Andrew Holmes: Life is suite

Heckler’s Andrew Holmes is a widely awarded editor with more than two decades’ experience in honing high-end spots, shorts, documentaries and music videos. 

As winner of Editor of the Year at shots Asia Pacific Awards 2023 (on top of bagging two golds for Best Editing) he talks about that most pivotal of roles in a film’s journey from conception to screen.

How does it feel to be named Editor of the Year?

I am so excited, humbled, but mostly incredibly proud. 

It’s testament to the amazing collaborations myself and Heckler have had over the past 12-15 months. 

It’s always nice to be recognised for your craft, but what truly fuels me is the next opportunity. 

What was your entry into the industry? 

At school, our art department had one of the first Mac computers, which had Photoshop. This was my introduction to digital design and I loved it. 

I studied graphic design at university and it was there I discovered a passion for editing and film. I was in the right place at the right time; we were part of the first wave transitioning from analogue to digital, which provided greater flexibility and experimentation and allowed for more creativity and exploration. For the first time, we could instantly preview, cut, copy and rearrange scenes that revolutionised the creative workflow. 

[Photoshop] was my introduction to digital design and I loved it.

While at uni, I was heavily involved in the New Zealand music scene, directing and editing videos, designing posters, album covers, websites and directing short films. This gave me a really broad skill set and helped me build a strong portfolio of work, which played an integral role in helping me to land my first job in the creative industry.

Do you have a style or signature as an editor?

While structuring a compelling visual narrative is critical, I like to experiment with sound. Being a musician has always helped me as an editor. Music and sound design are so important. They help me to build out the structure, to explore rhythm, pace, shape, emotion and mood.

Visuals, music and soundscapes are all tools that guide me to the destination.

All the beats of the story can be mapped, theoretically, with music. Alternatively, there are times, when editing narrative work, where I work purely with visuals and no sound. Visuals, music and soundscapes are all tools that guide me to the destination, but ultimately the final visual narrative has to be strong enough to work on its own.

What impact has tech innovation had on editing?

A lot of editors are using the cloud and dabbling with AI. It’s like having an assistant; auto-transcription, face recognition and colour grading. The downside? The learning curve gets steeper with every new update. 

The upside is that tech waves have transformed the editing suite into a digital playground. We’re faster, fancier, and collaborating like never before.

Are there trends that come and go – and how do you respond to them?

It’s an ever-evolving world, especially with social media trends and shorter attention spans. Brands recognise the need to capture viewers’ attention quickly, so commercial editing has adapted to shorter, more dynamic formats. Emotional storytelling and character development have become more common, with brands looking to create a deeper connection with viewers. 

The spots that stand the test of time are the ones that tell a compelling story.

The spots that stand the test of time are the ones that tell a compelling story and grab the viewer visually, regardless of the format or stylistic trends. Good spots will always find a connection.

How important is the spirit of collaboration to the filmmaking process? 

People who bring passion and energy into a project can help drive creative thinking and produce a stronger outcome. There’s always going to be creative differences in filmmaking – that’s where your communication skills become really important. You need to listen and understand the big picture – the vision and the process the director and the creatives have already gone through. By doing this, I’m able to understand the limitations we have to work within but also what creative opportunities we can explore. Communication is key.

Does your approach to editing spots, music videos and longform differ?

30-second spots need precision and impact. You’re throwing punches with every cut, making sure it’s a knockout. With videos, you’re not just telling a story, you’re choreographing it to the beat. It’s a visual jam session. 

Can a good edit rescue a hot mess of a film? Absolutely!

Long-form documentaries are more like a marathon, not a sprint. Story arcs, character development, emotional roller coasters – you’re building a narrative skyscraper. Patience is key. It’s about the slow burn, the subtle nuances and letting the story breathe. 

Can a good edit save a flawed film, and can a bad edit ruin a good one?

Can a good edit rescue a hot mess of a film? Absolutely! You trim the fat, fix pacing issues, smooth out awkward scenes, and suddenly it’s not a disaster anymore. Conversely, can a bad edit ruin a masterpiece? 100 per cent! Strange cuts, awkward transitions, the wrong pacing. Your epic blockbuster feels like a low-budget student film.

Some might say we’re the unsung heroes, the architects, the puppet masters behind the scenes. We shape the narrative, dial in the emotions, and make sure the story hits the right tone and feel. Ultimately though, it’s a team effort. Directors, cinematographers, sound designers —we’re like the maestros of the symphony, conducting the flow, but everyone’s got their instrument to play.