Issue link: https://digital.copcomm.com/i/1533763
directly to you — and this was one of those times. So, before I left the inter- view, I turned back, took a beat, and said, 'I would just like to say how grateful I am for this opportunity and, echoing the sentiment of Ted Black, in no way do I feel my previous work entitles me 'to skip right to the front of the line.' The laughter that followed told me this landed the way I had hoped, and I ultimately landed the pilot as well." You worked on the Fox lot? Tell us about your editing set up? "Cutting the Suits LA pilot at the iconic Fox Studio lot was a true highlight for me. Built in 1928, and originally known as Movietone City, it was the first motion picture facility built specifically for film production. Some of the most iconic movies have been filmed there, such as Miracle on 34 th Street, The Sound of Music and one of my favorites as a kid — Big Trouble in Little China. So, although I was given the option to partially work remotely, setting up a cutting room on the lot full-time was a no brainer. "As for my editing rig, it included the essentials: Avid Media Composer 2023, paired with the NEXIS storage system. Keeping media from the original series online was very helpful for reference, and the NEXIS handled nine seasons worth of media wonderfully. I also love having ac- cess to After Effects and Photoshop for any advanced temporary visual effects I might want to flesh out. Although, truth be told, my rockstar AE Kenji Yasutake had me covered." What did you bring with you from your time editing reality TV? "One of the many things I learned coming up in the reality TV world was just how useful macro software can be. Keyboard Maestro streamlines my workflow by collapsing complex key combinations into a single press, making repetitive tasks a breeze. On top of that, my Megalodon Triple Knob Macropad and programmable mouse offer even more customization options, giving me access to a wider range of macros and extra keys. These tools help me edit more smoothly and efficiently, giving me more time to focus on the creative." Let's talk about the pilot, which premiered on February 23 rd . "Editing the pilot for Suits LA has been a great privilege. The challenge of hon- oring the iconic storytelling style of the original series, while introducing fresh elements, new characters and their arcs, was exciting and rewarding. Crafting performances for characters being in- troduced for the first time is particularly important. With no prior reference for these characters, every decision shapes how the audience perceives them. "Take Ted. We were particularly careful in how we handled his moments of anger, doing our best to make sure they always felt earned and justified. A key example is the flashback scene with his father outside the hospital that I refer- enced earlier. When I originally cut this scene, I was tempted to use more intense takes from Ted as he confronts his father. Having read the script, I knew the totality of what his father had done and there- fore it could justify a much more heated performance. From an audience mem- ber's perspective however, when we get to that scene, we only know that Ted's father has wronged him, but we don't yet know to what degree. By toning down Ted's performances, we hoped to preserve his characters favorability and complexity of his arc." Are there other scenes you would point to? "Another pivotal moment with Ted's character, and the overall feel of the pilot, presented itself in the opening scene. The pilot starts off with a flashback where Ted, working as a NYC federal prosecutor at the time, goes to pressure an informant, Billy, into testifying in a case. As it was originally scripted and edited, Ted walks up to the door and im- mediately sucker punches Billy. After Ted threatens Billy's daughter if he doesn't testify, a brawl breaks out between the two of them. "As you could imagine, there are likely some people who expected to be starting off with glamorous shots of Los Angeles and getting right into a sexy new Suits LA law firm. Aaron and I agreed, however, that this wasn't the typical Suits world, and felt it was important to establish that distinction right away. Also, reordering or lifting the scene wasn't an option due to its importance in the pilot's structure. As a compromise, however, we worked on recutting the scene without the initial sucker punch, adding ADR lines to better justify Ted's behavior...The pilot did get greenlit with this version of the scene, but we ultimately wound-up reshooting it once production started on the series in order to further refine it — removing all the physical violence, rewriting dialogue to deepen Ted's mo- tivations, and even taking the opportu- nity to plant a line in reference to Ted's relationship with his father. "As an editor I really enjoy this nu- anced process of shaping individual per- formances and overall story. Sometimes it's about replacing entire takes. Other times it's as subtle as swapping in a single word's inflection while keeping the picture the same. At times, you may have to reorder scenes to perfect pacing and the emotional resonance of storylines. And on rare occasions, a reshoot may be necessary in the attempt to have a story hit just right." Any final thoughts? "To the fans of the original series, I would like to thank you! There were many stars that had to align in order for us to be where we are today and not least of which is your support. Part of what is special about Aaron Korsh is knowing the expectations. He has a willingness to push himself creatively and always trust- ing in his gut instincts. So for those that feel like Suits LA may not be enough like the original series, and others who may feel like it's not different enough to stand on its own, I urge you to give it a chance. Here in the edit bays on the Fox studio lot we feel strongly that we have some- thing special developing and are hopeful it will translate to the viewers. "I'm incredibly grateful to have a hand in shaping this new chapter in the Suits franchise. Working alongside such a talented cast and crew to bring these compelling characters and sharp storytelling to life has been a true privilege. Much love to my wife, family and anyone who has supported me along the way!" www.postmagazine.com 17 POST MAR/APR 2025 The show is cut on the Fox Studio lot.