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In the 21st century, the editing process is very different between fiction and nonfiction. For Sam Pollard, the nonfiction editing process depends on whether or not the film contains interviews. “If it’s an interview-based film, I will make sure that the director has transcribed all the interviews, which I can read to make selects,” says Sam.
“Sometimes I just read the interviews. Sometimes I read and watch them at the same time, so I can hear the cadence of the person who’s being interviewed.”
Once Sam makes his selects, he uses a step-by-step system. If the filmmaker has shot B roll or verite footage, Sam starts by watching that. He pulls the things he likes and the things that work in terms of look, feel, and relevance.
From there, Sam determines the film’s structure. He writes down the interviewees’ themes on 3×4 cards. On a poster board, Sam lays out a three-act structure for the film based on those themes. He arranges the cards into these three acts, and that’s how he builds the film.
Of course, Sam’s editing process looks different for films with no interviews. “If it’s just raw footage that’s been shot on location, I’ll just make selects from that footage,” Sam explains. “Instead of using the storyboard structure, I’ll just edit sequence after sequence. Fo example, someone shot me today, getting up and doing my activities. I would just edit that sequence in order.”
After Sam edits his sequences, he starts thinking about the beginning of the film. “How do I want to start this film?” he asks himself. “Do I want to start with Lizzie having the idea? With me getting an email about this program?” Then, Sam moves his sequences into place.
This editing process lets Sam create order and structure. “That’s the way I work with documentaries,” Sam says, “because 90% of documentaries have no scripts.”
