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Peer Review: Jessica Hernandez
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With a portfolio spanning Sundance docs to Emmy-winning sketch comedy and HBO drama, Lost Planet editor Jessica Hernández shares how Sally Menke's fearless cut on Pulp Fiction, the climactic tension of Flight 93, and Hank Corwin's chaotic mastery of Don’t Look Up have inspired her own approach to storytelling.
Who are three contemporaries that you admire?
Hank Corwin, Tatiana Riegel, and Sally Menke are all exquisite editors. They each have a unique signature to their work. No matter the genre or tone of the film, you can subtly feel their hands guiding it. Corwin’s limitless approach to each and every frame has taught me to break every rule and push past convention. Menke’s bold storytelling and experimentation are endlessly inspiring, and Riegel’s career is an exhaustive list of some of the best films I’ve seen.
My journey to becoming an editor was a windy road that began as an assistant at HBO Films.
Above: Sally Menke edited the non-linear narrative of Pulp Fiction.
Please share 3-4 pieces of work that exemplify great editing.
Pulp Fiction – Menke guided this seminal piece of nonlinear filmmaking to the big screen. It was avant-garde and fearless, surprising at every turn. Quentin often regards her as the true engine behind the film.
I love that editing is where a film reveals itself. I find that footage speaks to me and dictates the rhythm I apply to it.
Flight 93 – Alison’s sense for building tension in this film was impeccable. She captured the visceral feeling of that morning like lightning in a bottle. The film starts at a languid pace, and each edit speeds up the clip until it ends in a feverish climax.
I,Tonya – I love Riegel’s punchy rhythm, which matches the chaos of its subject. Whenever I watch her work, I always feel like I’m on a fun ride.
Don’t Look Up – Corwin’s ability to edit scenes inside of scenes like a Russian doll is true mastery. He can create the most chaotic, disruptive pacing, and yet the signal cuts right through the noise.
Above: Hernandez admires the sense of tension created by the impeccable editing in Flight 93.
What do you like most about the work that you do?
I love that editing is where a film reveals itself. I find that footage speaks to me and dictates the rhythm I apply to it. There is a quote attributed to Michelangelo that resonates with me: “I saw an angel in the marble and carved until I set her free.”
Trust is so essential to the creative process that an editor's ability to convey that the project is safe in their hands is more than half the battle.
What was your journey to becoming an editor?
My journey to becoming an editor was a windy road that began as an assistant at HBO Films. I happened to have an idea for an upcoming trailer, and my boss let me try it. They loved it, aired it, and an editor was born.
Above: Riegel’s punchy, rhythmic editing matches the chaos of its subject in I, Tonya.
Where does your passion for telling human stories come from?
I believe my passion for editing comes from my father. He was quite the storyteller and film buff. I remember him pulling me out of school to go see Return of the Jedi on opening day. I fell in love with the magic of moviemaking through those moments – double features on a Saturday, midnight screenings, escaping into adventures, and letting stories whisk me into new worlds.
A friend said to me, ‘It’s just a new paintbrush, I can teach you the buttons, but I can’t teach you to tell a story. You know that already.”
What is one thing all editor’s need?
In a word, confidence. Maybe even more than talent! Trust is so essential to the creative process that an editor's ability to convey that the project is safe in their hands is more than half the battle.
Above: Hernandez celebrates editor Hank Corwin for his editing on Don't Look Up.
Did you have a mentor? Who was it?
I’ve never had a formal mentor, but there have been countless people who have imparted wisdom, either directly or by example. My favourite piece of advice that I’ve received was when I was switching from Final Cut to Avid, and a friend said to me, ‘It’s just a new paintbrush, I can teach you the buttons, but I can’t teach you to tell a story. You know that already.”
I am still of the opinion that editors will not become obsolete; we are hired to bring a fresh and distinctive point of view to our projects.
What’s changing in the industry that all editors need to keep up with?
I’d be hard-pressed not to say AI. I personally think its application is still a bit nebulous, but it’s important to stay on top of it. It is essential to stay abreast of new technologies and utilise them to our benefit. I am still of the opinion that editors will not become obsolete; we are hired to bring a fresh and distinctive point of view to our projects. Something I don’t believe AI is capable of doing.
