Editors are rarely given their time to shine.
They are often pushed to the side, leaving room for the actor, actress, screenwriter, producer and director to soak up the glory of a critically and/or commercially successful film. Seldom are the editors remembered or honored for their contributions to one of the most difficult aspects of any film–pacing and style. What Harris Mark of the New York Times once called the “invisible art,” editing is the glue that makes any film tick and tock along to the rhythm of the picture and something that most do not even notice.
That is, unless it’s deliberately focused on. A runaway critical hit, “Moonlight” is a film that dabbles in the practice of honing the viewer’s attention to the editing process. From a sensual touch to the soft expression of a character’s face, “Moonlight” demonstrates the power of a focalized editing effort. The Knockturnal sat down with Academy Award-nominated editor Joi McMillon to talk about her experience on the film, her climb to fame and reverence and any advice she can give to budding editors.
The Bandry Rule
When first encountering the word bandry, most (including me) do not understand its meaning. While an Australia’s version of Urban Dictionary may suggest that it marks a limit or border, it seems that for Barry Jenkins and Joi McMillon, it is anything but that.
“Barry definitely has this very artistic style that he likes to implement into his movies. Basically when he says to make something more bandry, he basically means that we can push it a little further and that we can take it in a direction that many other people wouldn’t do,” said McMillon. The editor went on to provide a few examples, such as “having the camera be in slow motion but keeping the dialogue underneath so it’s not in sync or going from slow motion to jumping right back into real-time so as to move the story along in an artistic way while keeping the audience engaged,” a practice that most certainly paid off.
Having the Third Act To Herself
“Moonlight” is hardly the first film to be cut into three distinct and fully actualized acts. The practice often appears as a homage-of-sorts to the playwright’s system of unfolding a dramatic narrative. But while most try to embody the pastiche of a well-oiled narration, “Moonlight” goes above and beyond, creating an anachronistic portrait of a young man’s plight and survival in Liberty City, Miami. McMillon was tasked with editing what is the most tense and invigorating act, wherein we see the culmination of years of brutality and unfulfilled dreams, aspirations and desires. “In editing act three, I had the privilege of working with the older versions of Kevin and Chiron which was a great and awesome experience. When we see Black, he’s changed so much. So one of the things that I had to make sure was that the audience connected with Black and still see that very early version of Little in him” said McMillon.
She also credits a lot of her work to the acting prowess of Trevante Rhodes and André Holland. “I had the amazing privilege to work with Rhodes and Holland and both of them are such incredible actors. Their performances are just so nuanced and so subtle, which enabled me to cut in a very subtle and nuanced way,” confessed McMillon. The Oscar-nominated editor revealed that “my goal was to create a space that was inviting and comforting for the audience. I was trying to make sure that the audience wanted to stay and not pay attention to the fact that they’d been in the same location for five scenes.”
On Being the First African American Editor to be Nominated for An Oscar
After the tumultuous last few years in Oscarland, wherein black actors, directors, editors, screenplay writers, producers and so many more were snubbed by the prestigious academy, it seems that the organization finally listened. The #OscarsSoWhite campaign seems to have paid off. Not only were a record number of black actors nominated for an Academy Award, so too was Joi McMillon, making her the first African American editor to be bestowed with the distinction.
“I know that people think this is cliché, but to me it really, truly is an honor to just be nominated. For the Academy to recognize Nat [Sanders] and I’s work is definitely, definitely a career highlight,” said the jubilant McMillon. McMillon and Sanders are up against editors who had either previously won an Oscar or have had nominations for previous work. Sensing the possibilities of a nomination, McMillon revealed that “the pressure [of being nominated] wasn’t directly applied to be but I could see in my friends and family’s eyes that they were thinking, ‘oh my gosh, it could be! It could actually happen!’ [laughs]. I honestly don’t know what our chances are but I hope our work on ‘Moonlight’ speaks for itself.”
Advice to All Aspiring Editors
The editor is often the unsung hero of any film or television production. While they labor away in the cutting room, the other members of production soak in the glamour and fame. And to break-in to the selective world of feature film editors, it takes time, effort, and skill. But McMillon suggests that it also means having to pay your dues. “It’s a long process to get to be in the editing chair. Feature films are right now a very small community and to get that job takes a long time,” revealed McMillon. “It could take an assistant a good ten to fifteen years before they are actually given the opportunity to be an editor. So you can’t get discouraged by that because if this is what you want to do, you just have to stay motivated and keep your eye on the prize and eventually you will get there. You will have your opportunity” said the encouraging McMillon. But not before telling it like it is.
“You have to do 100 days of non-union work to get into the union and to get those 100 days, a lot of the time, it means you have to work in reality television,” said McMillon. “There is good money in reality television but for me, I knew I wanted to work in feature [films]. That was my ultimate goal. I ultimately had to leave after two and a half years to pursue my goal. It was hard to walk away. Where I come from, you don’t walk away from a good job,” said McMillon. The “Moonlight” editor went on to say that “when I finally decided to walk away from reality television, I was being offered to be an editor on “Biggest Loser” and I was only 23 at the time. That would have been a huge step for me but it was a step in the wrong direction.” Thankfully, McMillon listened to her heart and soon enough graced us with the touching and poignant editing work of “Moonlight,” a work that will surely see her have a prosperous, acclaimed and lasting career.
