Finely Sliced: Why Editing Equates to Storytelling with Valerie Lasser

Senior editor at Big Sky Edit, NYC on morning rituals, connecting with people and why rhythm is profoundly human.

Valerie Lasser is a senior editor at Big Sky Edit, NYC. Cutting commercials for over 25 years with agencies nationwide. Other works include music videos, documentaries, and short films. During her career as an editor she has been dedicated to teaching the craft. Active volunteer for many non-profits mentoring up and coming talent in the world of post production with the tools and mindset needed for success in today’s industry. Part of what drives this native Long Islanders creativity is the spontaneity and support of her husband, two sons, and two dogs. Huge supporter of animal rescue.

LBB> The first cut is the deepest: how do you like to start an editing project?

Valerie> The morning ritual is the most crucial to me. Up at sunrise; walk with my dogs, and exercise (pickleball or yoga if I am lucky). I am far more productive, and detail oriented throughout the day with some zone minutes packed in before nine. A great final cut starts with organisation, and it’s worth the extra time up front. I need to prepare for a proper introduction to the footage I am about to meet for the first time. By the time I have clients in the room, I have a very intimate relationship with their footage and can speak to it in ways that answer their questions as well as surprise them.

LBB> Non-editors often think of editing just in technical terms but it’s integral to the emotion and mood of a film. How did you develop that side of your craft?

Valerie> Before I was 10 years old, I would record a lot of radio broadcasts on my dual cassette boombox. Then I would secretly place some audio cassette tape recorders around my friends or families’ houses during gatherings and ask people questions without knowing they were being recorded. I would later edit interesting mix tapes combining music, foley sound effects, and dialogue to give to my grandparents for their anniversary, as one example. Not long after I started this, people began to make requests. It was incredible to me at that young age that I could make a room laugh, cry, or both within a two-five-minute playback. The biggest take away from it all was acknowledging at such a young age the passion it took to work and edit until it hit a cord. That amazing feeling you get from connecting with people (an audience) is what sparked my journey.

LBB> How important is an understanding of story and the mechanics of story?

Valerie> In print, “editing” is considered the final touches or corrections. For film directors and film editors, editing equates to storytelling. The application is just the tool used to glue the pieces together. It’s crucial to understand the original idea, and with ads, it’s a collaborative effort. Once I have the footage, I can zero in on the nuances that lend to a dilemma, progression, and resolution. Good storytelling exceeds expectations, especially with the element of sound design. As “a picture is worth a thousand words”, a sound can be worth a thousand pictures. Mastery lies in grasping story mechanics and its profound visual and auditory impact.

LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it’s a film without actual music) – how do you think about the rhythm side of editing, how do you feel out the beats of a scene or a spot? And do you like to cut to music?

Valerie> Rhythm is profoundly human, and the basis of how we express ourselves. When I am working on a cut, most of my ideas are heard in my head before seen. The sound of it coming to me before the visual. I spend a lot of time walking at quiet hours like minutes before sunrise, and it’s in these silences where the melody of nature can quickly become chaotic. Regardless of editing with or without music, the ability to sense warmth, distance, aromas, and flavours in a scene remains paramount. These sensations stem from the sequence's inherent rhythm, a natural cadence born from our own experiences. Most intriguing is the rhythm of silence. It can serve as a pivotal bridge between two crucial moments in the story, whether bookended by music, dialogue, or sound effects.  

I also love cutting music videos, which is “cutting to music”, but not necessarily syncing to the beat. Music videos entail storytelling of their own. It’s just as important to understand the lyrics and create a feeling as powerful as the song itself in a good edit. More often than not it’s an action within the scene that hits a beat rather than a cut.

LBB> Tell us about a recent editing project that involved some interesting creative challenges.

Valerie> I will hit on a recent project which was shot with real people vs. actors. They were given a scripted version of the “storyboard” to read, but asked to ad lib with a brilliant interview led by the director. The challenge is to always show your client the board, but then hopefully something better. We knew we had what the brand “expected”, but we found a way to creatively construct a performance that was better. We are always fortunate when we land on the same page with the creatives and the director with a spot everyone loves.

LBB> In the US we know that editors are much more heavily involved across the post production process than in Europe - what’s your favourite part of that side of the job?

Valerie> The collaboration. There’s no greater feeling than the moment a picture is locked and we can prep for finishing. I applaud the amazing colour and graphic artists I have been honoured to work with over the years for their amazing talent. I feel very close to the mixing artist since I do all my own sound design, and I would say this is a close second to my favourite. The most gratifying part is having the trust and confidence in the amazing assistant editor that has seen the job from beginning to end. They serve as a sounding board through the whole process and their attention to detail throughout the project shines in the finishing stages. Like with any craft, it’s in the learning and the teaching where we all expand our talents. I learn something new every job from the amazingly talented people I am blessed I work with.    

LBB> What’s harder to cut around – too much material or not enough? (And why?)

Valerie> That’s tough to answer. Every job presents challenges. When you’re talking too much footage, some would argue there is no such thing. Too much could also mean less intention, but more creative opportunity to mould something unexpected. The same could be said for not enough. To have to create footage to complete a story could have endless possibility too. I would have to say both are not easy, but if you’re an editor chances are you accept both challenges because that’s what we love to do.  

LBB> Which commercial projects are you proudest of and why?

Valerie> As a creative partner with Ogilvy, I cut an American Express ad “Members Projects” which explored the history of the brand utilising footage from 50 years of archives. It was my “Riding Giants” moment reviving archival footage from film to one inch tape, to Digi Beta, and working with our amazing VFX team to make a spot that was greatly celebrated in the advertising world. I’m truly in love with the process, and honestly proud of every project I work on, but this one was a little more special.

LBB> There are so many different platforms for film content now, and even in advertising something can last anything from a few seconds to a couple of hours. As an editor, are you seeing a change in the kind of projects you’re getting from brands and agencies?

Valerie> The biggest constant change is that projects are aiming to please more specific audiences across a multitude of platforms. No matter the length of the content, it’s just as important for an editor to understand the story we are trying to tell as it is the audience we are telling it to.

LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?

Valerie> Joel Cox has always impressed me with his very sincere style and has collaborated with Clint Eastwood on many films. Walter Murch is my biggest influence for his attention to sound, “Apocalypse Now” would be a great example. Dede Allen has edited some of the most amazing work in the history of filmmaking, and through her career has helped evolve the role of the editor. Not only her attention to sound, as she was a sound editor first, but she has also brought up many amateur directors in her earlier days. That’s a few, but there are just too many to mention in one answer because I cannot get enough of all the amazing new work coming out every day. Quinten Tarantino is someone I would love to work with.

LBB> How does editing in the commercial world differ from the film world and TV world?

Valerie> Short form for me has the power of pressure; I think I work better at times under pressure. With deadlines and tiers of approvals the challenge is pleasing the many before the world.  

I love a good documentary, as they require a lot of collaboration with the director up front. In a perfect world, the doc becomes something more than anyone expected in the edit room.  

With scripted films or television, it’s a little more mechanical at first, then you finesse it and bring it to life adding style and technique.

LBB> Have you noticed any trends or changes in commercial editing over recent years?

Valerie> All forms of editing have become more available to everyone as well as no one at all, and of course I mean AI. I have a hard time wrapping my head around anything that starts with AI. I think it can be useful, but in a very non-human way. With advertising you must have people at the centre of it, people are your audience. Thoughtful and artistic messaging is more powerful than ever, and that’s because of talented people.