Uploaded August 2026 | Updated September 2026, 2 weeks ago
Build Your Film Editing Career: skool.com/the-go-to-editor/about
The film and television industry is changing—but opportunities for film editors aren’t disappearing. They’re moving.
In this session, I break down how YouTube, creator-led films, micro-dramas, and serialized storytelling are creating a new path into narrative editing. Projects such as *Backrooms*, *Obsession*, and *Iron Lung* show how creators can build audiences, develop original stories, and grow into the next generation of filmmakers and showrunners.
That shift creates opportunities for editors who understand story, adapt to new formats, and start building relationships before these creators become established.
You’ll learn:
• Why audience attention is shifting toward YouTube and creator-led content
• How editors can break into films, television, and documentaries
• Why 90% of getting the job is getting the meeting
• The four habits shared by editors who successfully move their careers forward
• Eight common reasons talented editors remain stuck
• How to build narrative editing experience through real projects
• Why craft, career, and consistency matter more than endlessly consuming tutorials
• How design thinking and small career experiments can create meaningful opportunities
• How The Studio helps editors practice their craft, build relationships, and maintain momentum
I also explain “Editing Bliss”—the intersection of great stories, great collaborators, and great pay—and invite you to consider what you actually want your editing career to look like five years from now.
The film industry may feel uncertain, but storytelling isn’t going away. The editors who move forward will be the ones who recognize where the next generation of stories is coming from—and begin building relationships there now.
Learn more about The Studio:
skool.com/the-go-to-editor/about
CHAPTERS:
00:00 The film industry is changing
07:00 YouTube and creator-led content
10:10 The rise of micro-dramas
13:26 A new career ladder for editors
16:28 Finding your Editing Bliss
23:23 Real editor success stories
26:22 Four commitments that move editors forward
29:30 Why getting the meeting matters
31:24 Eight reasons talented editors get stuck
36:56 Introducing The Studio
39:37 Craft, career, and consistency
43:05 Designing your editing career
47:27 How The Studio works
01:10:47 Is this for inexperienced editors?
01:16:42 Where the next opportunities are
#FilmEditing #VideoEditing #FilmEditor
Build Your Film Editing Career: skool.com/the-go-to-editor/about
The film and television industry is changing—but opportunities for film editors aren’t disappearing. They’re moving.
In this session, I break down how YouTube, creator-led films, micro-dramas, and serialized storytelling are creating a new path into narrative editing. Projects such as *Backrooms*, *Obsession*, and *Iron Lung* show how creators can build audiences, develop original stories, and grow into the next generation of filmmakers and showrunners.
That shift creates opportunities for editors who understand story, adapt to new formats, and start building relationships before these creators become established.
You’ll learn:
• Why audience attention is shifting toward YouTube and creator-led content
• How editors can break into films, television, and documentaries
• Why 90% of getting the job is getting the meeting
• The four habits shared by editors who successfully move their careers forward
• Eight common reasons talented editors remain stuck
• How to build narrative editing experience through real projects
• Why craft, career, and consistency matter more than endlessly consuming tutorials
• How design thinking and small career experiments can create meaningful opportunities
• How The Studio helps editors practice their craft, build relationships, and maintain momentum
I also explain “Editing Bliss”—the intersection of great stories, great collaborators, and great pay—and invite you to consider what you actually want your editing career to look like five years from now.
The film industry may feel uncertain, but storytelling isn’t going away. The editors who move forward will be the ones who recognize where the next generation of stories is coming from—and begin building relationships there now.
Learn more about The Studio:
skool.com/the-go-to-editor/about
CHAPTERS:
00:00 The film industry is changing
07:00 YouTube and creator-led content
10:10 The rise of micro-dramas
13:26 A new career ladder for editors
16:28 Finding your Editing Bliss
23:23 Real editor success stories
26:22 Four commitments that move editors forward
29:30 Why getting the meeting matters
31:24 Eight reasons talented editors get stuck
36:56 Introducing The Studio
39:37 Craft, career, and consistency
43:05 Designing your editing career
47:27 How The Studio works
01:10:47 Is this for inexperienced editors?
01:16:42 Where the next opportunities are
#FilmEditing #VideoEditing #FilmEditor


![Apocalypse Now (1979)
In this episode:
How to control your algorithm, how to enhance the cut by not making the obvious choice and how to keep one small, exciting and impactful scene from affecting the overall story arc.
SCENE: https://youtu.be/Nf8RY88NGkE
Apocalypse Now is a 1979 American epic (https://en.wikipedia.org/wiki/Epic_film) war film (https://en.wikipedia.org/wiki/War_film) about the Vietnam War (https://en.wikipedia.org/wiki/Vietnam_War) , directed, produced and co-written by Francis Ford Coppola (https://en.wikipedia.org/wiki/Francis_Ford_Coppola) . It stars Marlon Brando (https://en.wikipedia.org/wiki/Marlon_Brando) , Robert Duvall (https://en.wikipedia.org/wiki/Robert_Duvall) , Martin Sheen (https://en.wikipedia.org/wiki/Martin_Sheen) , Frederic Forrest (https://en.wikipedia.org/wiki/Frederic_Forrest) , Albert Hall (https://en.wikipedia.org/wiki/Albert_Hall_(actor)) , Sam Bottoms (https://en.wikipedia.org/wiki/Sam_Bottoms) , Laurence Fishburne (https://en.wikipedia.org/wiki/Laurence_Fishburne) and Dennis Hopper (https://en.wikipedia.org/wiki/Dennis_Hopper) . Harrison Ford (https://en.wikipedia.org/wiki/Harrison_Ford) also makes an appearance in a small role. The screenplay, co-written by Coppola and John Milius (https://en.wikipedia.org/wiki/John_Milius) and narration written by Michael Herr (https://en.wikipedia.org/wiki/Michael_Herr) , was loosely based on the 1899 novella Heart of Darkness (https://en.wikipedia.org/wiki/Heart_of_Darkness) by Joseph Conrad (https://en.wikipedia.org/wiki/Joseph_Conrad) . The setting was changed from late 19th-century Congo (https://en.wikipedia.org/wiki/Congo_Free_State) to the Vietnam War (1969–70). The film follows a river journey from South Vietnam (https://en.wikipedia.org/wiki/South_Vietnam) into Cambodia (https://en.wikipedia.org/wiki/Cambodia) undertaken by Captain Benjamin L. Willard (a character based on Conrads Marlow (https://en.wikipedia.org/wiki/Charles_Marlow) and played by Sheen), who is on a secret mission to assassinate Colonel Kurtz (Brando, with the character being based on Conrads Mr. Kurtz (https://en.wikipedia.org/wiki/Kurtz_(Heart_of_Darkness)) ), a renegade Army Special Forces (https://en.wikipedia.org/wiki/United_States_Army_Special_Forces) officer accused of murder and who is presumed insane.
Milius became interested in developing Heart of Darkness into a Vietnam War film. Coppola expressed interest and eventually decided to take on the project, with the filmmaker taking influence from Werner Herzog (https://en.wikipedia.org/wiki/Werner_Herzog) s Aguirre, the Wrath of God (https://en.wikipedia.org/wiki/Aguirre,_the_Wrath_of_God) (1972).[4] (https://en.wikipedia.org/wiki/Apocalypse_Now#cite_note-4) Initially set to be a five-month shoot, the film became noted for the problems encountered while making it for over a year, as chronicled in the documentary Apocalypse Now (1979)](https://i.ytimg.com/vi/_HNNH4iSpU0/mqdefault.jpg)







![They Shall Not Grow Old (2018)
They Shall Not Grow Old is a 2018 documentary film (https://en.wikipedia.org/wiki/Documentary_film) directed and produced by Peter Jackson (https://en.wikipedia.org/wiki/Peter_Jackson) . The film was created using original footage of World War I (https://en.wikipedia.org/wiki/World_War_I) from the Imperial War Museum (https://en.wikipedia.org/wiki/Imperial_War_Museum) s archives, most of it previously unseen, alongside audio from BBC (https://en.wikipedia.org/wiki/BBC) and IWM interviews of British (https://en.wikipedia.org/wiki/British_people) servicemen who fought in the conflict. Most of the footage has been colourised (https://en.wikipedia.org/wiki/Film_colorization) and transformed with modern production techniques, with the addition of sound effects (https://en.wikipedia.org/wiki/Sound_effect) and voice acting (https://en.wikipedia.org/wiki/Voice_acting) to be more evocative and feel closer to the soldiers actual experiences.
It is Jacksons first documentary as director, although he directed the mockumentary (https://en.wikipedia.org/wiki/Mockumentary) Forgotten Silver (https://en.wikipedia.org/wiki/Forgotten_Silver) in 1995 and produced the West Memphis Three (https://en.wikipedia.org/wiki/West_Memphis_Three) documentary West of Memphis (https://en.wikipedia.org/wiki/West_of_Memphis) in 2012. Jackson, whose grandfather (to whom the film is dedicated) fought in the war, intended for the film to be an immersive experience of what it was like to be a soldier rather than a story or a recount of events. The crew reviewed 600 hours of interviews from 200 veterans and 100 hours of original film footage to make the film. The title was inspired by the line They shall grow not old, as we that are left grow old from the 1914 poem For the Fallen by Laurence Binyon (https://en.wikipedia.org/wiki/Laurence_Binyon) , famous for being used in the Ode of Remembrance (https://en.wikipedia.org/wiki/Ode_of_Remembrance) .
They Shall Not Grow Old premiered simultaneously at the BFI London Film Festival (https://en.wikipedia.org/wiki/BFI_London_Film_Festival) and in selected theaters in the UK on 16 October 2018, before airing on BBC Two (https://en.wikipedia.org/wiki/BBC_Two) on 11 November 2018 (the hundredth anniversary of the Armistice of 11 November 1918 (https://en.wikipedia.org/wiki/Armistice_of_11_November_1918) ); it received a limited US release on 17 December. Following its box office success, the film received a wide theatrical release in February 2019.[2] (https://en.wikipedia.org/wiki/They_Shall_Not_Grow_Old#cite_note-VarietyWideRelease-2) It was acclaimed by critics for its restoration work, immersive atmosphere and portrayal of war, and earned a nomination for the BAFTA Award for Best Documentary (https://en.wikipedia.org/wiki/BAFTA_Award_for_Best_Documentary) . They Shall Not Grow Old (2018)](https://i.ytimg.com/vi/acMrrgXSwwU/mqdefault.jpg)