Peer Review: Jeremy Maneval

Who are three contemporaries that you admire?

I admire editors who can establish a language of their own, outside of current tropes, and bring their own style/rhythm to the edit.

Jennifer Lame and her edits for Christopher Nolan. It’s interesting how their shorthand started during the pandemic with Tenet. Working in separate rooms, over the phone, seems to have actually brought them together. Without Nolan standing over Lame, it left more room to experiment. That trust is really freeing; it’s that trust that builds bonds.

Shane Reid. I think it’s the evolution of his career, moving from the edit desk to the director’s chair. Creating from what you have on some projects and shaping the edit before receiving the footage on others. On Deadpool & Wolverine, he received the pre-vis for some large action sequences and then had the ability to go to set to ask for more. Digging into the scene to make it better through picture and sound.  

Please share 3-4 pieces of work that exemplify great direction.

Speaking of admiration, I think editors who have strong relationships with their directors create really engaging work. The editor/director relationship is the connection that brings the film together.

For instance, the chaotic energy of Christopher Rouse’s edits for Paul Greengrass. The Bourne series is so intense that you feel like you’re an eyewitness to the action. 

Thelma Schoonmaker’s edits for Martin Scorsese. Raging Bull and Goodfellas are classics.  She recently said in an interview, “Each shot has its own life, you have to make it live.” I love the idea of giving a scene purpose and a moment to breathe, letting the viewer take it in before cutting.

Above: Legendary editor Thelma Schoonmaker.

What do you like most about the work that you do?

There are buzzy C words that come to mind when you read these things. Do people believe in those things or just say them cause the last person did?

For me, it doesn’t feel like a job. Yes, there’s time given to every decision I make, but I wouldn’t say it’s laborious. It’s fun to find the shapes and patterns in the pictures I’m given. Experimenting with new ways to get from A to B.

What was your journey to becoming an editor?

I recall experimenting with editing and compositing software in school. Premiere, After Effects, Flint (does that still exist) - programs that were available in the computer labs.  

It was only when I answered a classified listing on Mandy that I truly knew what I’d use this knowledge for.

Above: The Way Things Work Book by David Macaulay and Neil Ardley.

Where does your passion for telling human stories come from?

I’m not sure where it comes from, you know, maybe it comes from that book The Way Things Work, the illustrations are amazing. As anyone has, I’ve watched a ton of TV and movies.  It’s my interest and curiosity in how it was all put together.

What is one thing all editors need?

Patience. Finding patience for the process.

The best thing is when the client comes back ‘round to the first rough you created.  They may not realise it, but you do.  When that happens, you can be confident in knowing that the choices you made in the beginning helped shape that final work.  From selection to assembly, your hand shows through.