Tom Cross won the Academy Award for Best Film Editing for Whiplash and has since become one of the most sought-after editors in Hollywood. His credits include La La Land, First Man, and several other critically acclaimed films. In a thoughtful conversation, Cross discusses the art of editing, its invisible power, and the intimate relationship between editor and performance.
The Editor’s Paradox
“The best editing is the editing you do not notice,” Cross says, articulating a paradox that sits at the heart of his craft. “If the audience is thinking about the cuts, something has gone wrong. Our job is to create a seamless emotional experience that feels natural and inevitable, even though every moment is a deliberate choice.”
This philosophy has guided Cross through films that range from the frenetic jazz rhythms of Whiplash to the sweeping romanticism of La La Land. In each case, the editing serves the story’s emotional needs rather than calling attention to its own virtuosity.
Shaping Performances
One aspect of editing that audiences rarely consider is the editor’s role in shaping performances. Cross explains that a performance on screen is often assembled from multiple takes, angles, and moments, and the editor’s choices profoundly influence how that performance is perceived.
“You might use the first half of a line from one take and the second half from another. You might choose a reaction shot that completely changes the meaning of a scene. These are subtle but powerful decisions that can make the difference between a good performance and a great one.”
The Creative Partnership
Cross has worked extensively with director Damien Chazelle, and their partnership illustrates the depth of the editor-director relationship. “Damien and I have developed a shorthand over the years,” he says. “He trusts me to try things he might not have considered, and I trust his vision for the overall film. The best moments often come from the tension between our perspectives.”
He encourages aspiring editors to develop their own aesthetic sensibility while remaining open to the collaborative nature of the work. “You need strong opinions but a light grip. Know what you think is right, but be willing to discover that you are wrong.”
