Hijack

Editors - David Webb and Robert Frost

HIJACK editors David Webb and Robert Frost have logged many sky miles together in the cutting room, but mostly with Rob as David's assistant.  That all changed when David tapped Rob to take on full editing duties for their previous collaboration, LITVINENKO (2022); a critically acclaimed series directed by Jim Field Smith for ITV.

HIJACK is a seven-part miniseries created by George Kay and Jim Field Smith that premiered June 28th, 2023 on Apple TV+.  It is a pseudo real-time account of the hijacking of Kingdom Air Flight KA29, during its seven-hour journey from Dubai to London.  On board the flight is corporate negotiator Sam Nelson (Idris Elba), who tries to use his professional skills to save everyone on board.

David Webb

David Webb is Partner, Managing Director and a film editor at Final Cut Limited.  Webb cut his teeth on music videos in the early 2000's for George Michael, Paul McCartney and Robbie Williams among others.  David also collaborated with Edgar Wright on many of his early music videos, including Mint Royale's 'Blue Song'.  That video was notably the inspiration for Wright's film, 'Baby Driver'.  David spent a decade cutting commercials before moving into long-form at the request of HIJACK director Jim Field-Smith and has collaborated with Jim ever since.  Together the two have worked on; THE WRONG MANS, ENDEAVOUR, CRIMINAL, DEFENDING THE GUILTY and TRUTH SEEKERS.  David's work can also be seen in the coming-of-age series, SEX EDUCATION.

Robert Frost

UK-based editor Rob Frost's most recent credits include being the assembly editor on LITVINENKO (2022) and assistant editor for; SEX EDUCATION Season 2/3 (2020-21), LANDSCAPERS (2021), CRIMINAL UK Season 2 (2020), 47 METERS DOWN: UNCAGED (2019) and STRIKE BACK Season 7: Revolution (2019).

Editing HIJACK

In our discussion with HIJACK editors David Webb and Robert Frost, we talk about:

• Making the move to the editor's chair
• Telling tales in real time
• Cutting first, watching dailies later
• Serving up a visual sorbet
• Perfecting the practical effects in the cutting room

The Credits

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