did an A24 movie called Opus. That was 10 or 11 months worth of editing. Those sorts of things sit in your head a little bit longer.” Each long-team endeavor bears witness to a special kind of evolution. “You’re still throwing spaghetti against the wall and seeing what sticks, but I like that there’s time to reflect and grow with the project, grow with your understanding of the project, and then walk out the other side of it as a different person. You have a new way into what that story was and who those characters were.”
If you’re looking to make your mark in the editing world, Ernie’s advice is simple. “I remember the times when I did something for somebody random for free and then they wanted me to help them on a bigger opportunity. So say yes. Try things. Be open and put yourself out there. And be open to things that aren’t just editing. Whether you’re a director or an actor or writer or any member of crew, the more you learn about the other departments, the more you learn about the process. It just helps you be a better team player. What’s been most rewarding for me are the things that aren’t specifically editing. I’m taking an acting class right now. I don’t really want to be an actor, but doing the acting class has given me more empathy for actors. It’s given me more respect for their craft and understanding of what they need. If you want to grow as an editor, growing as a person will help you.” The magic of movies is irreplaceable. “I can go look at a beautiful painting in a museum. I can listen to my favorite song. But film speaks in time, it speaks in experience. There’s just something really cool about sitting down at a movie theater or at your house and you watch somebody else’s story and somebody else’s life, and you get to live that and be that for a little bit. I think it helps us get closer to people and our communities.”
He is characteristically pushing himself towards new creative avenues! Uncertainty keeps him on his toes. “I’ve been developing my first feature film that I would direct. I’ve directed a couple of short films and some music videos over the years, but I’m in the process of working on a horror film. When you’re editing something, it’s greenlit. Most of the time it’s shot. It is very clear what it is, when it is, and how it is. But when you’re directing, when you’re writing, when you’re kind of creating something on your own, it’s just so much more nebulous and ethereal. It’s not as tangible. It can be anxiety inducing, but it can also be really exhilarating. I’m really enjoying that part of the process now and trying to just take every step with a little bit of wonder and a little bit of excitement. I am 38, so life moves fast. I think it’s the time for me to do that, and it’ll be really exciting to get it done and to get it out in the world.” The media will forever be an invaluable megaphone. “I like to give encouragement. The times that we’re in are tough and shitty. We need voices sharing stories, speaking truth to power, in film and TV and all visual media. What we’re talking about is so powerful. We need people to champion. We need people to speak out. We need those voices now more than ever.”
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Ernie Gilbert Has Edited Your Favorite Things. Photo Credit: .
