Issue link: http://digital.copcomm.com/i/681807
24 CINEMONTAGE / Q2 2016 in a scene as written. But if I discover something new, or something doesn't work, it is easy to create alternatives. In terms of training however, yes, traditional ways of learning from somebody and how they mentor you have shifted. It still can happen; you can get an opportunity to work with somebody as an assistant and if you're good and talented, they will make sure that you can learn with them. I think part of being a member of ACE is that mission — you want to give back to a new generation of filmmakers. I also teach at times, which has been incredibly rewarding. For future editors, I would advise working on student films if you want to improve your craft, find assignments, help somebody. It's only through practice that you can improve. CM: Were you aware of a breakout moment for yourself, career-wise? SH: I would say my first break was Jeff Lipsky's film, Childhood's End [1996], and then Alex Sichel's All Over Me [1997], my first film at Sundance. Also, Morgan J. Freeman's films Hurricane Streets [1997] and Desert Blue [1998] CM: With all these Sundance films, did you find it easier to get work? SH: I wish it was so easy. It wasn't and it still isn't. There are a lot of great people out there. Two years ago, I got a call for a wonderful project that was another extension, as it was my first musical. The Last Five Years [2014], based on Jason Robert Brown's Broadway musical, was directed by Richard LaGravenese. He is an amazing director and a great inspiration to me. Our initial meeting came thanks to Dolly Hall's recommendation to Richard, who had produced All Over Me. You would never think 15 years later that would come around but it did. CM: Your collaboration with Rebecca Miller has spanned four films now. How has your working process evolved over time? SH: When Gary Winick introduced me to Rebecca for Personal Velocity, it was still in the script stage, which is how all of our collaborations started. Personal Velocity was based on a collection of short stories she had written. That was a wonderful experience because Rebecca was quite inventive within the financial limitations. It was also the first film that was shot digitally on consumer DV cameras; Ellen Kuras won the cinematography prize at Sundance. Rebecca designed some scenes in stills because we didn't have time and money to shoot everything normally. Later in editing, we had to decide how the scenes function and what is important about them. And that's what we always look for — finding the essence of the moment and the character to build from; how can we tell this effectively? That's a wonderful process to engage with. CM: How did your process evolve after that?