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Finely Sliced: Why Rachael Spann Loves to Tell a Story

11/04/2023
Editors
London, UK
139
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WORK UK editor on starting a project with tea and toast with marmalade, inescapable rhythm and why there will always be a place for traditional story telling

Rachael Spann started her career as an assistant editor at DGW then moved to the Quarry, where she began assisting for Bill Smedley and Scot Crane. After four years she became an editor.

In 2013, Spann was asked to join Work Editorial, now alongside Bill Smedley as well as Rich Orrick, Neil Smith and Art Jones. At Work she was able to develop her skills further in commercials and edit with award winning directors James Rouse, Declan Lowney and Taika Waititi.

Spann edits a variety of genres, however she specialises in comedy and documentary storytelling, working in both observation and character led narratives. As an editor, she constantly challenges conventional approaches to commercial documentary editing. Her work has been exhibited in festivals both locally and internationally.

Her online mocumentary ad Randoxs 'Sniffers' won a Gold Clio, a Bronze Cannes Lion and a Webby award, hailed by the New York Times as the 'Internets highest honour'. 


LBB> The first cut is the deepest: how do you like to start an editing project?

Rachael> With a cup of tea and some toast with marmalade! I think most editors start a project in the same way, I’ll check in with my assistant, we’ll of spoken about the project before it starts. I’m really lucky to have a wonderful creative group of assistants at Work who prep jobs meticulously. Once I know all's well with the rushes I’ll re read scripts, look at storyboards then make my first selects. I like to be quite loose with the first selects - you never know what you might like the feel of once you’re assembling, so generally just drop unusable footage at this stage. Then will have a call with the director to check there’s been no changes I need to know about.

I like to assemble the edits quite quickly after this, I work with great directors who put their trust in me, so they’ll leave me to crack on and I’ll present a cut to them once I’m happy - or when we have to, schedule dependant.


LBB> Non-editors often think of editing just in technical terms but it’s integral to the emotion and mood of a film. How did you develop that side of your craft?

Rachael> If my job was purely technical I’d be in a lot of trouble.

I’ve only ever had creativity in me, so I don’t feel like that's something I’ve had to work at. I think you feel so much when you’re cutting, so the creation of emotion and mood is just an organic part of the process. For me, so much has come with experience, and with that the confidence in my decisions. I’ve been lucky to collaborate with wonderful directors/producers/creatives and I feel like I take something away from each job - the good and the bad - this is what has moulded the editor I am today. I’m constantly developing, long may that continue!


LBB> How important is an understanding of story and the mechanics of story?

Rachael> I think that depends on the project. If there’s a story to tell, its crucial. If its a purely creative piece, then sometimes best to know very little. I love to tell a story.


LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it’s a film without actual music) – how do you think about the rhythm side of editing, how do you feel out the beats of a scene or a spot? And do you like to cut to music?

Rachael> Rhythm is inescapable in good editing, isn’t it? 

I don’t feel like its something I overthink, you just know when you watch a cut if it’s flowing well. The beats in comedy are always the most enjoyable for me, I love an awkwardly long pause. Not as enjoyable if you’re met with that same pause when presenting the cut to a roomful of clients.


LBB> Tell us about a recent editing project that involved some interesting creative challenges.

Rachael> I recently cut a great campaign for Hope United with Glenn Kitson @ Anonymous Content. A one day shoot with seven cameras, I had two days to cut one 60sec and five x 30sec spots. I weirdly love those challenges, no time to over think it, just going with your gut, does that work - is it funny? Thankfully a yes with these!


LBB> How important is your relationship with the director and how do you approach difficult conversations when there is a creative difference of opinion?

Rachael> Its invaluable. If you don’t have a good relationship, you don’t have a job. 

I don’t think I’ve had a ‘difficult’ conversation with a director, we will often talk through differing ideas of how somethings put together or opinions on performance, but I don’t find that difficult, without it you’re just operating a computer, its part and parcel of collaborating.


LBB> What’s harder to cut around – too much material or not enough? (And why?)

Rachael> Not enough. You lose the options of what’s possible, whether that be options of takes or options of pacing. Thankfully it doesn’t happen often, but I shudder at the idea.


LBB> Which commercial projects are you proudest of and why?

Rachael> I’m proud of all the spots on my showreel! 

Actually in recent times, my first project back after having my daughter was really wonderful. It came earlier in my maternity leave than I’d anticipated but I’m so glad I did it - and with a director I hadn’t worked with before, she was a dream. I had to take breaks to breastfeed while cutting over Zoom with her. The whole job just felt so special and incredibly reassuring that it was possible to juggle these two worlds!


LBB> There are so many different platforms for film content now, and even in advertising something can last anything from a few seconds to a couple of hours. As an editor, are you seeing a change in the kind of projects you’re getting from brands and agencies?

Rachael> I’ve worked on so many formats, that side doesn’t feel new to me. The thing that is different is the focus on social media formats in commercials campaigns now, TV used to be the biggie, and socials were for fun. That feels like its completely switched now. I do think its a bit of a shame to of lost that fun, slightly edgy side of social media content.


LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?

Rachael> The editors I work alongside at Work Editorial are up there. For me there’s a lot more to being a good editor than the work you see on screen, knowing how people run a room, how they treat runners, assistants, producers counts. I’d also say all the female editors I know (and don’t know) who’ve had to put up with so much shit just to get on in the industry I have huge respect for.

I love editing that's fun, where you can see how much enjoyment has been had to create a piece. Bill Smedley and Sara Dunlops spot for TFL ‘The Tortoise and the Hare’ is a wonderful example of this. The flip side would be when I watch a feature film and will get to the end and realise I haven’t even noticed the editing, also brilliant.


LBB> How does editing in the commercial world differ from the film world and TV world?

Rachael> Do you mean in technique or the process? 

I think technique has a lot of crossover from styles of TV shows and films into commercials, so you will cut according to that style or genre if required. In terms of the process, commercials are generally such a fast turnaround, long form you can really bed in and live the project way more. Both worlds are a lot of fun and in my experience having time away from one to do the other is always incredibly refreshing.


LBB> Have you noticed any trends or changes in commercial editing over recent years?

Rachael> I think like everything its just ever evolving and often reflects current film and TV trends . I think there’ll always be a place for traditional story telling though.

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