Issue link: https://digital.copcomm.com/i/1475547
few weeks while one of his assistants was on vacation. I had zero animation experience, but John believed in me. Thanks to him, I was able to get my foot in the door. Q: What was your first union job? My first union job was a CW TV show, "Beauty & The Beast." Laughably, I did not last very long on the show, but it was a valuable lesson, and I am still grateful that I was able to work on it so I could finally get my union card. Q: What credits or projects are you proudest of, and why? There are a handful of films I take pride in, a mixture of both live action and anima- tion. The two live action films were "The Invitation," a drama/horror film where I was an assistant editor under Plummy Tucker, and "Dragged Across Concrete," an action thriller I worked on as assistant editor to Greg D'Auria. The two animation shows were "The Lego Batman Movie," the animation action hit on which I assisted Garret Elkins, and the animation comedy "The Addams Family," where I worked as first assistant to David Salter. Although these shows range from thriller to family films, they have commonalities: my editors were fantastic, they each mentored me, and we were always able to talk about the story and dissect scenes together. I am forever grateful to each of them for hiring me and making me feel like a part of the team. Q: What was your biggest challenge in your job (or on a particular project) and how did you overcome/solve it? The biggest challenge I face with any job is the politics. How do you handle an upset producer? How do you handle a moment when the director and editor have conflict- ing viewpoints? It's taken me a while to learn how to become diplomatic and stop myself from responding reactively or de- fensively (although sometimes I still fail!). During those times, I have learned it is best to listen, take a step back, and give yourself a moment to come up with a solution to whichever problem arises in that moment. Q: What was the most fun you've had at work? I've had a lot of fun on all the animated shows I've worked on. In animation, edito- rial is the hub. You are involved every step of the way, from pre-production through post-production. How is editorial involved i n p re - p ro d u c t i o n w h e n we' re c l e a r l y post-production? This is the magic of animation. When we're in the storyboard phase, we're reworking the story over and over again. Editorial is heavily involved with the storytelling process; it's very collaborative and a lot of hard work, but I absolutely adore it. It certainly helps that everyone I have worked with in animation has been so great. Q: Jobwise, what do you hope to be doing five years from now? I hope to continue moving my way up the editorial chain and one day become a lead editor on a feature. Q: What are your outside activities, hobbies, passions? Work from home has really changed my lifestyle. I now walk my dog every day during my lunch breaks. It brings us both joy. I love reading, playing video games, cooking new meals, and learning more about Los Angeles history. Q: Favorite movie(s)? Why? Naturally, I feel I have to pick movies from both animation and live action. "Beau- ty and the Beast" will always be my favorite animated film. Belle heavily influenced my childhood, including reading because she loved it. "Kiki's Delivery Service" is a very close second – really, any Miyazaki film because of his brilliant storytelling and animation. For live action, it would be "Run Lola Run" and "The Cook, the Thief, His Wife & Her Lover." My European mother intro- duced both of these films to me as soon as I turned 18, and I had never seen such storytelling! Both films are so intense, and you get so invested with the characters. Of course, I can't leave out my all-time favorite comedy, "Blazing Saddles." Mel Brooks is a genius. Other honorable mentions go to a few Bollywood films that bring me pure joy: "Dil Chahta Hai," a feel-good road-trip-with- friends movie, and "Singham," a cop movie with such intense over-the-top action, it nearly puts our action films to shame. Q: Favorite TV program(s)? Why? This may sound scandalous in the gold- en age of television, but I'm not the biggest series viewer. I enjoy watching "Dr. Who" because it's silly, and sometimes I need a quick pick me up after a long day. I like watching any shows that are on the comedic side and don't take themselves too serious- ly, like "Curb Your Enthusiasm." Q: Do you have an industry mentor? I have two mentors: Sharon Smith Hol- ley, who is my biggest supporter, someone I can always come to with questions or concerns; and David Salter is always there for me, whether it's to discuss a scene or be an advocate for me in the cutting room. Q: What advice would you offer to someone interested in pursuing your line of work? M y a d v i c e e c h o e s t h o s e w h o c a m e before me: network, network, network. If you are passionate about a certain medium, find people who work in that area and offer them some coffee! Your enthusiasm will win people over and you will get in. Just keep doing it. Q: Was there ever a circumstance when you had to rely on the Guild for help or assistance? I have reached out to our field reps sev- eral times over the years, once for a Tier 1 project that never paid on time (and I finally did get paid!), and other times with time- card questions (meal penalties, vacation/ days off). Never hesitate to reach out to our reps. They are extremely helpful and they are here for us! I am so thankful we're able to turn to our reps for help. Q: Is there anything you'd like to say to your fellow Guild members, some words of encouragement? Always feel free to reach out to the union with questions or concerns, I'm always surprised how many Guild members don't do that. We've got to stick up for ourselves and look out for each other because studios won't. You are your own best advocate. ■ Compiled by David Bruskin. 16 C I N E M O N T A G E W H A T O U R M E M B E R S D O