Peer Review: Alvaro del Val

Who are three contemporaries that you admire, and why?

I want to start with Kahlil Joseph as I think he’s one of the most important visual creators today. When you’re able to mix all film and artistic elements with the sensitivity, originality, elegance, and freedom that Khalil does, you get creation in the most elevated way. 

His work on films for FKA Twigs, Flying Lotus, Arcade Fire, Kendrick Lamar, and, especially, the ones he did for Kenzo, is mind-blowing. The way it connects with you, it makes you uncomfortable, the way it inspires you and makes you fly around your own memories, fears, experiences, frustrations, and desires is the reason why so many people are copying what he proposes.

Note: copying is a great thing, there is no bigger recognition than being copied.

Xavier Dolan is definitely one of the current directors I admire the most. It’s hard for me to understand how not everyone is talking about him. I think he’s an artist ahead of his time. 

[Spike Jonze is] the artist that has influenced all his contemporaries.

He presented his first film in Cannes when he was 20 and has been directing masterpieces since. He’s visually and stylistically free and unapologetic. And at the same time, movies like Mommy or Lawrence Anyways are films with a kind of depth and honesty hard to comprehend coming from someone that young. 

It’s like the experienced and tormented spirit of an old director like Ken Loach was reborn in Canada remembering his previous life. I keep watching his cinema in awe.

And he’s a writer and an actor. What else?

Finally, I have to talk about Spike Jonze. I know he’s an obvious pick, but I cannot leave him out as I will always place him on top of any list. He’s that artist that has influenced all his contemporaries. From his legendary music videos to classic films and unforgettable commercials, he’s the total creator, a genius of our time.

Special mention for Eric Zumbrunnen, who left us too early. One of the best editors ever and still a contemporary who edited most of Jonze’s best projects. Some next to Jeff Buchanan, another legend.

I want to say that choosing just three here was terribly hard. It breaks my heart to leave many great ones out like Michel Gondry, Steve Rogers, Daniel Wolfe, Melina Matsoukas, Kirk Baxter, Angus Wall, Tom Cross, Wong Kar-wai, Wim Wenders, Pedro Almodovar, Gregory Crewdson, Nan Goldin, Ryuichi Sakamoto, Nick Cave, Miquel Barcelo, Yayoi Kusama, Ai Weiwei, Norman Foster, or Frank Gehry.

Above: Some work from Kahlil Joseph, one of del Val's most admired contemporaries.

Please share 3-4 pieces of work that you think best embodies excellence in your profession, and explain why.

There are certain pieces that stay with me. Memory is mainly connected to emotion and that’s why I keep going back to them. They keep grabbing my gut every time. These pieces have that magic that connects with me. A special emotion that only art can make you feel because it explains those abstract feelings and thoughts that are so hard to express otherwise.

Dewars - Live True

The poem from Charles Bukowski is at the heart of this film that talks truly to any creative person or anyone with a true goal or dream. Don’t do it is the mantra that, opposite of the famous Nike slogan (also in this list), makes us think about that intangible fire that we have inside us: our calling in life. If you ever really had it, this one will touch you. If not, it’s just not for you. There is no other way and there never was. Directed by Nacho Gayan, one of the best in Spain.

Under Armour - Michael Phelps

Two legends are behind this one: director Martin de Thurah and editor Leo Scott.

For me, it’s a masterpiece in storytelling. The parallel editing with the never-ending pool that represents the never-ending training from the athlete is genius in how it connects with the idea of the campaign. Seeing Phelps' emotional reaction after watching the film is the best proof of how honestly his hard training was portrayed.

The track from The Kills is just the magical perfect pairing. For me, that track will always be connected to this campaign.

Nike - Write the Future

This classic campaign from director González Iñárritu and editors Rich Orrick and Ben Jordan is still one of the greatest of all time. It’s funny, it’s thrilling, it’s entertaining and so fun and well crafted that it is still great 12 years later. Epic directing and editing combine so many different video sources and textures; not that common at the time.

And it captures all the aspects of the passion behind soccer, along with tennis, my favourite sport. I guess I’m biased. But… aren’t we all? 

BTW, it’s called football. ;)

Apple - Welcome Home

I told you Spike Jonze would be on any list. I’m Basque, I keep my word.

This is, for me, the best commercial of the last decade. We all have seen it, we all have enjoyed it. You know why it’s here. Thank you FKA Twigs for your greatness. Let’s just watch it one more time.

Above: Some work del Val's considers embodies excellence in his profession.

What do you like most about the work that you do?

I think editing is the hidden gem in creativity. When I discovered it, I couldn’t believe that not everyone wanted to edit. It is the place where the stories are crafted, where the emotions are created. If you’re lucky to work with the right team, it’s a free space where all ideas are welcome and where you can combine so many art forms into an even more powerful one that’s able to connect with others. And can inspire them.

When I think maybe I can change just a tiny bit someone else’s path in life for the better through a film, or just improve their day for 5 minutes by triggering a smile, a memory, or even a little push to follow their dreams or just keep fighting, it all just makes sense.

Your career has seen you work in a variety of different locations. What was your process for becoming an editor?

Since I was a kid, I’ve been attracted to photography and moving images. I got my first 35mm camera when I was 6 and I’ve been taking pictures since. My dad, being an architect, encouraged me early on in exploring my creativity. I’ve been obsessed with visuals and cinema since I was very little. My camera was a way to express myself.

I also felt a magnetic attraction to television, especially during commercial breaks. I was amazed by those short stories so well crafted and with such poignant ideas that wouldn’t last more than 60 seconds. Nobody around me really understood that obsession. But that was the seed that made me the editor I am today.

When I discovered it, I couldn’t believe that not everyone wanted to edit; it is the place where the stories are crafted.

After studying Media, Communication, and Cinema at Universidad de Navarra in Spain, I moved to Madrid, where I discovered my passion while working on National Television. Editing my own reports, I realized the magic of editing; how the stories were rewritten in the editing room and the powerful tool that it was. But commercials were still my passion, and I was lucky to get an opportunity in Serena Digital, one of the biggest post houses in Spain.

After a growing process of 10 years and editing in different places of Europe, Serena Dubai gave me the opportunity to try myself in the Middle East market and work even more internationally. It was a very enriching 3-year experience that helped me keep growing and opened the door to the North American market.

I always felt an attraction to NYC and admired the work that was being done here. I always say this is the Champions League of advertising, so I cannot be more proud and happy of being part of it.

Above: Some work del Val's considers embodies excellence in his profession.

Did you notice a different approach to storytelling/pacing in those regions?

Absolutely. What’s relevant in each part of the world differs. From politics and social upheavals to cultural movements and mentality. That affects the editing language as the cultural references are completely different. For example, if you’re editing for an audience that grew up watching MTV, you know they’ll probably be expecting to see faster-paced edits or they’ll get bored. And of course, the content changes too. How alcohol, drugs, race, religion, censorship, or modern slavery are seen in New York, Madrid or Dubai is truly different and sometimes opposite.

Of course, there are things that are common when it comes to the essence of editing and storytelling. Also, good meaningful stories are just universal. But when it comes to commercials, there is always a client and an agency behind the campaign and their taste and beliefs are very specific and particular in each region. The lifestyle, ethics, and fears change from one place to another; learning that is key to succeeding in each market. 

I think humor and comedy are what change the most. It’s based on cultural meanings and popular culture and traditions. What’s funny in Spain may not be understood in the USA or feel offensive in the Middle East.

What is one thing all editors need?

I think the most important things an editor should have are empathy, curiosity, social skills, and a deep interest in every art form. And, for the new generations, patience.

Empathy because besides being a virtue that we all must cultivate in our lives, as editors we need to constantly put ourselves in other people’s shoes. First in those of the characters in our stories, to understand them and make them believable through our editing choices. And then our audiences. We should constantly be asking ourselves whom we are communicating with and why. 

I think the most important things an editor should have are empathy, curiosity, social skills, and a deep interest in every art form.

Curiosity because we need to constantly be learning and improving in a medium where technology is always evolving. And please, never ever stop posing questions, just keep doubting everything.

Social skills because what we do is teamwork. Despite the fact that it seems otherwise because of the hours we work alone, editing is a collaborative process and it is key to be open to others. We not only have a great team that supports us, but we need to remember editing is just a part of any visual creation where there is so much done before and after.

I think it’s key to have - and nurture - a passion for art and creativity in general. We are so lucky to work in this magical world where we can combine so many art forms, from music and sound to photography, cinema, or literature, and create something completely new. Isn’t that great? And that’s why we need to have not only all the references to what has been done before us, but also be aware and inspired by what’s done right now.

All disciplines are connected and if you open yourself to sculpture, painting, architecture, theater, dance, or opera, you’ll be able to offer and propose much more when crafting your stories.

Finally, I feel the new generations have a sense of urgency that’s not always good for their growth. They’re hungry, and that’s great, but there is a sense of extreme immediacy that makes them expect results and rewards too quickly. You need to be patient and trust the process. Just ask Joel Embiid.