When the brush is alive — How I work with my editor

A peculiar aspect of documentary storytelling that continues to intrigue me is the role of editors and their relationship to directors.

Since my first documentary, I had always worn the director's hat. At times, I would wear the editor's hat too. But whenever I can, I would much rather have someone else handle that responsibility - though not completely.

I enjoy telling the story, and given a responsibility for handling the words and likeness of real people in my works, I will always have a firm hand on how the documentary is woven. But I do not enjoy the rest of the process of refining the film as much. Furthermore, there is merit in having someone of a different perspective take on that role so that one does not suffer from tunnel vision.

You can imagine then that the relationship between the director and editors are sacred - in fact, it is difficult for me to develop new relationships because it so often comes down to having the right fit. And this was how I found one.

As I was in the midst of producing my second documentary, Trespass: Stories from Singapore's Thieves Market, I had opted to do so as a one-person band, including the editing process. But at some time on that journey I realised that I had captured something more valuable that demanded more talent.

This was when I connected with Eugene Seah, a well known editor and colourist in Singapore who had graciously provided his experience and advice. As I had no money to pay him his usual fee, we worked together by first having me lay the foundation of what I hoped the documentary would be, and he would take over mid way to clean it up and make it work. This process would become a default on my future projects.

The impact is immediate, my first draft which was an hour long became 30 minutes, yet none of the vital information was left out. That was the difference in our skills - his 8 years versus whatever I had at that time.

He went on to transition to becoming a full time colourist, and so I was on my own once again. But I took this opportunity in stride. I wanted to prepare for my next encounter with an editor, but to do so I needed to learn the fundamentals.

When I was commissioned to make a documentary in Norway, that project became the perfect opportunity to master the basics of editing. I use Adobe Premiere Pro, and stripped all the default functions and registered them to how I would normally play MapleStory, an iconic MMORPG (Massive Multiplayer Online Role Playing Game) that requires many keyboard shortcuts.

The first few weeks of editing were brutal as it was slow. It was like learning how to ride a bicycle when one is already on enroute to make a Grabfood delivery. But this was the best kind of motivation - the clock was ticking, and I had to learn fast or fall.

In four month, I had mastered the basics, with keyboard shortcuts known to myself and no one else. It allowed me to work faster, which enabled me to take on more demanding jobs. This became a step ladder for bigger projects, and two years later, I found myself with an opportunity to work with another editor.

The good folks at Creatives At Work supported a project of mine by partnering me with suitable freelancers. The criteria for a good fit in a partnership goes beyond capabilities. It includes attitude, conflict style, just to name a few. The person they introduced me to - an editor called Ewe Shen.

We clicked instantaneously, and long story short, after knocking our first project out of the park, we have been collaborating ever since. But that does not mean that our collaboration is a walk in the park.

Just like my other long time collaborator, Jeremy, who is my Director of Photography since my first documentary back in 2016, Ewe Shen and I will get into debates on what is the best way forward - but in a manner that respects our own field of expertise while being aligned towards doing the best for the work itself.

The first review of Ewe Shen's first draft is always the most painful - dozens upon dozens of pointers on misalignments in communication, expectations and understanding that manifested in the edit.

But just as I am about to pull my hair out, the first meeting of said review is also the most refreshing, because we get to communicate, and I have often found us to be of the same mind but of different perspectives. And because of this, it also allows for pleasant surprises. Ewe Shen does challenge me as well but includes specific edits that I will always spot and mention before he acknowledges it. Perhaps it is his way of keeping me on my toes.

And that's why I am the painter but he is the brush.

Embracing the relationship of two or more human beings working together in different capacities can allow for magic to happen - as our works can attest to.