Episode 52: Interview with Elisabet Ronaldsdóttir
In this episode Sarah Taylor sits down with Elisabet Ronaldsdóttir.
Elisabet has a killer film resume and has cut many much loved action films – Atomic Blond, John Wick and Deadpool 2 to name a few.
This month she has two new films coming out – Marvel’s latest SHANG-CHI AND THE LEGEND OF THE TEN RINGS and the Netflix film KATE. Elisabet shares her career journey and so much wisdom!
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Elísabet Ronaldsdóttir (Guest):
I have women or people of color, for example, in the cast. I try to remember that I am not raised
in a just society. So, I might have ideas that go against what these people are bringing to the
table, and I have to be aware of it. I ask myself, again, “Should I cut that dialogue out? Why am I
cutting it?” Just so I have a fighting chance to work against my possible prejudices.
Sarah Taylor (Host):
Hello, and welcome to The Editor’s Cut. I’m your host, Sarah Taylor. We would like to point out
that the lands on which we have created this podcast, and that many of you may be listening to
us from, are part of ancestral territory. It is important for all of us to deeply acknowledge that we
are on ancestral territory that has long served as a place where indigenous peoples have lived,
met, and interacted. We honor, respect, and recognize these nations that have never
relinquished their rights or sovereign authority over the lands and waters on which we stand
today. We encourage you to reflect on the history of the land, the rich culture, the many
contributions, and the concerns that impact indigenous individuals and communities. Land
acknowledgements are the start to a deeper action.
Before we get into today’s episode, the CCE is excited to be involved with the Calgary
International Film Festival’s Industry Week, from Thursday September 23rd to Sunday
September 26th. No matter where you are in your career, they are inviting those in the film, TV,
and adjacent industries, to mix, mingle, celebrate, and learn. Industry Week will feature inspiring
and engaging programming, tailor-made for industry professionals. Expand your knowledge, find
your inspirational fuel, and grow your connections. Your seat is waiting at the Calgary
International Film Festival’s first ever Industry Week. And, I’ll be there, moderating a panel with
the editors from Ghostbusters: Afterlife. Join us on September 26th, online or in person. I hope
to see you there.
Today, I bring to you the lovely Elísabet Ronaldsdóttir. Elísabet has a killer film résumé.
She’s cut many much loved action films, Atomic Blonde, John Wick, and Deadpool 2, just to
name a few. This month, she has two new films coming out, Marvel’s latest, Shang-Chi and the
Legend of the Ten Rings, and the Netflix film, Kate. Elísabet shares with us her journey and so
much wisdom. I want to be like her when I grow up. Please enjoy Elísabet.
Speaker 3:
And, action.
Speaker 5:
This is The Editor’s Cut.
Speaker 4:
A CCE podcast.
Speaker 5:
Exploring, exploring, exploring, the art…
Speaker 4:
Of picture editing.
Sarah Taylor (Host):
Welcome, Elísabet, to The Editor’s Cut, thank you so much for joining me today.
Elísabet Ronaldsdóttir (Guest):
Thank you for having me, Sarah.
Sarah Taylor (Host):
My first question is, where are you from? And, what led you into the world of editing?
Elísabet Ronaldsdóttir (Guest):
It’s a long story. I’m born and raised in Iceland, in Reykjavík. I’ve always been fascinated my
movies. When I was young, every week we would get to go to the movie house, because we
would go with the newspapers. And, [inaudible 00:03:07], we would get a movie every week. I
would go, and I was fascinated by this world. And, obviously never ever had an idea that I would
become a part of it. But, I was fascinated by that world, and the movies, and that form of
storytelling. And, when I’m, I think I’m 19 or 20, I decided to go to a film school. So, I went to
London International Film School, in Soho, in London.
Sarah Taylor (Host):
Nice.
Elísabet Ronaldsdóttir (Guest):
It was a lovely experience. But, you don’t learn how to make movies. You learn to use some
equipment or get accustomed to some of the equipment. And, you get really good connections
with people who have the same interest as you. And then, it’s a lifetime of practice and doing
things over and over again. I’m still learning. I don’t think this is a form you can learn. I guess any
art form, you can’t learn it, you just have to live it, and fail, and try again.
Sarah Taylor (Host):
Yes.
Elísabet Ronaldsdóttir (Guest):
So, that’s how I started films. But, in London Film School, I was set on becoming a
cinematographer. That was my passion and fascination, and then, I learnt through the years, I
learnt about editing and got more and more fascinated by editing. I also ended there because I
was getting pregnant all the time, I have four children, and it looked just easier to control my
time when I’m in the editing room. It’s difficult if you have 100 people on-set waiting for you and
you have to manage children, it’s easier with the post.
Sarah Taylor (Host):
What was your first job in the industry? Was it in London, or was it in Iceland, where were you?
Elísabet Ronaldsdóttir (Guest):
My first job in the industry was in Iceland. I was hired to answer telephones in a production
company that produced mainly interviews for TV and commercials. I think I stayed on the phone
for like two days and then I just dived head-first into production. Mainly as a set decorator for
the longest time, on commercials, and just assisting here and there. That’s how I started in this
business.
Sarah Taylor (Host):
How did you make your move into editing? You had some babies and you thought, “I need to go
into the edit room,” or did you do editing prior to that?
Elísabet Ronaldsdóttir (Guest):
I got pregnant and no one knew. I think I was six or seven months pregnant, and I was working
as a focus puller on a small Icelandic movie, and the DP realized suddenly I was pregnant and
they got so scared. It had to do with insurance and all kinds of stuff. But, they didn’t want to
throw me out, so they just invited me into the editing room. So, that’s how I started. I [inaudible
00:06:27] realize I’m very privileged in that way, that I just walked into an editing job. I didn’t
assist. I assisted myself, obviously, it’s small production in Iceland, so you kind of have to assist
yourself. But, I was editing from day one that I stepped into an editing room. That is a privilege.
Sarah Taylor (Host):
Totally.
Elísabet Ronaldsdóttir (Guest):
I think it’s also just the time. Now, it’s probably more difficult because more people have learnt
about the magic of editing and want to do it. So, it’s a more difficult task to get in there. But, I
was there at the right time.
Sarah Taylor (Host):
Yeah, at the right time and then also in a smaller market. Because, even for me in Alberta, I’m
based in Edmonton, and it’s a very small market, and so I do my assisting, I do my editing.
Sometimes I get an assistant and then it feels wonderful, but then you learn so much and you
get to do so many different genres, which I think is really fun too.
Elísabet Ronaldsdóttir (Guest):
Yeah.
Sarah Taylor (Host):
So, you came from an Icelandic market, you started editing, I’m assuming you did lots of
Icelandic films?
Elísabet Ronaldsdóttir (Guest):
Yeah, I did some. But, I moved to Denmark. I was going to Denmark to work on this movie for
Nordisk Film, but my parents at that point lived in Sweden. So, I actually moved to Sweden and
then I took a boat between Sweden and Denmark every day, because I needed my parents to
help me with the kids and my siblings, who all lived in Sweden. So, I moved to Sweden and took
the boat, and was working on Nordisk Film. I also did a year at a TV station in Denmark. That’s
probably the best school I’ve been to, where you have to work really fast and get to the heart of
the story in as a precise way as possible. I think that was very good training. I did a lot of Danish
movies, and documentaries, and TV, and then I moved back home to Iceland and kept doing
Icelandic movies.
I did a movie called Reykjavik-Rotterdam, an Icelandic movie directed by Óskar
Jónasson, and it was remade in the State as Contraband.
Sarah Taylor (Host):
Oh, yeah.
Elísabet Ronaldsdóttir (Guest):
I was asked to edit Contraband as well.
Sarah Taylor (Host):
Cool.
Elísabet Ronaldsdóttir (Guest):
Baltasar Kormákur directed that movie, and it was co-production between Working Title in
London, in England, and Universal. It was a big step into the American market.
Sarah Taylor (Host):
No kidding.
Elísabet Ronaldsdóttir (Guest):
There was no [inaudible 00:09:04]. It was straight into a big production with Universal and
Working Title. That was such an amazing experience. It was actually through Contraband that I
met an Editor, Dody Dorn, who is an American editor. Amazing editor. She just did the recut of
The Snyder Cut for [inaudible 00:09:33], and she had done Memento. She’s a big editing star. I
met her in LA when I was doing Contraband, we had dinner together. We are very good friends
today. We just hit it. And, she contacted her agent and asked them to talk to me and sign me on.
Sarah Taylor (Host):
Wow.
Elísabet Ronaldsdóttir (Guest):
And it happened, they signed me on.
Sarah Taylor (Host):
That’s amazing. So then, from that going forward you were now up for doing American films?
Elísabet Ronaldsdóttir (Guest):
Yeah.
Sarah Taylor (Host):
That’s amazing. You are in the world of action films now. Your latest movie that’s coming out
soon is the new Marvel movie, which I was very excited to find out that you’re cutting it,
Shang-Chi and the Legend of the Ten Rings. You did John Wick, Atomic Blonde, Deadpool 2.
High action, high Hollywood films. Was this a genre that you were always interested in? Tell me
about this action film journey.
Elísabet Ronaldsdóttir (Guest):
I think it’s just interesting and fascinating how life guides you to a certain place. There are two
things. One is, I did a lot of dance movies in Iceland with an artist Helena Jonsdottir, who works
very much in Europe with dance movies. So, I was extremely accustom to editing choreography.
Action is choregraphy. It is a dance. No one gets hurt. It doesn’t look bloody and disgusting until
they put all the visual effects on it. It’s a dance. So, I had this massive dance choreography
editing training from doing small indie art dance films with my friend Helena. Another thing, I
worked on this TV show for a year, called LazyTown, but I learnt so much about working with
blue screen and imagining how things are happening in the background, and just the workflow
of it. So, I had a massive training from there through this children’s show.
So, when I did my first big action, which was John Wick, I had all those elements already.
I wasn’t learning anything… Of course, I learnt a lot doing that movie, but I had the basis coming
in. And then, you do get pigeonholed, people decide that. But, it’s not only that you get
pigeonholed, but also I now have a great experience working with big budget movies. The
workflow of them is a bit different and it’s sometimes extremely hectic. It’s difficult with visual
effects… Not difficult, but it’s just different. Especially with really heavy visual effects movies,
you have to work so tightly with visual effects and make all the dates. It’s a lot of work.
Especially in Deadpool, where we had animated characters, and again in Shang-Chi. It takes a lot
of time to do this stuff.
Sarah Taylor (Host):
What do you feel you bring that’s unique to these films?
Elísabet Ronaldsdóttir (Guest):
I always try to bring a big heart. I think it’s a part of my job to be extremely critical of some stuff.
With action movies, are not just for 17 year old boys, and even if they were, there is no need to
degrade women in any way. So, I terrorized my directors talking about the male gaze [inaudible
00:13:23].
Sarah Taylor (Host):
I love it.
Elísabet Ronaldsdóttir (Guest):
By pushing it through, trying to make a change that way. But, every movie I work on, I look at my
work… I am kind of interpreting the work of so many people. If you imagine that you have a
script, it might be based on a book, so the script is an interpretation of a book that’s written, or
it’s an original script. But then, the whole crew, it’s the director, it’s the actors, the set designer,
everyone interprets that story into their art. For me, I gather all of it and then I try to interpret the
best version of the movie from what I have. I have such a respect for what everyone else brings
to the table. But, we also live in a world that’s extremely unjust, and racist, and misogynist, etc.
So, I try to remind myself of it every time I start working on a movie. I just go through the whole
cast, I go through the whole crew, the key positions in the crew, and I just think about that.
Especially if I have women or people of color, for example, in the cast. I try to remember
that I am not raised in a just society. So, I might have ideas that go against what these people
are bringing to the table, and I have to be aware of it. I ask my self, again, “Should I cut that
dialogue out? Why am I cutting it out?” Just so I have a fighting chance to work against my
possible prejudices.
Sarah Taylor (Host):
It’s such an important thing to hear, as an editor, and I think it’s an important thing for everybody
to hear, as filmmakers. That, those little things, we have control to help shape and hopefully
change our world. Hearing you be like, “I am going to be conscious and think,”…
Elísabet Ronaldsdóttir (Guest):
Sometimes it might be better for the movie and for them that I cut this dialogue. I just need to
be aware, “Why am I cutting it? Am I cutting it because it’s best for the movie? Or, am I cutting it
because I have some hidden prejudices about, ‘A woman would never say it like that’?” Then, I
have to question myself again, now I have to take a step back, “Why would I cut if it works for
the movie?” I’m a big believer in cutting dialogue left and right, I’m like, “[inaudible 00:16:09].” A
dialogue massacre. But, that’s because a dialogue in a script can be beautiful and it works
perfectly, but then you have the actors interpret that dialogue, and sometimes a whole speech
just comes with one look, and that speech becomes redundant. You don’t need it anymore
because the actor brought that look.
Sarah Taylor (Host):
Yeah, for sure.
Elísabet Ronaldsdóttir (Guest):
I’m a big believer in cutting dialogue. I want to be aware why I’m doing it.
Sarah Taylor (Host):
What brought you to think like that?
Elísabet Ronaldsdóttir (Guest):
I think that’s just how I’ve lived all my life, actually. I grew up through the feminist movement, I
was a very active young woman in the feminist second wave in Iceland. I just learnt a lot about
this stuff going through that. Just turning up in meetings, listening to talks. So, I think it came
early, this being aware that you are not living in a perfect society. It is a racist, misogynist
community we live in. Not the people, necessarily, it’s just we have built this society through
such a long time and it’s difficult to get rid of all the bad ideas we might have as a society. I’m
not talking about the individuals within it, they come in all sizes and shapes. You might grow up
just knowing that women’s voices are more annoying because they’re higher. As an editor, I have
to be aware that I might have that prejudice when I’m listening to dialogue, trying to deem which
take is best. You have to be aware that you might be… But, at the same time, you have to be
aware that the whole audience has the same prejudices. You just have to find the balance and
try not to…
What I absolutely do not want to do is step on women’s and minorities’ glory. I don’t want
to be the person that’s done that. I want people to flourish. Not that that’s in my power, I’m just
saying in my small bubble I try to do what I can.
Sarah Taylor (Host):
Every small step is a good thing. You talked about how you like to cut dialogue, I liked the line, “A
dialogue massacre,” that’s great. Tell us more about your process. How do you start a film,
what’s your process of watching the dailies, when do you start cutting scenes? Just do a little
rundown of what you’re editing process is.
Elísabet Ronaldsdóttir (Guest):
Usually, you turn up the day or the day before they start shooting, but you’ve read the script. I’ve
usually read it several times. Then, the shooting starts and you just get dailies every single day,
and you go through them. I watch them and try to remember what affected me watching it first
time, and I make some notes, then I start throwing the scene together. I do it very roughly. I don’t
necessarily do it with selects, I just throw the scene together like, “I want to be here, I want to go
there.” And then, I go through all the takes and see, “Do I have what it takes to fit into this form
that I’ve made?” Sometimes, it has to change a bit because of performances and how shots
were done [inaudible 00:19:55]. That’s how you eat this elephant, it’s one bite at a time. You
almost have a scene a day. And then, it strings up to a movie. That’s when it gets difficult for me
to hold back.
You have to edit this new scene that was shot today but, “Ooh, I want to dive into this.”
But, I try to stay focused and do my scenes every single day. Also, if anything is missing you can
notify the producers and the director. You might feel something’s missing or not covered well
enough. Even if you notify them, it doesn’t mean it’s shot, but at least you’ve notified them. And
then, at some point, you’ve got all the scenes and everything’s there, and then you just start.
Sometimes I work in sections. Sometimes, in the beginning especially, it’s good to work
in sections, get this section right, get that section right. I have a tendency, I just have to watch
the film again, and again, and again. I find it so important that what’s happening in scene 10 is
extremely important for what’s happening in 112, and you have to keep those connections going
the whole time. It’s one movie, it’s not 130 scenes, it’s one movie. That’s what you’re working
with.
Which, brings me also to why I dislike working with multiple editors. That has nothing to
do with most of the beautiful people I work with, but I do dislike the lack of understanding for
the art of editing, that it’s a singular vision. When you suddenly have three visions, or four
visions, it gets really difficult, for me. Also, because I’m a control freak.
Sarah Taylor (Host):
How has it worked for you, because you’ve worked on a few films where you’ve been in a team?
What do you get and how does it work?
Elísabet Ronaldsdóttir (Guest):
It hasn’t worked like that on the movies I’ve worked with, it floats around, goes back and forth.
For me, it’s not about editing a scene, it’s about editing a movie. It’s very difficult for me to step
out of that mode and just start thinking, “This is my scene, this is my part.” But, it’s not like that,
because then we talk about stuff, and we sit down, and we watch the movie, and we talk. But, I
wish they would fix schedules and allow the art of editing to flourish as a singular vision. Always
based on the director’s vision, it’s not [inaudible 00:22:49], it’s a singular vision in connection
with the director’s vision. I think the art of it and the flow of it, I just feel it all has to come
together.
Sarah Taylor (Host):
The films where you’ve had to work with a team, is it because of schedules, that the film needs
to get done so quickly that you need more hands-on-deck?
Elísabet Ronaldsdóttir (Guest):
Some studios demand it, mainly because of schedule. It’s a lot of material for a very short time.
Sarah Taylor (Host):
Mm-hmm (affirmative).
Elísabet Ronaldsdóttir (Guest):
But on Deadpool, for example, I just got sick. I ended up in the hospital.
Sarah Taylor (Host):
Oh no.
Elísabet Ronaldsdóttir (Guest):
I think I’m a method editor, because I got in such good forms when I was doing Atomic Blonde, I
was in the gym every day. That was really good. But then, I did Deadpool 2 and ended up with
stage 4 cancer, [inaudible 00:23:48].
Sarah Taylor (Host):
Oh no.
Elísabet Ronaldsdóttir (Guest):
But, I got cured. All is good.
Sarah Taylor (Host):
Good, but whoa.
Elísabet Ronaldsdóttir (Guest):
I had the best doctors, I was so lucky. Now, I’m working on a movie that has to do with faith and
luck, and I just lost my wallet yesterday and I’m thinking, “There’s something there,” maybe I’m a
method editor.
Sarah Taylor (Host):
Other than the cancer thing, which I’m very sorry that happened, but… I find, because I do a lot of
documentary stuff, I will definitely get into… I did one about a boxer and then I was like, “I want
to take boxing.” And then, I did one for the tap dancing and I’m like, “I’m going to take tap
dancing.”
Elísabet Ronaldsdóttir (Guest):
Exactly. [inaudible 00:24:23].
Sarah Taylor (Host):
Yeah, you just get into it. It’s their passion and you feel the passion.
Elísabet Ronaldsdóttir (Guest):
When I did John Wick, I got suited up.
Sarah Taylor (Host):
Oh yeah?
Elísabet Ronaldsdóttir (Guest):
Yeah.
Sarah Taylor (Host):
That’s amazing.
Elísabet Ronaldsdóttir (Guest):
I had to have a good suit, that’s really, really helpful.
Sarah Taylor (Host):
Do you still have that suit and do you still wear it?
Elísabet Ronaldsdóttir (Guest):
Oh yeah, I do.
Sarah Taylor (Host):
I love it. I want to see the suit. That’s so fun. You said that you like to cut the film, but of the film,
what are your favorite types of scenes to edit?
Elísabet Ronaldsdóttir (Guest):
I’m so fascinated by every single scene I have to tackle. Every scene brings you different
challenges and I’m just fascinated by all of them. I think they’re all just as fun. I think the easiest
scenes I edit are action scenes, actually. [inaudible 00:25:16] first, because I’ve been blessed
with amazing choreographers. Because, I don’t choreograph those fight scenes, someone else
does. I’ve just been lucky working with the best, both producers and directors that know action,
know what it takes to make action, and the choreographers and stunt people that know what
they’re doing. The best of the best. So, for me, editing action is just pure fun.
Dialogue is always more difficult because most people, I know there are exceptions, but
most people do not know how it is to end up in a shootout. Never been in a shootout. So, you
can kind of do whatever you like because who’s going to care? Who’s going to stand up and say,
“No, that’s wrong.” But, with dialogue, every single audience has had dialogue with someone, has
had discussions or arguments. Those are the trickiest scenes. I can spend hours because I
really want it to ring true, but it doesn’t take you out of the film, that this was a really [inaudible
00:26:25] dialogue scene. So, those are the trickiest scenes, but I do have fun doing all of them.
All of it is fun.
My favorite thing, is just watching it again, and again, and again. Both because you get
such a good understanding, I think I get a good understanding of the pace of it. But also, there
are just connections that you start understanding better, and then you can tighten it and make it
work so other people will notice them without watching something 400 times.
Sarah Taylor (Host):
Yeah. When you’re going through and you’re watching it again, and again, and again, are you
stepping back from the edit suite, watching it on a screen, just watching it? Or, are you still
sitting at your suite, making those adjustments as you go?
Elísabet Ronaldsdóttir (Guest):
Both. I think it’s very healthy to do… My father is a painter, and when I was young and he was
painting, and sometimes he would take a mirror and look at his painting through the mirror. I
think this is what happens when you take your movie and you watch it in different settings. If it’s
in a screening room, or take it home, watch it on your computer. Which, is probably the way most
people are going to see it in the end anyway. Because, it gives you a different perspective.
Because, the painter uses the mirror to get a different perspective of the work he’s doing, and I
think for me, as an editor, getting a different perspective is… Changing scenario, changing the
format I’m looking at it.
Sarah Taylor (Host):
What do you do when you find that there is a challenging scene, as in you’re stumped, or it’s just
not flowing right, or the dialogue isn’t going right, is there anything that you do to make it
happen?
Elísabet Ronaldsdóttir (Guest):
Yeah, I just go away. I just go have dinner with friends. Go watch a movie, go see art somewhere,
just do everything else. Because, that problem is still going to be there when you get back, but
you’re going to have more energy. You know how it is, sometimes just doing the dishes will give
you the best ideas. You just have to disconnect from the problem. It’s not going to go away. It’s
still in the back of your mind. And suddenly, you might get a solution.
I dream my movies. I dream edits, sometimes something cooler than I can actually do
myself, but I still have dreams about my projects. Actually, solutions have come when I’m
sleeping and I wake up and I have to write it down straight away because I realize, “Yes, that’s
how we’re going to do it.”
Sarah Taylor (Host):
Yeah. I find, for myself, it’s in the shower or if I go for a run or something. Like, “I got to get back
to the edit suite, I found the thing.”
Elísabet Ronaldsdóttir (Guest):
Exactly.
Sarah Taylor (Host):
That’s awesome.
Elísabet Ronaldsdóttir (Guest):
And, I think it’s very important because, for me, editing… I can imagine writers being a bit in the
same position, because we’re a bit alone, but we have to take care of ourselves. Because, the
problem is, I could sit 20 hours without standing up. I’m just completely engulfed in what I’m
doing, and that’s not okay. I learnt it the hard way. It’s not okay. You have to set time for yourself.
Take lunch, take dinner, take a break. It’s very important because when you edit a movie, for me I
believe… I’m sure this is not true, because I have heard of a lot of blockbusters that were very
successful where people didn’t have much fun, but I do believe if you have fun… I think it’s
important. If you don’t have fun working on this movie, how do you expect the audience to have
fun? I think it’s so important because I think it shows. I think it shows on the film how people felt,
and you want people to enjoy what they’re watching. You don’t want them to feel like, “Oh, that
was weird.” You just want to ooze some heart into that movie. Enjoy. I think it’s important.
That’s why I think everyone in the production is just as important. Someone just bringing
coffee to set can bring such joy to the people working there that they actually really affect the
production, and [inaudible 00:31:06]. So, I think it’s extremely important to have a good crew and
a closely-knitted crew.
Sarah Taylor (Host):
Do you have directors that you’ve with multiple times? That director-editor relationship I feel like
is really important. And, what you’re just mentioning now, having a connection with a director
and working on it as a team, that brings a heart to a film, if you have that good connection, that
good relationship.
Elísabet Ronaldsdóttir (Guest):
Yeah, it does. I think it’s important. I’ve done so many movies with David Leitch, and I’m working
with him now on a new movie. I love getting to know new people, but yes, working with
someone, we know each other’s language, we know what we’re thinking. Of course it’s
important. It saves a lot of work and heartache. He knows I’m not going to go and piss off and
do something horrible. He can trust that I’m going to put the work in. We have kind of a
shorthand in dialogue as well. And, I really enjoy working with him as a director. He’s so open to
suggestions, even though he has a very clear vision of what he wants. He has the confidence to
be open to other ideas, even though he has a very strong vision of what he wants.
Sarah Taylor (Host):
I think that’s interesting to say that, because I feel like when somebody’s really, really rigid,
maybe it is this lack of confidence, or they’re not sure, or, “Maybe it won’t work, I don’t know.”
Elísabet Ronaldsdóttir (Guest):
That’s how I feel about it.
Sarah Taylor (Host):
For yourself, throughout the years, you’ve been doing this for a while, have you found that you
have your own internal confidence now? When you were younger, getting feedback from
directors or producers, was it harder? How did you handle that and how do you handle it now?
Elísabet Ronaldsdóttir (Guest):
I don’t think it was harder getting feedback from others, in connection with the movie. But, in the
old days, I could not screen anything I did, I was in the bathroom throwing up. Physically
throwing up because I was so stressed. That has gone.
Sarah Taylor (Host):
Oh good.
Elísabet Ronaldsdóttir (Guest):
I don’t feel that stressed anymore. I think that’s just you do it so many times you stop throwing
up at some point, thankfully. I think it’s extremely important to get notes. I don’t think anything
that has to do with the film can be ego filled in any way. You have to just try to take in the notes
and realize… But, you are the professional, so when you get notes from screenings and stuff,
you have to take a step back and look at them. You’re trying to figure out what people’s
problems are with the movie. You are the professional. They might not know, they might say, “We
hated the middle,” but the problem is actually in the beginning. You know what I mean?
Sarah Taylor (Host):
Yeah, totally.
Elísabet Ronaldsdóttir (Guest):
Because, if the beginning is too long, you’re going to be too tired in the middle. But, the audience
might say, “There’s a problem with the middle,” so you have to learn to take the notes and use
your own professionalism and experience to realize where is the problem. It takes a community
to make a film. I think that’s the biggest joy for me, is just the journey with that village to make
this movie, and that is the most inspiring thing about movie making, for me.
Sarah Taylor (Host):
Yeah. Being the editor, you’re often not with the crew, do you get to get to know the crew? Is that
something that you try to make an effort doing?
Elísabet Ronaldsdóttir (Guest):
Sometimes, and sometimes not. It depends on so many things, like COVID. Usually you would be
in connection with the crew on set and visit regularly and stuff, but that changed this year.
Sarah Taylor (Host):
How has it been for you during COVID? Were you working on Shang-Chi during COVID?
Elísabet Ronaldsdóttir (Guest):
Yeah, we were stuck in Australia, we were there for a year.
Sarah Taylor (Host):
What? Tell us.
Elísabet Ronaldsdóttir (Guest):
I never knew I would live in Australia, but we ended up being there a year because of COVID.
Because, we had to stall production. We still kept working in post, and when we finished it had
been a year.
Sarah Taylor (Host):
Wow. Originally, before COVID, you planned to go to Australia to cut the film while they were
shooting and then come back to Iceland?
Elísabet Ronaldsdóttir (Guest):
[inaudible 00:36:06] and finish. We were supposed to premier it February 3rd, was the first
premiere day on it.
Sarah Taylor (Host):
Of 2021?
Elísabet Ronaldsdóttir (Guest):
2021, yeah. Last February.
Sarah Taylor (Host):
Wow. At least Australia wasn’t as bad as America.
Elísabet Ronaldsdóttir (Guest):
No, that was not bad. It was just a surprise to be so far from your loved ones…
Sarah Taylor (Host):
No kidding.
Elísabet Ronaldsdóttir (Guest):
… And your routines.
Sarah Taylor (Host):
Yeah, especially during a pandemic.
Elísabet Ronaldsdóttir (Guest):
Australians are very pleasant people. We were in Sydney the whole time, and just some precious
people I met there.
Sarah Taylor (Host):
And, you were working with a team of editors for that film as well?
Elísabet Ronaldsdóttir (Guest):
Yeah.
Sarah Taylor (Host):
So, were you all staying together and you’re able to really work on the process of stuff actually
together?
Elísabet Ronaldsdóttir (Guest):
[inaudible 00:36:54], we [inaudible 00:36:57] in and did some great work in Australia.
Sarah Taylor (Host):
I look forward to seeing that one. Now, you’re working on another film, are you working at it from
home, in Iceland?
Elísabet Ronaldsdóttir (Guest):
I am working from home. We were supposed to be working in Vancouver, and COVID, so in the
end they said, “We’ll be working from home in LA.” But, I pointed out, “Home for me is Iceland,”
but they accepted and said, “Okay, take it.”
Sarah Taylor (Host):
Amazing.
Elísabet Ronaldsdóttir (Guest):
So, I’ve been working from home since February.
Sarah Taylor (Host):
Typically, non-COVID days, would you just be going back from Iceland to LA or wherever the film
might be shooting, and you’re just always on the go?
Elísabet Ronaldsdóttir (Guest):
Yeah.
Sarah Taylor (Host):
That must have been an adjustment.
Elísabet Ronaldsdóttir (Guest):
I’m getting old, I’m getting tired by it. But also, I got the taste of it now, just to be home and work
from home. I like the idea. We’ll see what the future brings.
Sarah Taylor (Host):
Yeah. In the meantime, working from home, how has that been going for you, working remotely?
Has it been an easy transition?
Elísabet Ronaldsdóttir (Guest):
It’s been going really well. The biggest surprise, when COVID hit, is that all those pipelines to
work from home were already in place. They’re all in place. You just have to plug in and press
play. It was all there. So, that was probably the biggest surprise. Maybe independent movies
used it more, but the studios are very protective of their material, so usually everything is locked
inside the studios, so it was a bit of a surprise. But, a good surprise. It’s been easy, I like it.
Sarah Taylor (Host):
What are some things that you need to have in your edit suite that help you do your best work?
Elísabet Ronaldsdóttir (Guest):
I love to make it a bit cozy. I need to have the photos of my babies, or my children. I plaster my
wall with them, just so I can have a conversation sometimes with them. For me, it’s extremely
important that the editing is a sacred land. You cannot fight. If producers and directors want to
fight about something, let’s step outside, because it’s not a fight zone. This is a creative zone
where we talk about ideas. We can argue about ideas, but there is no fighting. That has to
happen outside the editing room. I just find it very important. It’s like the [inaudible 00:39:35] and
it has to be peaceful. I like to bring in some smells and candles and stuff.
Sarah Taylor (Host):
Do you have a certain routine every day, that you get up in the morning, and you get to work at a
certain time, and you have coffee, anything like that that keeps your day going?
Elísabet Ronaldsdóttir (Guest):
Yeah, always coffee and sit down. But again, it’s so different because of COVID, everything has
been different, we’re in different places, different timezones. It’s not the same. But, I do like
having our morning meetings, sit down and talk over what happened, what do we need to do. I
miss that. I miss my film community. But, I still keep the coffee routine going strong.
Sarah Taylor (Host):
It’s very important.
Elísabet Ronaldsdóttir (Guest):
Very important.
Sarah Taylor (Host):
Do you find that there’s a certain part of the day that you do certain activities or certain tasks at
certain times of day? Or, you just go with whatever the edit tells you to do?
Elísabet Ronaldsdóttir (Guest):
Whatever the edit tell me to do. For me, I wouldn’t be able to be that organized. I just follow. But,
I do love early mornings, because usually that’s the most quiet time. So, I like that. I like early
mornings, with my coffee, few people around, if any, and just me time. I like that.
Sarah Taylor (Host):
Mm-hmm (affirmative).
Elísabet Ronaldsdóttir (Guest):
But, it tends to be very long days anyway.
Sarah Taylor (Host):
Yeah, for sure. How does it feel when you’ve finished a film? It’s locked, what are your feelings
and your thoughts when that happens?
Elísabet Ronaldsdóttir (Guest):
I don’t think anyone that I’ve worked with would send anything out if we weren’t proud of the
product. It can be different genres and different movies, but this is the best version we could
come up with, and we are proud of the work we put in it, we can put it out. So, it feels good, but
you’re also nervous because you never know how anything is going to be received. Even though
you think, “This is going to be big,” and then it doesn’t become… You never know.
Sarah Taylor (Host):
Yeah.
Elísabet Ronaldsdóttir (Guest):
So, you’re kind of sending it out without knowing what’s going to happen to it. But, it always feels
good because it’s work well done. Everyone has put their best foot down. Again, it’s a group
effort, and you’re just there with a group of people that have been spending so much time on it,
and sending it off, and then it’s gone. But, that’s not how it is for the director and some of the
actors, because then they follow it to the film festivals, to whatever. But, we have to say
goodbye.
Sarah Taylor (Host):
Do you have one film that you’re most proud of? Can you pick one?
Elísabet Ronaldsdóttir (Guest):
I’m so proud of so many movies. I am obsessive as well. Very obsessive. I do have an obsessive
character. The film I’m working on now, it has all my energy. It’s the only thing I can think about.
Favorite movie would always be the movie I’m working on.
Sarah Taylor (Host):
That’s great. Do you have any tips for young editors or editors that are trying to make a career
transition into doing film? Scripted, as opposed to documentary? Anything like that.
Elísabet Ronaldsdóttir (Guest):
First thing, I think it’s important that there shouldn’t be a hierarchy here. Especially when it
comes to documentary, it’s such an amazing art form for me, I do love it. I’ve done some
documentaries. I wish I could do more. I think the most important thing is to always put all your
best out there, whatever you’re doing. The size of the budget doesn’t matter. You have to do your
best. I think if you always put your best foot down… Don’t write something off as bullshit,
because some things can just flourish and become something that comes back to you in the
form of a job opportunity, or something else. So, always put your best foot forward.
But again, I just find it so important that all of us understand this is work. It might be
ideal work, amazing work, so much fun work, but it’s work. We have to remember to take care of
ourselves. If we don’t take care of ourselves we won’t be able to make those movies. So, just
take care of yourself, be brave, and always, always, always take the dialogue. I think it’s
extremely important to be brave. I know it’s so hard right now, because there are so many people
and few opportunities. I’m sure so many people are getting, “No,” that shouldn’t be getting noes.
But, you have to remember that this is what you’re fighting against, so few opportunities. So, just
don’t give up. Or, give up. But, if you decide to not to give up, don’t give up. Just keep going with
that smile. But, it’s also okay to give up and to go to something else. That’s the beauty of life. It
just leads you to something else. Just don’t ever, ever, ever give up. Change direction if you feel
you need to, but just don’t give up.
And, I think it’s important to remember that there are so many editors out there, and
probably most of them better than I am. I’m also blessed with opportunities, but that’s one part
of being anything. You have to be able to grab the opportunity when they present themselves.
So, be open to opportunities. And again, that can be in a very small budget short film
somewhere, so do not cut corners because it’s a low budget short film. Give it all, because that
might come back to you as an opportunity. It’s tough out there, I know.
Sarah Taylor (Host):
That’s good advice. Do you have any films coming up? We’ve talked about the Shang-Chi and the
Legend of the Ten Rings, but anything else coming up that you want to tell us about?
Elísabet Ronaldsdóttir (Guest):
Yeah, I’m very proud of Kate, who’s going to be in September as well on Netflix. It’s a small
movie, but I had so much fun working it. And then, I’m working on Bullet Train. That’s probably
not going to come out until Christmas. Maybe it’s going to be a Christmas movie.
Sarah Taylor (Host):
Awesome. Thank you so much for taking the time to chat with me. You had such great insight
and lots of good one-liners that I’m going to try to take and put them in my pocket. Eating the
elephant one scene at a time, I love it.
Elísabet Ronaldsdóttir (Guest):
I didn’t know this, but maybe I’m the queen of one-liners.
Sarah Taylor (Host):
I think so.
Elísabet Ronaldsdóttir (Guest):
I’m happy you enjoyed it. I enjoyed it.
Sarah Taylor (Host):
Thank you so much. Take care, bye.
Elísabet Ronaldsdóttir (Guest):
Take care, bye.
Sarah Taylor (Host):
Thank you so much for joining us today, and a big thank you goes out to Jane MacRae. The
main title sound design was created by Jane Tattersall, additional ADR recording by Andrea
Rusch. Original music provided by Chad Blain. This episode was mixed and mastered by Tony
Bao.
The CCE has been supporting Indspire, an organization that provides funding and
scholarships for indigenous post-secondary students. We have a permanent portal on our
website at cceditors.ca, or you can donate directly to indspire.ca. I-N-D-S-P-I-R-E.ca. The CCE is
taking steps to build a more equitable ecosystem within our industry, and we encourage our
members to participate in any way they can. If you’ve enjoyed this podcast, please rate and
review us on Apple Podcasts and tell your friends to tune in. Till next time, I’m your host, Sarah
Taylor.
Speaker 4:
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Credits
A special thanks goes to
Jane MacRae
Hosted and Produced by
Sarah Taylor
Main Title Sound Design by
Jane Tattersall
ADR Recording by
Andrea Rusch
Mixed and Mastered by
Tony Bao
Original Music by
Chad Blain
Sponsor Narration by