reel to real
A cut above: Leveling with Austin film editor Luke Mullen
As scores of directors and actors have flocked to Austin, the need for artists skilled in the more technical aspects of filmmaking has skyrocketed. One of the greatest assets an independent filmmaker can have in his corner is a talented editor. According to many local filmmakers we’ve spoken with, the editor they call upon time and time again is Luke Mullen. Luke, an Austin transplant from the Midwest whose technical expertise—and lush beard—have become his trademark, has been involved in editing several local films and his colleagues have nothing but great things to say about him.
I sat down with Luke to talk about his process, his relationship with local filmmakers and his recent gig cutting the short film No Way Out (recently featured in this column).
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How did you become involved in editing?
I guess it was born out of a mutual love of movies and technology. I played around and taught myself a little during high school and college, but I didn't get serious about it until my first job, which almost coincidentally happened to be in a corporate production and post environment. That's where I really got hooked.
What brought you to Austin?
The Alamo Drafthouse. I could say it's for the filmmaking community that I thought existed here or for a change of pace or just because I like the city, and those are all true to some extent, but the bottom line is that I moved halfway across the country for a movie theater.
I could say it's for the filmmaking community that I thought existed here or for a change of pace or just because I like the city, and those are all true to some extent, but the bottom line is that I moved halfway across the country for a movie theater.
My roommate and I came out here back in 2007, just before the original Alamo on Colorado closed down, and had a great time. We were just in awe of a place like the Alamo and couldn't believe that it existed. Growing up in the Midwest, we were both huge movie geeks, but primarily mainstream movies just because that was what was available to us and what were exposed to. Seeing a place that celebrated older films and B-movies was an entirely new concept to us. We just so happened to get badges for Fantastic Fest while we there and when we went back in September that was the week that really sealed the deal on moving to Austin. From there it was just a matter of time.
What program to you use to edit?
When I started in the corporate production facility that I worked in they were an all-Avid house, so that was what I learned first. I never go too deep into it, but I still know enough Avid to get around. About a year after I started working there they switched to Final Cut Pro and I've been using that ever since. I'm definitely the most comfortable in Final Cut.
How would you describe an editor's role in the overall success of a film?
I'd say the edit itself is very important, but it's easy to overlook. I feel a really good edit should be so seamless that it's almost invisible. It should carry the story so that the audience never thinks about a cut from one shot to the next, it should just be time for the next thought, the next point to be made. It's not easy to get there though. I think the edit is just like any other part of the film, it should be a collaborative process, mainly between the director and the editor but with feedback from producers and other crew members.
What films have you edited?
I've been assistant editor on several projects, but my first narrative project as editor was Aaron Morgan's short film No Way Out. We were very honored to have it play as part of this year's Fantastic Fest.
When editing a film, what is your collaborative process with the film's director?
It really depends on the director. Aaron likes to sit with me through the whole edit, start to finish. We have good chemistry so it works really well. He trusts me to try different things and then we both decide if it fits or works for the story or not. Obviously, when we disagree on something the final decision rests with him, but he takes my opinion into account. It was a really good experience for me and I enjoyed working that way, though it's certainly not the only way to work. I've been cutting a TV show recently and that process has involved me taking a pass at the edit first and then sitting down with the producers to talk about what works and what doesn't, then going back to make changes based on those notes. I think every director has their own idea about how they want to work and that's fine.
Are there any filmmakers whose films you aspire to edit?
To be honest, I'd love to keep editing Aaron Morgan's projects. Like I said, we work very well together and I feel like there's a good deal of mutual respect between us. It's a professional relationship that I feel very blessed to have and I hope it continues for many years. I've also worked with Emily Hagins a few times and I'd love to edit something for her at some point.
In regard to your particular line of work, how does Austin compare to other places you've been?
I like the collaborative spirit here in Austin. I think there a lot of talented up and coming filmmakers who want to band together and work on several projects. It's definitely a great support system. I moved here from Charlotte, North Carolina and there's a decent community there too, though it seems to be geared more toward commercial work. The Austin community is definitely about wanting to make films and the commercials or TV shows or whatever or often just a way to pay the bills until the next movie comes along.