Interview with Chris Santana
We spoke to newly-signed Movidiam Talent editor Chris Santana about his multi-national career, and the role of editors in realising the vision of a film.
Who is Chris Santana?
I’m a video editor with a passion for film and travelling projects! I was born in Gran Canaria, and at around 6 years old while most kids in the neighbourhood were playing on the beach, I would spend hours and hours watching movies.
Whether it was a local Spanish production or a Hollywood blockbuster, I was mesmerised by the glamorous, fun world I saw. That’s how my love for films started. With over eight years experience working in the UK’s busy media industry, I’m currently a freelance video editor. i’ve worked for a variety of clients such as OTRO, Bleacher Report, Nissan and BBC Worldwide. I have also worked on TVMovie trailers for Marriott Bonvoy, Card Factory and Boden, plus documentaries for Channel 4 and Dazn, to name but a few!
I’ve previously worked as a studio operator for one of the ‘magic circle’ law firms, shooting and editing a variety of live and on-demand content. I’ve also been involved in TV shows for channels including BBC and E4 and assisted edits for The Great British Bake Off. I’ve got professional skills in Adobe Premiere, AE, Final Cut Pro X (Apple Certified) and working knowledge of Avid MC. I also hold a Media degree (Madrid, Spain) and a Filmmaking diploma from NYFA (LA, US) along with a BTEC in Creative Media (London, UK).
You’ve lived, studied and worked in several different countries — what were the biggest differences (or similarities) between working in film in Madrid, L.A., and London?
London is the most vibrant of them all! I feel like I’ve been able to explore different editing styles on a variety of projects, and I’ve worked here most extensively and developed my portfolio. By contrast, in Madrid and Los Angeles I felt more single-project oriented. Madrid was the place which showed me the ropes to get into Media, and L.A. was my first real contact with the film industry where I studied Film and directed my first short films. One thing I did notice about the L.A. lifestyle is you need a car for absolutely everything! But the weather made up for that, it reminded me so much of being back home (Gran Canaria’s 20 degrees in December is so lush!).
How did you decide to become a full time editor? Tell us about your career progression.
It all started in Madrid working on broadcast for a few years after my Media studies, and from there it just escalated really. When recession hit Spain I decided to take a gap year and study a filmmaking course in L.A., with the New York Film Academy. It was then while studying all parts and process of filmmaking that I felt the connection with film editing. I then moved to London, initially as a stepping stone, and it’s been a rollercoaster ever since!
What has been your biggest professional achievement so far?
It’s difficult to single out one biggest professional achievement, but probably being part of long form documentaries showcased on national TV, and adverts being shared everywhere have made me the most proud.
How would you describe your style?
I’d describe my style as versatile; as a style that can be adaptable to the needs of each project. I’ve worked on everything from sports content, corporate interviews, BTS content, makeup vlogs and tv movie trailers, and you can’t simply use the same style onto all of them, therefore it’s always important to know how to adapt your own style to the needs of each one of the projects you’re working on. Whilst it is great to have your own distinctive ‘stamp’ while editing all your projects -which in a way I think I do (I’m more a fan of cuts than longer takes, for example)- you need to adapt to the main objectives for each project, whether that’s a football game, a tense thriller or a very dry interview with a corporate lawyer, if you want to make it enjoyable to watch at the end of the day.
From your position, what makes a good or bad director?
A good director is the one who’s aware of the edit, it’s importance, and needs. It’s also someone who has good technical knowledge, follows a vision, and has the ability to share the vision and communicate effectively with the editor and crew and pass on detailed and constructive feedback. A bad director however, will most likely be not structured, not make sure takes are good enough to make it in the edit. They might also be unaware of basic edit needs — so their footage will have people talking over each other, and they might have a poor technical knowledge. And any kind of lack of communication with crews and edits isn’t good, with no forward-thinking and lack of plans/vision.
What would your dream editing job look like?
It is always rewarding to see the impact of my work in any piece of finished content. If we are talking about life goals, however, as a true cinephile I dream of working on a big-budget film project with a heavy editing focus, which is where I find so much of my passion and inspiration. I have way too many editing heroes, but Paul Machliss & Jonathan Amos (Babydriver) Kirk Baxter & Angus Wall (most of David Fincher’s work) are up there in my top list. Check them out!
Is a film made in the editing suite, or on the set?
I believe any piece of content is a collaborative effort, and the best films come from circumstances where both production and post production are treated as essential, valuable parts of the process. Effective communication and teamwork always lead to the best results. If we want to compare the two, I would say that the set is where the vision is created, and the editing suite is where it is realised.
What are you looking forward to in 2020?
What I love the most about my job is the variety of projects I get to work on, as they allow me to learn professionally and also to get to know amazing stories that I can help telling. My hopes for 2020 are to get to work on a broad range of projects which allow me to tell engaging, visually beautiful stories.
