How do documentary films inform the way we approach narrative filmmaking? What does it mean to care for your mental health in an industry that thrives on constant creativity and long hours? How do documentary editors navigate the emotional toll of handling sensitive, often traumatic stories?
In today’s episode, No Film School’s GG Hawkins speaks with editor Kait Plum to discuss:
- Doing a test scene before becoming the editor of Bad Shabbos
- The difference between editing doc and editing narrative
- Editing a film with many characters
- The benefits of doing test screenings for comedy
- Facing difficult footage when editing a documentary
- The importance of setting boundaries and taking breaks
- Using the term “participant” instead of “subject” in documentary filmmaking
- What it was like to work on the doc, Mediha
- Why networking and mentorship are crucial for aspiring editors
Memorable Quotes
- “Working in documentary is so much work. Working in narrative was just fun because everything is there and you have a script.” [5:01]
- “We are looking at a lot of harrowing stuff on repeat and having to internalize that.” [30:55]
- “I know a lot of fellow documentary editors who deal with depression and anxiety on a regular basis.” [31:02]
- “The number one thing in the film industry is to network.” [42:56]
Links:
Bad Shabbos
Mediha
Follow Kait on IG
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