Filmmaking encompasses various artistic stages, with post-production often being one of the most critical phases. A decent editor can lift your painstaking hours of footage and turn it into a masterpiece worth admiring, but a poorly experienced one can take it into another direction. Sometimes overlooked, perhaps because of its technical nuances, editors deserve more recognition, particularly considering how ‘top-notch’ ones can turn a film into a beautiful piece of art.
Based in Lagos and London respectively, I spoke to Olakunle Martini Akande who is a Nigerian Film Editor and a Post-production Producer. He has worked on sizable projects including Gangs of Lagos (2023), Brotherhood (2022), Glamour Girls (2022) and In Ibadan (2021) . His notable achievements include being nominated as ‘Best Picture Editor’ for Brotherhood (2022) at the ninth edition of Africa Magic Viewers’ Choice Awards (AMVCA).
In his distinct blend of Nigerian and British accents, he clearly articulates his editing journey thus far. As with all creatives in resource deprived environments, he started his journey from the ground up. He says frankly, that he simply had no resources to make films so he decided to build his own portfolio through personal projects. This taught him the essential task of how to tell a story, and also allowed him to hone the craft by taking on four or five roles to save on costs. A story we all know too well.
The next step for him: self-teaching. He learned everything there is to know about editing through books, films and YouTube videos. Then, slowly, the demand for editing short films started to pick up for him, as he engaged in no fee paying projects.
Eager to understand the requirements, I ask: “what in your opinion makes a good film editor?”
He tells me, foremost, to be a good editor “you need to like it. If you don’t mind sitting in a dark room stitching clips together” then the job is for you. That seems like an apt requirement since editing is entering a zone of sorts, to analyze video footage and then piecing together the elements. He seconds this by saying that it is imperative to be “able to understand the needs of the film. And, allow the film to be what it wants to be.” He further adds, you need to be able to understand what the director’s vision is, and be able to communicate that to the audience. He beautifully expresses the process: “this is an action film, this is what the film needs. Based on how you edit the scene, that’s what makes a good storyteller, someone who can communicate the vision of a director.”
The complexities
Editing is complex; he says “half the time you are problem-solving” which includes “trying to make the actor look good in the scene.” The mammoth task of “reviewing 100 plus clips to find the best ones to tell the story, that in itself is hard work.”
Being an editor also he says is in part being a diplomat managing expectations, and playing the advocate between various stakeholders which requires client management skills in order to ensure the best possible outcome for the film.
A top-notch editor versus an average editor
It’s evident Martini knows what he’s talking about when it comes to why filmmakers need to select the right editor for their project. So what is the difference between an average editor versus a top notch one? “There’s a reason people pay for experience.” Editors need to understand multiple facets including pacing and reading emotion accurately. Though he says, some of the editing process is “trial and error, which only comes from experience.”
He pauses to consider my use of the word ‘top-notch’. After taking a moment, he states that “a popular film does not mean a top-notch one.” Truth, by all means. Martini emphasizes that a track record of editing acclaimed films, in his opinion, qualifies as top-notch.
Interestingly, he says that a script rated at 8/10 can turn into 6/10 after shooting, but with careful editing it can revert to its 8/10 rating with the touch of a good editor. This really emphasizes the critical work editors undertake in post-production. Martini says that knowledge of screenwriting is certainly beneficial since it gives you a better stand in reordering sequences and scenes. An experienced editor, he asserts, will know what to do with certain footage.
It’s evident from our conversation, Martini is an all-rounder when it comes to knowledge on the filmmaking process – he started from the bottom up and successfully managed to work on some notable Nollywood projects including: Gangs of Lagos and Brotherhood, big budget blockbusters. His IMDb credits highlight his expertise as a seasoned post-production professional, with over 8 years in the industry. Despite his experience, he remains humble and open. I admired his sensibilities; however, there’s still a lot to learn from him. We’ll be taking this conversation further by speaking to him in person on X space hosted by Azadi Ash on Sunday 11 February at 8pm EAT.
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