Issue link: https://digital.copcomm.com/i/1538125
42 C I N E M O N T A G E B O O K T A L K By Kristin Marguerite Doidge A ssistant editor/editor Jared Si- m o n d i d n' t i n i t i a l l y s e t o u t to write a book. But his detailed co- pious notes taken while working in the cutting room led his mentors to make a fortuitous suggestion. The result is "Every Frame Counts: An Assistant Editor's Reference Book," which was published by Routledge in April. "This book can serve as a 'mentor in your pocket,'" writes picture editor John Axelrad, ACE in the book's foreword. "It is filled with innumerable details and valuable insights into both existing and new methods of operation." First hired by Axelrad to work on "Ad Astra," Simon has amassed other impressive credits such as "The Piano Lesson" and "Chevalier" while he was being mentored by Axelrad and picture editor Leslie Jones, ACE. Throughout the book, Simon covers the duties of an assistant editor over the course of an entire feature film or television project in order to help current and prospective assistant picture editors not only hit the ground running, but keep up the pace and continue thinking critically and creatively. The book's easy-to-navigate structure loosely follows that of a typical job by identifying and outlining four key phases: Dailies, Director's Cut, Screenings, and Finishing. He also includes passages that outline pre-production, the first day on the ASSISTANCE FOR ASSISTANTS JARED SIMON'S NEW BOOK 'EVERY FRAME COUNTS' IS LIKE HAVING A 'MENTOR IN YOUR POCKET' job, temp sound and visual effects work, and turnovers, as well as wrap and archiving. Special features include advanced tips for interacting with Avid Media Composer, editorial-specific use cases for automation using FileMaker Pro, and best practices regarding every aspect of the job. CineMontage recently spoke with Simon about how the project developed, the im- pact of his relationships with mentors and mentees, and in what way he hopes other assistant editors will use the book in their own work. CineMontage: How did this project first come about — and how did Robert Ivison, ACE help make it possible? Simon: I never intended to write a book! I take very diligent notes on the job, and I refine and expand on them while I have downtime at work, while it's still fresh in my head. I do this because this job has many moving parts, and I don't want any thing to fall between the cracks. Alongside that, I greatly enjoy mentoring whenever possible, so the mindset of explaining not just what I'm doing but why I'm doing it comes very naturally to me. [Picture editor] Chris Cooke, ACE invited me to speak with his class at AFI, and then I was asked back by [fel- low picture editor] Robert Ivison, ACE. He asked about my notes and suggested I look into publishing them, eventually connecting me with Routledge. Robert wasn't the first to suggest this, but he really helped get the ball rolling in a meaningful way. I filled out the book p ro p o s a l a n d k e p t R o b e r t p o s te d , asking him and other industry and ac- ademic professionals at various levels and in various classifications (visual effects editors, experienced and more green assistants, etc.) to review the work in progress. CineMontage: You've mentioned the importance of having mentors. Tell us about your relationship with John Axelrad, ACE and how he came to write the foreword for the book.