I should preface by saying that I never planned to be working in the film and television industry. The honest truth is that when I finished school and decided to go to university, Film and Television papers seemed like a fun choice in amongst English, Sociology, Philosophy, and Art History. As it turned out, the Film and Television papers were the most engaging and fun, and that drove me into doing a Masters in Creative and Performing Arts, specialising in writing and directing for film. After graduation, my first paying gig in the industry was a small assistant editor role through one of my tutors. She connected me with a post-production supervisor who was helping facilitate a short film cutting from his house. It was exciting to be working on something film-related and I got paid a sweet $100.
Meanwhile, another contact through the same tutor, got in touch looking for an assistant editor on a children’s television drama. This would be my first dip into a longer form of drama, as well as a show that had quite a few VFX to contend with. It was at this point that I really began to get hooked into post-production. Even though pickings can sometimes be slim in our industry, I made the conscious decision to only do drama work which is where my passion lay. I was in a position in my life where I had very little financial out-goings and personal commitments so I let myself be open to opportunities, even if they weren’t my original plan. I was in no hurry to make the leap into editing and was hungry to get as much experience as I could.
It was about five years of assisting work before my break into editing happened. I had assisted on a couple seasons of Power Rangers and one of the regular editors was starting back late due to a scheduling conflict. The returning producer offered me those blocks and I made the quick decision to make the official move to being an editor. Power Rangers was a great first show to cut as I was familiar with it from my assisting time there, but also it had the resources to have a big post team and manageable schedule.
The jump from assistant to editor is one of the trickiest things to manoeuvre. You forge a career as an assistant and work with a bunch of people around town, building a reputation only to have to turn on that and say that you are not that thing any more. Work can be slow in this transitional period but if you dig around enough there are little jobs you can flex your muscles on like low-budget web series or assemble editing.
As the Power Rangers season was finishing, Spartacus started shooting in Auckland. No, I did not get hired for Spartacus, but a lot of great local editors did which meant there was a gap in the industry. It was a perfect storm where the industry was booming and everyone was busy so there was room for people to step up. One of the directors I had just worked with on Power Rangers was going onto one of the said local dramas and he thankfully took me with him. From here, I felt I had my foot in the door.
My advice to anyone starting out now is don’t feel like you have to hurry. Make every job a learning experience and forge lasting connections with people you work with. You never know where or who your next job might come from.
About Jochen FitzHerbert
Jochen is an award-winning film and television editor with a long list of credits including Creamerie, Mystic, Power Rangers and The Gulf, for which he won an NZTV Award for Best Editing in a Drama in 2020. He also edited the international Emmy winning series INSiDE, which also won him a Webfest Award for Best Editing.
How I Got Started in the Industry is a guest blog series from the Directors and Editors Guild of Aotearoa New Zealand (DEGANZ). Our members reflect on how they made their way into assistant editing, editing, and directing—with no two stories the same. They offer advice for those starting out. Get in touch with email@example.com if you’re a member and would like to share your story.